Alexy Préfontaine “Euphyllia” 2021 Digital Art: Dye Sublimation Archival Print on Aluminum, Glossy, Dimensions: 24 x 24 in
Online Viewing Room:
The “INNOVATE” Exhibit
GALLERY EXHIBITION
September 12- October 9, 2021
ONLINE EXHIBITION
September 12- November 2, 2021
The Untitled Space is pleased to present The “INNOVATE” Exhibit, a group show opening on September 12th and on view through October 9th at the gallery and online through November 2nd, 2021. Curated by Indira Cesarine, the exhibition features artwork by more than 40 international contemporary artists investigating innovative mediums, narratives, and practices. In the midst of a challenging time as we grapple with the effects of a global pandemic, The “INNOVATE” exhibit explores in-depth themes of pioneering creativity with artists defying the odds to explore new frontiers with their work. The exhibition features a wide array of mediums, many presented in new and alternative ways, including painting, sculpture, photography, collage, fiber art, wearable art, performance art, digital art, audio art, and art using Augmented Reality. The “INNOVATE” exhibit serves as a celebration of pioneering creativity, bringing together artists that continue to progress and evolve with artworks that forge into the future.
The group exhibition presents a number of notable NFT artists who have pushed boundaries with their digital art, including Andreas Wannerstedt from Sweden, Alexy Préfontaine aka Aeforia from Montreal, Canada, and Yuge Zhou from China. London-based Greek painter Martha Zmpounou explores the line between abstraction and representation, while Italian artist and photographer Giulia Grillo, aka Petite Doll, reinvents herself into non-human forms in an effort to investigate beauty and the grotesque. Ukrainian photography duo Synchrodogs explore the interdependence of humans and nature and the digital world, while Haitian-American artist Watson Mere creates work pixel by pixel using Microsoft Paint that attacks themes of identity and racism. Brooklyn-based performance artist Asia Stewart embodies abstract sociological theories and transforms the language specific to studies of race, gender, sexuality, and diaspora into materials that can be felt and worn on the body, while interactive digital sculpture artist Jonathan Rosen uses language as a tool to ”create, question, imagine, empower, divide and destroy” with his latest work FUTURE from his Dream Machines series, created for the INNOVATE exhibition. Biofuturist designer Asher Levine navigates new technologies with his creations that explore CGI along with Augmented Reality, progressing beyond fashion into the realm of wearable art, while Texas-based fiber artist Cassie Arnold explores the unspoken and taboo topics connected to life as a woman encouraging an open and unashamed dialogue.
Exhibiting Artists: Alexy Préfontaine, Alisa McRonald, Andreas Wannerstedt, Angela Santana, Arielle Tesoriero, Asher Levine, Ashley Chew, Ashley Zelinskie, Asia Stewart, Cassie Arnold, Cath Orain, Chukes, Claire Luxton, Dance Doyle, Elena Chestnykh, Fahren Feingold, Greta Brat, Giulia Grillo AKA Petite Doll, Indira Cesarine, Isabel Beckenstein AKA The Love Whip, Jacob Hicks, Joanna Grochowska, Jonathan Rosen, Julia Curran, Junyi Liu, Kelly Shami, Kirra Cheers, Laura Kimmel, Leah Schrager, Lindsay Parker, Luigi Honorat, Marlies Plank, Martha Zmpounou, Molly Dario, Roberto Grosso, Shamona Stokes, Synchrodogs, Victoria Selbach, Watson Mere, Yuge Zhou, Zeynep Solakoglu
Curatorial Statement:
What does “innovate” mean to you? That is the question that I put forth to all of our incredibly talented artists featured in the “INNOVATE” Exhibit. As we grapple with the effects of a global pandemic, many artists have been forced to find new ways to stay creative, transforming their practice in order to overcome the challenges we have faced as a society. With the closures of the pandemic, we are experiencing a new emphasis on digital technology, with the new frontier of NFT Art, CGI, and Augmented Reality, as well as advanced technologies of digital painting and other creative programs. Artists are using their work to examine this new world as we now know it. This has been a time of introspection, reflection, and reprioritizing. Many artists have been inspired to expand their practice with new mediums and methods. Whether artists are working with traditional mediums in a new way, incorporating digital art into their practice, or re-addressing the themes of their work with a progressive interrogation, we are seeing a new wave of innovative exploration. Artwork featured in the “INNOVATE” exhibit explores the narratives of our contemporary culture while addressing prevailing themes of identity, language, cultural heritage, diaspora, the politics of other, quotidian life, the equilibrium between humans and nature, the celestial, the personal, politics, racism, the patriarchy, the environment, the afterlife, creativity, beauty, and balance. The “INNOVATE” exhibit showcases the groundbreaking work being produced by this diverse group of international artists from locations around the world, including France, Poland, Turkey, Japan, China, Ukraine, Lithuania, Switzerland, United Kingdom, Austria, Canada, United States among others. Each one of these artists has persisted in their artistic endeavors in order to bring into the world something new and inspirational for us to see, hear, and experience.
