Centaurs and Satyrs

Yevgeniya Baras, Julia Bland, Melissa Brown, Ezra Johnson, Francesco Longenecker, Naomi Safran-Hon, Irys Schenker

July 12 – August 17, 2012

Naomi Safran-Hon

One Green Line, 2012

Cement, thread, fabric and wood frame

21.5” x 28”

Naomi Safran-Hon

Daliyat al-Karmel (tunnels), 2012

Archival ink jet print, lace and cement on canvas with wood frame

28” x 22”

Ezra Johnson

Not That Far From Here, 2012

Mixed media animation

Edition of 4

4:57

Ezra Johnson

Collaborating with Ghosts, 2012

Oil and collaged found paintings on found painting on canvas board

15.5” x 22.5”

Ezra Johnson

Story Teller, 2012

Oil on found painting on canvas in frame

11.5” x 14”

Melissa Brown

Little Reversal, 2012

Dye and oil on canvas

20” x 22”

Melissa Brown

Little Inversion, 2012

Dye and oil on canvas

20” x 22”

Melissa Brown

Reversal, 2012

Dye and oil on canvas

30” x 33”

Melissa Brown

Inversion, 2012

Dye and oil on canvas

30” x 33”

Yevgeniya Baras

Untitled, 2012

Oil, spray paint, bed sheets on canvas

24” x 20”

Yevgeniya Baras

Untitled, 2012

Oil and string on canvas

20” x 16”

Yevgeniya Baras

Untitled, 2012

Oil and string on canvas

18” x 24”

Yevgeniya Baras

Untitled, 2012

Oil and wood on canvas

20” x 16”

Yevgeniya Baras

Untitled, 2010

Oil and thread on canvas

24” x 20”

Francesco Longenecker

Home Again, 2012

Ink and graphite on Glassine and Mylar

27” x 31”

Francesco Longenecker

Sand Trap, 2012

Ink and graphite on Glassine and Mylar

26.75” x 29”

Julia Bland

Untitled, 2012

Burnt canvas, PVA, acrylic, upholstery fabric

32" x 32"

Julia Bland

Untitled, 2010

Oil, canvas, hand woven textiles, yarn

24" x 22"

Julia Bland

Untitled, 2012

Burnt canvas, PVA, acrylic, and beach towel

29" x 29"

Yevgeniya Baras

Untitled, 2011

Oil and foam on canvas

24” x 18”

Yevgeniya Baras

Untitled, 2010

Bed sheets, acrylic and glitter on canvas

20” x 16”

Ezra Johnson

To End is to Begin Again, 2012

Enamel on cut found painting on linen

24” x 34”

Irys Schenker

Traveling the Narrow Bridge, 2012

Cardboard, conte crayon, colored pencil, collage

Dimensions Variable

Press Release

Suggesting mythological creatures with fearsome powers, “Centaurs and Satyrs” features seven artists whose work involves a hybrid of two or more practices. While many artists today refuse to pigeonhole themselves as “painters” or anything as jejune, the very real creatures that make the works in “Centaurs and Satyrs” embody the cross-fertilization of multiple ways of thinking, physically making, and approaching a work.

Yevgeniya Baras creates heavily textured works on canvas that straddle the line between sculpture and painting. With a wide range of materials such as wood, yarn, papier-mâché, velvet or foil, the works evoke deconstructed domesticity and unruly craftsmanship, with often dark undertones.

Naomi Safran-Hon interweaves photography, paint and cement pushed through lace, to underscore a symbolic attack of militarism within the domestic sphere. Abstract and aesthetically elegant surfaces hint at an underlying heaviness, brought on by the indelibility of Middle-East politics.

Ezra Johnson makes animation films out of continuously changing paintings, and then allows the paintings to exist as frozen objects. By constantly cutting, rearranging, and repainting each image, Johnson bounces back and forth between filmic narrative and abstract moments, exposing the process of conventional painting in his complex and poignant films.

Melissa Brown produces wood-block prints, and paintings whose layering, stencils, gradients, and recurring patterns point to a variety of print-making methods. With these tools, Brown plays with the perception of same/not-same, positive and negative, and the real and supernatural.

Irys Schenker’s practice alternates between colored pencil works on paper and sculpture in cardboard and thread, often incorporating both. With their hand-drawn and simple materials, her re-imaginings of Old-World synagogues plaintively speak of cultural survival and the wistfulness of diaspora.

Francesco Longenecker’s recent works on plexiglass, mylar and acetate take advantage of transparency to show many architectural layers flattened into one. His drawings are inspired by the methodology of traditional cell animation, pushing the medium from clarity and movement into confusion and stillness.

Julia Bland builds complex form and surface in often symmetrical wall works that could be mistaken for avant-garde quilts. Painting on woven material, Bland burns, cuts, rearranges, sews, and disassembles, ultimately creating amalgams of painting and traditional craft techniques.