Fran Siegel and The Language of Painting, Opening October 18th at Lesley Heller Workspace
Fran Siegel, "Plans and Interruptions" has announced its Opening Reception: Friday, October 18th, 6-8pm and will run October 18 - December 1, 2013
Gallery 1: Plans and Interruptions, Fran Siegel's solo exhibition of collaged drawings explores how populations inhabit urban centers. Plans of Siena, Genoa, Havana, Manta, and Los Angeles reveal cultural priorities, while interruptions capture human activity. This is Siegel's first solo exhibition with Lesley Heller Workspace.
Each drawing by Siegel unfolds as a dense tapestry piled with architectural gateways such as fences, walls, doorways, stairs, ladders and freeways. Segments of information are recombined and woven together. In Plans and Interruptions, cubist fracturing takes on new meaning in a world of globalism and composited information. With processes such as cutting and layering, Siegel employs her trademark of removing and concealing the unessential.
Included are three floor to ceiling monumental collages: Tre - a study of the outward growth of Siena's walls, Navigation - a vertical history of the port of Genoa, and Overland 16 - a constructed aerial view of Los Angeles. The irregular compositions are drawn from each location's characteristics. A major influence for Siegel has been Italo Calvino's "Invisible Cities," where detailed layouts of invented places are contrasted with one another.
While Siegel's practice is based in Los Angeles, recent fellowships at the Bogliasco Foundation, Siena Art Institute, CCA Andratx, and work with US Art and Embassies have contributed to in-depth research internationally.
Concurrently, Siegel has a solo drawing project at the Art, Design and Architecture Museum at UC Santa Barbara where she has developed a suite of 50 drawings that study environmental and population changes within this "utopic" coastline of California.
Siegel's drawings have recently been acquired by the Museum of Contemporary Art, Los Angeles, and the Yale University Art Gallery. She represented the United States in the IX International Biennial of Cuenca, Ecuador. Other exhibits include the Center for Contemporary Art in Tel Aviv, Muzeum Stzuki in Lodz, Poland, and Nuova Icona in Venice, Italy. In the US Siegel has recently exhibited with ACME, LA Louver, and Roberts and Tilton in Los Angeles, and in NY her work was included in "Slash" at the Museum of Art and Design and "Extravagant Drawing" at Dorsky Curatorial Projects.
Fran Siegel has received a Getty grant from the California Community Foundation, the OC Contemporary Collectors Award, and the City of Los Angeles Department of Cultural Affairs (C.O.L.A.) Grant. She earned her M.F.A. in Painting from Yale University School of Art, and B.F.A. from Tyler School of Art. She is currently a professor in The School of Art at California State University Long Beach.
Published reviews of her work include Art in America, Art News, Asian Art News, The New York Times, Los Angeles Times, The Boston Globe, Art New England, ArtWeek, LA Weekly, Arts, and Sculpture Magazines. A feature article about Siegel's working process was recently published in the Los Angeles Times.
Fran Siegel Artist Talk: Sunday, November 17, 4:30 pm
The Language of Painting curated by Carol Salmanson with Martha Clippinger, Katherine Daniels, Vicki DaSilva, Anne Ferrer, Joan Grubin, Lynne Harlow, Doreen McCarthy, Gelah Penn, Carol Salmanson will run October 18 - December 1, 2013
Opening Reception: Friday, October, 18th, 6-8pm
Gallery 2: All painters say that their work is about light, line, form, and color. But there are many other artists who don't paint, who have co-opted the same language to create vocabularies entirely their own. Those included in The Language of Painting use non-traditional materials to re-combine painterly concerns idiosyncratically, carrying the principles of picture-making into their artwork.
None of these artists would be able to do their work in other eras, when commercial materials, affordable power tools, and contemporary technology didn't exist. Their use of today's keyed up hues demonstrate how these materials have transformed our world into a burst of color. The use of industrial elements offers freedom from painting and its history, giving a playful quality to the work.
Martha Clippinger's painted wooden sculptures reference painting, minimalism, and architecture. Their placement
anywhere but on the wall underscores that her work comes from painting, but is not part of it.
Katherine Daniels melds the shapes, colors, and reflective surfaces of different sizes of beads into complex wall pieces and sculptures.
Vicki DaSilva's time-release nighttime photographs of colored fluorescent lights moving through carefully-selected outdoor settings create dynamic, dreamlike tableaus that are, in effect, paintings made through photography.
Anne Ferrer inflates brightly colored parachute fabrics into billowing forms.
Joan Grubin uses strips of paper as a source of light. By placing them away from the wall, the florescent paint on the back sidecasts a soft glow.
Lynne Harlow works in a language of reductive abstraction to produce her sculpture.
Doreen McCarthy molds and twists lenticular plastic into three-dimensional forms, playing with material shifts and changes of color and depth.
Gelah Penn exploits the various thickness and hues of commercially produced nylon fishing line to create colored drawings projecting into space.
Carol Salmanson combines industrial materials such as LEDS, electronic components, plastic, and wires, creating an atmosphere that is both ethereal and mysterious.
Empowered by the explosion of technological innovations, each has created a unique vocabulary which not only comes from painting, but adds new dimensions to the language of contemporary art.