SPRING/BREAK ART SHOW Returns for Its 3rd Year in SoHo, 3/6-9

SPRING/BREAK ART SHOW Returns for Its 3rd Year in SoHo, 3/6-9 Curated for the 3rd annual curator-driven art fair SPRING/BREAK Art Show in the schoolhouse known as Old School on Mott Street in SoHo, Tracy Causey-Jeffery of Causey Contemporaryand Amy Kisch of AKArt Advisory present Liminal Reclamations-focusing on the 21st-century dilemma of the fabrication of human/nature. This year the fair's PublicPrivate theme will explore the "high visibility of the self in the 21st Century every-day" and the balance between privacy and the "digital strip-tease" that average people are compelled to engage in. Some of the artistic practices to be explored include self-portraiture, the evolution of the "photo bomb," "jealous landscape photography," and digital spectatorship.

Liminal Reclamations features works by Michel Demanche, Kevin Bourgeois, Marielis Seyler,Melissa Murray, Jamie Knowles, Steven Dobbin, Mxolisi Dolla Sapeta, Paolo Buggiani, Robert Saywitz and Zane York, which navigate the internal and external realms of culture and the spectrum of opportunities presented to us to perform-or be prescribed-who we are. The artists delve into acts of voyeurism, constructions of memory and sensation, domestication, mass media consumption and destruction, self-reflection, reclamation, and suffocation

Michel Demanche presents the digital apparatus as the new visual construct of Americana. Through the use of small devices, the viewer is lured into a personal space-though still occupying the public area in which the device remains fixed. Demanche measures the commitment and willingness of the viewer to sift through minutes of time-waiting for the one image that coalesces a feeling of connection past or anticipated future. Each sculptural vessel or system of delivery, is more than a façade-provoking an entrance into a world of memories, be it through the looking glass or the digital rabbit hole.

Kevin Bourgeois has been creating sociopolitical works on paper using primarily graphite for the last decade-utilizing a combination of photorealism, illustration, and pop symbolism that results in a fragmentation of surface and reality. Using a visual narrative of contemporary societal complexities, it relies on juxtapositions such as technology/human nature, individuality/consumer culture, and superficiality/altruism.

Marielis Seyler's photographs, through interactions in the public and private sphere, process and content-often placing large format Trample Pictures of fragile subjects in public spaces, on the forest floor in Open Air works, printing on fragile, sheer paper in her Transparencyseries, or selecting pop culture references as subjects-explore the duality of the boundaries between nature and mankind, and the public and private acts we conceal, unveil, or project. She invites viewers to decide what their role in the narrative will be, her photographs record our response to an invitation to degrade or protect-partaking in the sacred or profane. The artist's use of imagery reflects our interior and external life, weaving a story through symbolic imagery, creating a narrative that pokes, prods and laughs, albeit derisively, at our environmental and psychological plight.

Melissa Murray's works from her series 246a, entitled after a 300-year-old home on Cape Cod, present her impressions of space, architecture, and the effects of time. The location became a catalyst for metaphors relating to the idea of what a home is, happenings in the outside world and a deeper understanding of what it is for time to pass. While placing focus on the structure, she delves into the theme of internalizing a forgotten space and recreating it, transmuting it through a filter influenced by her life in New York City.

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