... the infinite number of layers ..."
hey new yorkers,
can anyone check this exhibition for
----- Original Message -----
From: "[MEDIAMIXER]" <email@example.com
Sent: Monday, October 07, 2002 7:51 PM
Subject: RHIZOME_RAW: [ART-EXHIBIT,"FUSION"nyc]]disneyNASAborg]10.10.02]
> "FUSION"nyc_3 ARTIST EXHIBITON.
> [disneyNASAborg],Duane Paul,and Rojelio Mendoza.
> October 10th, 2002__6-11pm.
> 394 Broadway, 6th flr.
> RSVP. 212.340.1892
> Press Release -
> "FUSION"nyc_Fusion. Featuring 3 unique artists ranging from
> painting,installations and sculpture.
> [disneyNASAborg] is transcending the boundaries dividing new media and the
> more traditional forms of art, such as
> painting and installation. While learning to create projects with the new
> tools for digital art, like 3-d animation software,
> digital video NLE [non-linear editing] software, image manipulation
> software, and web development /authoring tools. He
> became impassioned to assimilate the techniques, ways of working, and
> aesthetics of new media and bring these
> inspirations back into the realm of the physical.
> For instance, the artist rejects the finite background, the non-transpare=
> background and the merged layers to form 2-d
> art object. [dNASAb] creates series' of clear plastic paintings meant to =
> juxtaposed with other transparent painted
> layers. He works in the infinite number of layers between the viewer and =
> boundaries of the work. The backgrounds
> then become the SITE itself, inflatable voluminous lit 3-d shapes, and/or
> video projected textures; in a similar method
> to adding video skins on a 3-d object in 3-d software. And the clear pane=
> are directly analogous to the ability to layer
> 100's of clear layers upon each other in image manipulation software, like
> Photoshop. By integrating LCD screens,
> projections onto translucent portions of paintings, textures on 3-d
> inflatable objects, and moving 'sampled' video
> projection backgrounds, the composition then becomes congruent to the
> futuristic abstractions that one would only
> expect in a virtual space.
> Duane Paul
> Fusing symbolism and sexuality, Mr. Paul's visual language utilizes the
> repetition of decorative devices, which at first
> glance resemble floral forms. His forms are subverted into abstract
> illustrations of sensual interactions. The floral form
> acts as the device that pulls the viewer into the painting or wall
> assemblages/installations to examine what seems
> familiar. The viewer is then confronted or rather surprised once the
> realities of the shapes take hold.
> His current interests center on the nexus of public/private spaces and
> sexual desire. What space do public rooms
> occupy in gender identity and sexual fantasy? Employing his sensual
> decorative forms as aesthetic objects in such
> spaces, he seeks to amplify these feelings by bringing out their opposing
> meanings. Along with painting and drawing,
> utilizing my developed system of installation of relief sculptures he cal=
> "Penis /Anus Flowers." These are sculpted
> and cast three-dimensional plaster shapes derived from his paintings and
> drawing. In their three-dimensional form the
> "Penis/Anus Flowers" are extreme aggressive concentrations of the
> two-dimensional forms. The forms become that
> more playful, that more decorative, that more surreal.
> Mr. Paul's mission is to populate his shapes into cultural icons symboliz=
> the ambiguity of sexuality, highlighting our
> chance existence as male/female, homosexual/heterosexual, black/white.
> Rogelio Mendoza
> Rogelio Mendoza is a fine artist of German/Mexican decent. He is a
> self-taught painter who believes in transforming
> natural phenomena into another reality. The interpretation of his work has
> nothing to do with what he created. It takes
> on its own meaning based solely on the viewers eye.
> Time, space and action are concepts that are forever framed within the
> physical confines of his canvas. They can be
> looked at as frames of memories so personal yet so universal that anyone =
> take part.
> Literal interpretation seems to be the norm when viewing art. Rogelio's w=
> defies this opportunity by allowing
> everyone to draw their own conclusion. The figures stretch the confines of
> their physical beings into something that is
> only understood by the viewer.
> + the Patty Winters show this morning was about Real-Life Rambos.
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