– Curator Indira Cesarine
Alexy Préfontaine, otherwise known as aeforia, is a three-dimensional digital artist from Montreal, Canada. His work is all about colors, balance, and emotion. Blending surreal landscapes and digital portraiture, he has managed to craft a distinct style over the years and develop a keen eye for details, while focusing on the emotional impact of his work. His NFTs and others can be found in the digital art marketplaces Nifty Gateway, SuperRare, and Makerspace.
Syncrodogs, “Gold” from Supernatural Project 2015 Photography, Dye Sublimation Archival Print on Aluminum, Glossy, Dimensions: 24 x 30 in
“The world is changing and some things it just makes no sense to ignore, they are only going to expand. Innovations in technology, cryptocurrencies, new kinds of art — all this in 10 years will be as usual as using mobile phones.”
– Artist Duo Synchrodogs
Syncrodogs, “Canyon” from Supernatural Project 2015 Photography, Dye Sublimation Archival Print on Aluminum, Glossy Dimensions: 24 x 30 in Request more info
Synchrodogs is a duo of photographers and art directors from Ukraine – Tania Shcheglova and Roman Noven – who have been working together since 2008. Both photographers are self-taught and currently reside in Ukraine. Synchrodogs won Harper’s Bazaar’s Photographer of The Year competition in Ukraine in 2011, and Best Fine Art Photographer Title in the Vogue Talent competition in 2016. Between 2010 and 2019, Synchrodogs exhibited solo shows internationally in various cities including Chicago, London, Venice, and Amsterdam.
Greta Brat “ARRIVAL” 2021 Digital Art: Dye Sublimation Archival Print on Aluminum, Glossy Dimensions 12 x 9 in Request more info
Greta Brat “Floating Thoughts” 2021 Digital Art: Dye Sublimation Archival Print on Aluminum, Glossy Dimensions 12 x 9 in Request more info
Andreas Wannerstedt “The Nymph” Digital Art: Dye Sublimation Archival Print on Aluminum, Glossy Dimensions: 20 x 16in Request more info
“I think that the purpose of art is to inspire a reaction. Some inspire joy, fear, disgust or desire. I’m all about trying to inspire satisfaction and to make my audience feel a sense of peace and calmness. My animated loops have often been described as “oddly satisfying,” and it’s all about the interactions between shape and space, a portal into the perfect world of physics, movement, and predictability.”
