Pulse Miami 2017
Booth N205
Indian Beach Park
4601 Collins Avenue, Miami Beach
Sam Still, 11.009, Burnished Higgin’s India Ink on Bark 100% Cotton Paper, 78″ x 118″
We’re excited to announce that we’ll be participating in Pulse Miami this December. We will be exhibiting selected works by Jud Bergeron, Eric Blum, Shingo Francis, Mila Libman, Karen Margolis, Tahiti Pehrson, and Sam Still.
Jud Bergeron will present new large-scale sculpture created from resin and bronze. Classically and formally trained, Jud’s work navigates the channels of life, death, love and loss, using object-based language to inform and connect with the viewer through a unique perspective. Involvement of chance within the story and also the materials play an integral part in his sculptures.
Eric Blum’s silk paintings contain implied shapes couched in an abstract world. He puts the designated forms through a process of rotating, flipping, covering, uncovering, overlapping, excising and splicing… ultimately reordering its original elements into a kind of visual anagram. Blum’s work looks for awkward harmonies and unexpected juxtapositions, while simultaneously sidestepping the perils of uninvited associations.
Shingo Francis is interested in form and color and he has a keen appreciation for how these elements shape our perceptions. His acrylic painted canvases take unusual forms including long, stretched paraboloids. He breaks the picture plane with horizons of densely worked masses of color. Of those horizons, Francis has said, “What the boundary represents is the interaction, the point between these two entities. It expands not just into culture but it can include personality and psychology, so it becomes a greater boundary.”
Mila Libman’s large-scale works on paper are devoted to the exploration of landscape as both abstraction and representation. Photorealistic from a distance, their large-scale allows the viewer to be immersed in the abstraction of natural patterns upon close inspection. It’s these patterns found in nature that are the inspiration for this new body of work. Libman creates her works using a subtractive process. Evolving her medium from pastels and charcoal, most of these new drawings are made with dry pigments rubbed over large sheets of paper and then a pattern is erased into it, lifting the pigment and revealing the paper to create a pattern of light.
Karen Margolis’s compositions on paper record encrypted data of her interior monologues. Working from a flow chart she developed that categorizes and assigns a Pantone reproducible color to each emotion, she translates journal entries into colored fields of dots, evocative of the interplay between neurotransmitters and chemicals in the brain. Burned holes, embedded map fragments, as well as linear elements signify personal data. Her work offers a glimpse into the ephemeral nature of the mind’s operations; it is a way of translating meaning into pattern.
Tahiti Pehrson’s work explores complex systemic patterns, architectural forms, and reoccurring motifs in the natural world through the medium of two- and three-dimensional hand-cut paper. Within Pehrson’s works, each shape receives light and serves the structure of the whole system, concentrically leading to the next variation to make a singular structure. These intricate works explore interplays of light and shadow, building dynamic monochromatic constructions that give material form to the space-changing qualities of light.
Sam Still is best thriving when arranging intimate thoughts brought together in conversation. This constant rearrangement, for all invested, suggests unending perspectives for consideration. His work includes large-scale burnished ink drawings along with smaller more intimate works on paper incorporating unconventional materials such as ash from burned drawings and soil.