– Andreas Wannerstedt
Leah Schrager, “Once in a Lifetime”, 2021 Archival inkjet print, Dimensions: 20 x 30 in
Leah Schrager, “Interiors (Art, Too)”, 2021 Dye Sublimation Archival Print on Aluminum, Glossy
Dimensions: 12 x 18in Request more info
Leah Schrager is an artist who works between the web and New York City. She graduated in 2015 with an MFA in Fine Art from Parsons, The New School. In her work, she photographs, appears in, augments and markets her own image. She is interested in the line, movement and, biography of the female body. In 2010, she founded a new form of therapy as Sarah White, The Naked Therapist, followed by online performance @OnaArtist (Instagram 3 million+). Her project, “Ona,” an artist and musician, evolved out of the question of celebrity as art practice. With her performances, Schrager explores themes of sexuality, representation, and distribution. Her practice is situated in a contemporary hotbed of female (in)appropriateness, arousal, celebrity, fandom, and commercialism that seeks to explore female biography and labor in today’s global society.
“With advances in technology, the nude form in a work can also be the artist! Which is a great challenge to traditional conservative art. The power dynamic online has been flipped so that female creators actually have the most power. But that has yet to happen in the art world, but I’m hoping that shows like The Untitled Space will help that start happening.”
– Leah Schrager
Giulia Grillo aka Petite Doll, “The Reflection of Yourself” 2020 Photography: Printed on Metallic Paper, Dimensions 12 x 18in
“My creative process starts with inspiration. Everything that surrounds me inspires me in a certain way; as a creative thinker, I spontaneously elaborate and reinterpret different concepts with my imagination. When an idea pops into my mind, I always think about the best visual strategy to use, such as metaphors and visual paradoxes. The consequent phases usually take time with preparation and set up. I love to take care of every detail: scenography, creation of props experimenting with different materials and techniques, make up, composition, direction. The whole process can take weeks sometimes.”
– Giulia Grillo aka Petite Doll
Giulia Grillo aka Petite Doll, “No Signal” 2020 Photography: Printed on Metallic Paper, Dimensions 12 x 18 in
Giulia Grillo aka Petite Doll, “The Crab Girl Escaped from the Freak Show” 2020 Photography: Printed on Metallic Paper, Dimensions 12 x 18 in Request more info
Giulia Grillo aka Petite Doll, “The Crab Girl” 2020 Photography: Printed on Metallic Paper, Dimensions 12 x 18 in Request more info
Lindsay Parker, “Heirlooms“ 2021, Acrylic on canvas, Dimensions 36 x 36 x 1.5 in
“As a self taught artist, I’ve had to innovate new techniques and methods of achieving certain effects in my paintings because there were no formal standards available for creating such effects. I sometimes experiment with deviations from classical techniques of painting so that I can create the illusion of a person in motion; someone who is simultaneously appearing from nothingness and dissolving back into it. When painting, I often use unconventional methods and materials to create the effect of a blurred and transparent figure. Innovation is an integral part of my practice because I am constantly trying to progress toward creating work that is accurate to my own experience of life instead of imitating work that has already been created.” – Lindsay Parker
Lindsay Parker, “Night Blooming“ 2021, Acrylic on canvas, Dimensions 36 x 36 x 1.5 in Request more info
Lindsay Parker, “Don’t Ever Change“ 2021, Acrylic on canvas, Dimensions 24 x 18 x 1.5 in Request more info
Lindsay Parker, “In Retrograde“ 2020, Acrylic on canvas, Dimensions 20 x 24 x 1.5 in Request more info
Claire Luxton, “YOU GIVE ME BUTTERFLIES”, 2018 Archival print, Mounted on aluminum, under acrylic glass, framed in white oak floater frame Dimensions: 31.5 x 39.4 in Request more info
Claire Luxton is a British contemporary multi-disciplinary artist working with photography, installation, poetry and painting. After receiving an BFA from Goldsmiths University of London, Luxton created a challenging series of self portraits & sculptures, pushing her emotional and physical boundaries by becoming both the subject matter and the materiality. Her work explores the delicate equilibrium between humans and nature, the ominous undercurrents of her work oscillates between constructed femininity and alluring vulnerability, seducing the viewer with intrigue and uncertainty. Luxton’s work draws on both the modern anxiety of society and the environment; each portrait, painting and accompanying poetry, becoming an exploration of isolation, desire and uncertainty.
Cassie Arnold, “Itty Bitties (Self Portrait)”, 2020 Fiber Art, hand knit merino wool, copper wire and pine 16 x 31 x 1 in Request more info
Cassie Arnold, “Tired and Overworked (Nursing During a Pandemic)”, 2020 Fiber Art, hand knit merino wool, copper wire and pine 13 x 16 x 1 in Request more info
“My current body of work explores the unspoken and taboo topics connected to life as a woman. Though many of my fiber works are wearable their encoded meaning is identifiable without their activation through performance. Whether it be inspired by miscarriage, breastfeeding, or the transformative female form, my art encourages all people to engage in an open and unashamed dialogue.” – Cassie Arnold
Angela Santana, “Staccato” 2021 Oil on canvas- Dimensions: 58 x 78 in
“My work investigates the implications connected to the historical representation of the female body and its lasting influence until today. Centuries of male dominated industries in painting and later on photography have shaped the depiction of women, often being presented passive and pleasing, idealized and objectified – a male fantasy. This has helped shape and distort the perception of women in our collective consciousness.” – Angela Santana
Junyi Liu, “Untouchable I”, 2019 Oil on linen Dimensions 11 x 14 in Request more info
Junyi Liu, “Untouchable II”, 2019 Oil on linen, Dimensions 11 x 14 in Request more info
“Deeply influenced by both traditional realism art and modern culture, I decided to create representational portrait paintings in a new way. I use red lights on my models, creating an unusual, surreal effect. As a woman myself, one of my goals is to reveal the concealed emotions women have. Their gazes and gestures are woven together with the red ghost images of themselves, like a story that’s half told. In my paintings, there’s desire, hesitation, hope, and pain.” – Junyi Liu
Arielle Tesoriero “Vixens of Veal Parmigiana Vocally Verify Their Meat Vajazzling“, 2021 Oil on canvas- Dimension 48 x 36 in
“Right before the pandemic, I became fascinated with the internet phenomenon “Mukbang.” The trend, translated to “eating show” from Korean, involves a host consuming food while interacting in some way with their audience, or as Tesoriero puts it: “people who eat alone can film themselves to form a sense of community.” Tesoriero found that interactivity comforting, especially during lockdown, and she “immediately became obsessed with people stuffing their face with food.” – Arielle Tesoriero
Victoria Selbach “We Are Star Stuff (Limited Edition)” 2021, Photographic print of collage on on Aluminum, Glossy– Dimensions 20 × 28 in.
“A resolute choice shifted my mind and work to the simplest narrative of what makes us all the same. Rather than
controlling paint on a blank canvas I upended my process and built the pieces by using preexisting images; layering a collage of photographs and illustrations to create the tableaux. ‘We Are Star Stuff’, the first panel in the new series, is the perfect beginning as it takes us back to a celebration of our shared origins.” – Victoria Selbach
Laura Kimmel, “ANIMAL” 2021 Photography, Giclee print on Bamboo paper, Framed Dimensions 24 x 36 in
Laura’s work explores the labyrinth of femininity and self expression through ritualistic, performative art making. She journeys with her subjects, often trespassing, in pursuit of magical, un-commercialized spaces where they can conjure authentic expressions of self outside the bounds of social constructs. Whether channeling sprits in abandoned buildings or evoking our own realms in light and color, Laura and her Muses use these worlds to escape patriarchal capitalist context and connect to the subliminal feminine.
Kirra Cheers “Seclude in the Nude 01” 2020 Photography- Dimensions 12 x 18 in – Request more info
“In the past, my portrait work has relied on creating an intimate environment in order to establish a connection with my subject but during quarantine with social distancing measures in place, this wasn’t possible. In order to keep creating art, I needed to adapt my process to current restrictions. I communicated with my subjects over the phone, talking them through posing and lighting. In this way, it was a real collaboration between myself and the subject, providing a creative outlet and an opportunity to continue to connect with other people during a period of unprecedented isolation. The portraits are a celebration of the enduring creative spirit in the face of adversity.” – Kirra Cheers
Joanna Grochowska “Buried” 2021, Photography, Digital print on acrylic glass Dimensions: 52 x 86.6 x 1.2 in
“The conceptual basis of my art are the notions of Transgression and Singularity. The purpose is to explore the new posthuman figurativeness. The dominant theme addresses the subject of transgressive corporality and encompasses the contexts of future, desire and human enhancement technologies. The logical and inevitable progress of technology evolution implies the emergence of new paradigms of gender, body and identity. The body becomes a symptom of the unnatural, edited and superior life form, posing a question of the possible shift of ethical lines and a change in a definition of what is human.” – Joanna Grochowska
Martha Zmpounou, “Distorted Portrait 4”, 2018 Watercolor and acrylic on paper, Dimensions 45 X 58 cm Request more info
Martha Zmpounou, “Right Red Gown”, 2020 Watercolor on paper, Dimensions 46 × 66 cm Request more info
Martha Zmpounou, “Orange Face Study 2”, 2021 Watercolor and acrylic on paper, mounted Dimensions 30 x 40 cm
Martha Zmpounou is a visual artist and a lecturer (University of the Arts London) based in London. She holds a degree in Fine arts and an MA in Painting from Aristotle University of Fine arts (Greece) and an MA from Central Saint Martin’s College of Art (UK). She is a member of the Royal Institute of Painters in Watercolors and she has been awarded several awards including the Cass Art award, the St Cuthbert Mill watercolor prize, the De Laszlo Foundation Award from the Royal Society of Portrait Painters.
Isabel Beckenstein AKA The Love Whip, “Maneater”, 2021 Wall Sculpture, wood, acrylic, and resin Dimensions 24 x 23 in Request more info
Isabel Beckenstein AKA The Love Whip, “Open”, 2020 Wall Sculpture, wood, acrylic, and resin Dimensions 50 x 27 in Request more info
“The definition of innovate is “to make changes in something established, especially by introducing new methods, ideas, or products.” For me, to innovate is to see creative solutions to our problems. A current problem that many women, including myself, have experienced is the stigmatization of our sexuality. With that in mind, I innovate with my art, and I strive to bring it to life in a metaphorical and literal manner. As a woman, I aim to claim my own sexuality and express what I think liberation can look like. In a world that demonizes female sexuality, I use mixed-media art as an innovative means of normalizing it.” – Isabel Beckenstein AKA The Love Whip
Watson Mere “Isis and Osiris” 2021, Painting, Mixed media print on canvas: microsoft paint, acrylic, oil – Dimensions 40 x 30 in
“The word innovate resonates with many aspects of my artistic practice. From an early age, I have had to be innovative. I was unable to talk until the age of five and had to create drawings and art in order to communicate. I still communicate with my art today to tell the perspectives of young people of African descent living in the world today. The techniques I use to create my works are also innovative. My main medium is Microsoft Paint with a mouse, and since this is an unusual way of making art, I have had to teach myself different techniques and methods to create my current works. The artwork I’ve been working on lately displays ancient African symbolism to speak to current black culture, offering an innovative piece to the already rich collection that is the history of African art.” – Watson Mere
Zeynep Solakoglu, “Beasts Playtime“, 2019 Colored pencil on paper, Framed Dimensions: Artwork 17 x 22in Request more info
“As an artist you constantly have to assess and process your emotions to produce an honest , true to self artwork.That is a heavy task during a pandemic , where the only thing you are processing is negative information and without that all you were left was a repetitive mundanity of a lockdown.When everything shut down and so many other collective issues arose around the world , It felt wrong to deny our responses to these life changing events for the sake of our peace of mind , so i decided to go through it and see how i came out on the other end.I started by a series of self portraits and gradually introducing new materials to my routine and try painting on different surfaces.I also work on multiple series simultaneously and once i started , all my emotions organically found their way in my characters.I scattered myself to different pieces and they all stuck and found their way somehow , they all owned their part in my story.” – Zeynep Solakoglu
Molly Dario, “Outer Limits”, 2020 Video NFT Request more info
Molly Dario, “Hey Wire”, 2020 Video NFT Request more info
Kelly Shami “Baby Did you Eat Yet?” 2021, Oil on canvas Dimensions: 20 x 20 in
Kelly Shami “Petal 002” 2021, Oil on canvas Dimensions: 20 x 20 in Request more info
“I became obsessed with ideas of alteration and how Americans are always looking for ways to change themselves. By growing up in America in the late 90s to early 2000s, wearing jewelry and getting piercings became a fascination because it was very small ways that I had felt in total control of myself. I spent my childhood and teenage years working at my father’s jewelry store in the Diamond District of Manhattan and also working at my friend’s family’s florist. Between painting signs, organizing jewelry, and arranging flowers, I saw jewelry and flowers as ways that people show affection or love to another. I noticed a common theme that they both held in that they are the ways we show love to one another in this country, flowers and jewelry being popular gifts for loved ones.” – Kelly Shami
Jacob Hicks “Woman 43″ 2021, Oil on panel Dimensions: 11 x 14 x .5 in
“I innovate by studying very old visual cultural history and project it forward. I think my kind of newness looks both ancient and futuristic simultaneously. The human brain synthesizes memories and references that compile and mutate into something new, I believe the future is almost always an extrapolated clockwork collage of what has come before. I imagine it as the alphabet reordering its constituent letters to express almost anything, much like nucleotide bases of DNA reorder to produce an endless amount of biological diversity through genome. The old saying “there is nothing new under the sun,” is wise and foolish. The immediacy of newness is more subtle than what humans (especially humans whose desires are shaped under capitalism) long for. The future takes its time. I tell my art students, who worry when we make master copies of great works that they are copying: art is a language, learn the letters written in image by the original innovators of your field, in so doing you will someday innovate, but first internalize and understand the greatness and the mistakes of what has come before you.” – Jacob Hicks
Jonathan Rosen, “FUTURE (Dream Machine)” 2021 Sculpture, time based media sculpture: 2 way mirror glass, aluminum frame, monitor, mini-PC – Dimensions 24 x 36 in
“My practice examines language’s ability to create, question, imagine, empower, divide and destroy. Through words and everyday objects, I am a collector and cataloguer of our human possibilities – the good, the bad and everything in between.” – Jonathan Rosen
Yuge Zhou, “Trampoline Color Exercise“, 2021 Video Art / NFT
Marlies Plank, “Dream On – the Toilette of Venus“, 2021 Digital Art, Printed on Hahnemuehle Photorag with Gold Frame– Dimensions: 16.6 x 19.7 in Request more info
“Dream On is a visual storytelling series that started out as a creative outlet during the pandemic lockdown, bringing together a surreal experience through photography and digital painting techniques. The images are otherworldly, composing pink elephants in idyllic landscapes floating on clouds, through nature, but also placed in spaces of confinement. Dream On exposes the absurdity of our reality in the everyday, but also the fantastical nature of where our minds lead us in isolated, stagnant periods. Playful and dream-like, these anthropomorphistic elephants remind the viewer of the exploratory nature of our minds. In a time of stagnation where travel and novelty experiences are limited, Dream On indulges in these desires. With child-like wonder and curiosity, a universal story of escapism is created between the seams of physical reality and the imagination.” – Marlies Plank
Shamona Stokes “Black Madonna“, Painting, Mixed media on paper, framed Dimensions: 23 x 30 in
“My art practice focuses on reconnecting to the inner child’s joyful sense of play without attachment to final outcomes. From 2016-2019, I worked primarily with ceramics to build a “family” of imaginary friends inspired by my subconscious mind. I found that clay was an easy entry-point to begin making artwork after a 16-year hiatus. Its unpretentious qualities reminded me of making mud pies in the woods as a kid. Feeling strange, like an outsider, is a large theme in my work. This stems from being the child of immigrant parents from India, having a father with autism, and going further back, to having a paternal great-grandfather that was an extreme outsider: living as an American missionary in an Indian leper colony and later a cave in the Himalayas. I celebrate our “alien-ness” by making strange figures: plant creatures that are part flower-part human, sacred-looking space buddhas, and cartoonish fertility statues.” – Shamona Stokes
Fahren Feingold, “I AM ART,” 2021 Painting, Watercolor on paper, Framed– Dimensions 11 x 15 in
“My art takes its inspiration from music and is produced in metal, metallic paper, or perspex. The key elements of my art are the use of vibrant color and augmented reality – which brings the artwork to life by showing the stages of its creation to a soundtrack of the music that inspired it.” -Roberto Grosso
Roberto Grosso, “Heat Waves“, 2020 Print on brushed metal, framed – Dimensions 40 x 40 in Request more info
Cath Orain “Lingerie de Paris“, 2020 Fiber Art, embroidery on fabric, framed in hoop – Dimensions 9 pieces / 4 in diamter each Request more info
“My creative process always begins with the selection of source material which inspires me to construct a preparatory drawing. For the characters, I work from my own, original photographic production, or, in collaboration with other contemporary photographers. Then, I carefully choose the right fabric and the materials which best suit my artistic vision of the project. At this point, I should mention that I prefer to select second hand and salvage materials (threads, beads, sequins, broken jewels and so on) to the furthest extent possible in order to upcycle and repurpose them in my embroidery. The next step is to transfer a part of the original drawing on the fabric – I mostly opt for silk organza – which will allow me to begin with the stitching. I never reproduce the entire preparatory drawing on the fabric since I invariably end up making numerous changes along the way. ” – Cath Orian
“I feel that I have always been innovative in creating my work. Making tools and using what I have access to as far as materials is just as much a part of the process as the time I spend in my studio creating the work. I have always lived by the 90s DIY culture ethos both out of necessity and a belief in it. There are so many items around us that can be used to make art and art making tools with very little impact on the environment and as a way to not engage with capitalism. Reusing, making it myself and trading skills/goods with others is how I was raised and how I live. I don’t believe that should exclude my approach to art making. When I started weaving, I started making my own looms out of found materials. In sourcing raw materials, I turn to thrift stores and knitters with bins of leftover project yarn. I make my own yarns out of t-shirts and other discarded textiles. The whole process, for me, from making the tools, creating the necessary materials right through to the finished product encompasses my creative process. The act of asking my community for textiles they no longer use or need is just as much a part of my practise as hanging a finished piece.” – Alisa McRonald
Alisa McRonald, “The Creep“, 2019 Fiber Art, Woven Tapestry – Dimensions 41 × 21 1/2 × 4 in Request more info
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Julia Curran, “Lovers”, 2021 – Acrylic, woodblock print, screenprint, collage, tinsel on hinged wooden panels Dimensions: 36 x 37 x 2 in
“My background is in the socio-politically conscious tradition of printmaking, and I combine printmaking techniques with painting and collage to make vibrant, many-layered mixed media compositions. Stylistically, I embrace masters of elaborate grotesque such as Hieronymus Bosch and Henry Darger, the absurd caricature of underground cartoonists like Robert Crumb, the intimacy of ex-votos and home altars, and the powerful and vulnerable self-portraits of Frida Kahlo. Conceptually, I embrace Betye Saar’s commonly employed phrase “Extreme times call for extreme heroines.” I seek to confront the challenges of our dangerously disembodied culture through highly-crafted prints and paintings meant to reconnect us with our inner worlds, each other, and the substance of ourselves.”
– Julia Curran
“Within my practice, I create oil paintings, watercolors, and sculptural objects to focus on issues of gender, body, and the self. It is about the experience of women’s body and embodiment, whether erotic, abusive, or metaphorical. I approach the body as a site of waste, abuse, and trauma as well as a source of vitality, desire, and pleasure. My personal narrative informs my practice as a recent Russian immigrant in America. Since arriving in the US, I have experienced geographical and cultural displacement, problems associated with expression through language, loss of identity, and a general sense of disassociation, both personally and politically. While referring to large cultural, political, and historical contexts, my artwork expresses the complexity of a woman’s experiences in seeking and positioning herself in a new environment.” – Elena Chestnykh
Elena Chestnykh “When Everything is Upside Down“, 2021 Painting, Ink and watercolor on paper– Dimensions 32 x 29.5 in Request more info
Asia Stewart, “Legs is Legs VIII“, 2020 Film Still, archival pigment print, framed – Dimensions 6 x 9 in Request more info
“The pandemic forced me to seriously reflect on the type of art that I was creating. Before 2020, I spent the majority of my time as a singer and actor working as a vessel for other individuals’ creative visions. When it was no longer possible for me to dart in and out of auditions and rehearsals for theatrical productions, I had to confront the possibility that my former work wasn’t as fulfilling as I had previously believed. When I recognized that I wanted to have greater agency as a director and creative, I began to devise and stage performances independently with whatever tools and materials I had available.” – Asia Stewart
“How can humans hope to transmit our cultural heritage into the future when we ourselves are impermanent, alive for only seconds when compared to the lifetime of the universe? Utilizing a post-New Media approach, wherein the media employed are merely vehicles in service of underlying concepts, I am attempting the process of translating our vast history into a universal language meant to stand the test of time. By fabricating traditional objects in dual forms—as the classical entity and the data that represent them—my work seeks to focus a lens on our place as a small part of a larger whole.” – Ashley Zelinskie
Ashley Zelinskie “ANDROID (platonic)“, 2018 Sculpture, nickel plated 3D printed nylon– Dimensions: 11 x 11 x 8 in Request more info
Indira Cesarine, “INNOVATE“, 2021 Glass Neon and Resin sculpture, 20 x 14 x 12 in, includes 12 x 12 x 40 in pedestal base
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Install Views of The “INNOVATE” Exhibit exhibition at The Untitled Space
The Untitled Space is an art gallery located in Tribeca, New York in a landmark building on Lispenard Street. Founded in 2015 by artist Indira Cesarine, the gallery features an ongoing curation of exhibits of emerging and established contemporary artists exploring conceptual framework and boundary-pushing ideology through mediums of painting, sculpture, printmaking, photography, video and performance art. The gallery is committing to exploring new ideas vis-à-vis traditional and new mediums and highlights a program of women in art. Since launching The Untitled Space gallery, Cesarine has curated over 40 exhibitions and has exhibited artwork by more than 450 artists. Her curatorial for The Untitled Space includes solo shows for artists Sarah Maple, Rebecca Leveille, Alison Jackson, Fahren Feingold, Jessica Lichtenstein, Tom Smith, Loren Erdrich, Kat Toronto aka Miss Meatface, Katie Commodore, and Jeanette Hayes among many others. Notable group shows include “Art4Equality x Life, Liberty & The Pursuit of Happiness” public art exhibition and group show presented in collaboration with Save Art Space, “IRL: Investigating Reality,” “BODY BEAUTIFUL,” “SHE INSPIRES,” Special Projects “EDEN” and “(HOTEL) XX” at SPRING/BREAK Art Show, and internationally-celebrated group shows “UPRISE/ANGRY WOMEN,” and “ONE YEAR OF RESISTANCE” responding to the political climate in America, as well as numerous other critically-acclaimed exhibitions. Recent press on Indira Cesarine & The Untitled Space includes Vogue (US), Vogue Italia, CNN, Forbes, Newsweek, W Magazine, Harper’s Bazaar, Teen Vogue, New York Magazine, i-D Magazine, Dazed and Confused, and The New York Times among many others.
To inquire about any of the works featured in this exhibition
please email info@untitled-space.com
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