Strikingly articulate and exceedingly experimental, artist Gabriel Dawe is breaking down barriers of a traditional male Mexican artist as he constructs geometric and fantastical illusions through the use of textile and thread. KAC had the pleasure to meet with Dawe in Dallas during his residency at Fairmont Hotel. Located in the bustling art district of downtown Dallas, Dawe innovatively transformed his temporary studio space into a colorful and dynamic solo exhibition.
Responding to the architecture and environment, Dawe's installations become an open dialogue between art and space. While this process creates unique, site-specific works of art, there is a found unity throughout his collection. Every installation is developed from the full color spectrum, resembling light rays. Only experimented once before, the installation presented in Dallas, explores the cooler side of the spectrum, staying exclusively with blues, violets, and shades of pink. Here Dawe begins to omit part of the color spectrum, a preliminary investigation into the absence of color. This new departure is one he addresses further in his current exhibition "Plexus 37" at Conduit Gallery.
Living and working in Dallas, locals have come to familiarize themselves with Dawe's brightly colored thread installations. Therefore he decidedly turned a 180 in his recent endeavor by masterfully abandoning color through the use of gray, silver, and black threads. The viewer is forced to see beyond the spectrum, cerebrating this omission to be not an act of defiance against that traditionally associated with color, but perhaps as a "silver lining" on what is next for the renowned artist and his forthcoming work.
Gabriel Dawe is represented in Dallas, Texas by Conduit Gallery. Dawe is on view now with Conduit Gallery through May 13, 2017.
Portland based artist Elizabeth Atterbury talks art, inspiration, and the transition of being a new mother with KAC in our latest Interview Interview.
Myke Venable's work investigates the infinite potential and purity in shape indicating a visual representation of his own paired-down universe. From detailed sketches in an open notebook on the worktable to mathematical drawings tacked to the wall, Venable's studio is a perfect diagram of his working and theoretical process. During our visit, KAC viewed Venable's newest body of work and saw how his paintings have evolved into what they are today.
While teaching at The Art League in Houston, Venable rediscovered his love of drawing. He has since dedicated one of the largest walls in his small studio to colorful geometric explorations, mapping out on paper his ongoing study of the complex relationship between shape and color. While he views his drawings as independent works, they also serve as inspiration for shaping his large canvas and panel paintings.
The drawings come to life on wood panels covered with pristine layers of acrylic paint squeezed straight from the tube. Mixing colors, he explains, would complicate his process of instinctually matching color and shape. Venable then focuses on creating thought provoking relationships through the particular arrangement of each element on the wall.
Venable’s newest paintings cleverly juxtapose not quite symmetrical shapes with slightly irregular placements and parings. Tension builds within the negative space between the paintings as they barely touch, leaving the viewer to question whether the forms are merging together, floating apart or statically coexisting. Every combination creates a new dynamic that alters the energy of the cluster itself, therefore impacting the space in which it resides.
California based artist Klea McKenna walks KAC through the evolution of her first beginner photography class to her ongoing experimentation with photograms. Read our interview below to learn how McKenna continuously pushes the boundaries of traditional photography practices, producing an innovative body of work.
McKenna is represented in Los Angeles, California by Von Lintel Gallery.
Hidden at the end of a beautiful lot densely populated by lush Houston greenery, Libbie Masterson's studio feels like her own personal oasis. The high ceilings and large windows yield a flood of soft natural light ideal for viewing her vast array of work including photographs, paintings, watercolors, glass mosaics and even stage set maquettes.
Masterson's lively persona is a striking counterpart to her tranquil, contemplative work. Our studio visit began with a look at her new glass mosaics, an extended exploration of her large-scale installation at the Houston Hobby Airport. These works are heavily influenced not only by Masterson's affinity for nature, but also music. Masterson shared her life-long fantasy of composing a symphony, and explained to KAC how she incorporates this hidden passion into her work by listening to songs on repeat and allowing the music to dictate the emotional direction of each mosaic.
The imaginative glass compositions provide a splash of color to Masterson's otherwise monochromatic studio, filled with icy landscape photographs of deep grays, blues, and whites. These mesmerizing and meditative photos are back-lit and displayed as illuminated light boxes. Masterson walked us through the rewarding process of working with the light boxes, and calculating the perfect hue and strength of light to properly enhance the imagery without overpowering it.
Masterson’s dream project: set design for an entire opera! Her infinite sources of inspiration and matching talent pose a promising future of endless possibilities and exploration. Be sure to attend her upcoming exhibition, opening September 10th 2016 at Catherine Couturier Gallery, who represents Masterson in Houston.
Texas based artist, Michael Kennaugh, talks art with KAC. In this exclusive interview Kennaugh describes his experience in the growing Houston art scene and the colorful inspiration behind his process. He also reveals a glimpse into his forthcoming body of work.
Michael Kennaugh, artist
We first discovered artist, Yamini Nayer, at a presigious art fair last year. Brooklyn based, Nayar, has been on our radar since, and we recently had the pleasure of doing an interview with her! Check it out now on our Let's Talk Art Interview below to see what her art process is all about.
While we were in Mexico City, we had the pleasure of doing a studio visit with Tomás Díaz Cedeño. We were initally introducted to Cedeño at the Texas Contemporary Art Fair in 2015 at Yautepec Gallery, so we were eager to meet him and learn more about his intruguing process. Take a look at our Let's Talk Art Interview with Cedeño for more on his inspiration and reflections on being an artist in Mexico City.
Tomás Díaz Cedeño, Untitled (Black, White, Flesh), 2015, Vel-mix, pigment, plastic mesh, aluminum
Kinzelman Art Consulting recently organized a temporary exhibition with Houston based artist Natasha Bowdoin at HOK Architect’s crisp and beautiful new space. Bowdoin’s The Daisy Argument Revised is a striking and dynamic spray of feathered elements that recall the aquatic flora of her native Maine. She has installed many iterations of this layered cut paper piece over the years, the first being in 2010.
Professor of Painting and Drawing at Rice University, Bowdoin is known for her painstakingly detailed cut paper installations and collages. Process and content are equally important to Bowdoin in her work. She spends hours hand-cutting the paper elements in direct and visceral response to the even more labor-intensive drawings and transcriptions of significant literary texts. Here the artist has fluidly recorded the text of Lewis Carroll’s Alice’s Adventures in Wonderland and portions of Through the Looking-Glass throughout the abstract composition of the piece.
Natasha Bowdoin’s The Daisy Argument Revised will be on view at HOK through mid-December, 2015.
During the installation process, where Natasha intuitively attached individual elements to HOK’s feature reception wall, KAC’s Adrienne Johnson had a conversation with the artist about the piece and about her work in general.
Q: What was the first text you transcribed?
A: Alice’s Adventures in Wonderland. Before, when I first started to use writing in my work it was much more fragmentary. I would transcribe clips of overheard conversation, portions of remembered song lyrics, and bits of my own stream of conscious writing: things that were floating around the studio as I worked. My work is now made up of other authors’ texts. I was drawn to the idea of using others’ writing as a kind of found, raw material, in that it introduced an element into the work and process that wasn’t personal to me and wasn’t something I could predict. This particular piece includes transcriptions of the entirety of Alice’s Adventures in Wonderland, and a portion of Through the Looking-Glass.
Q: How long does it take you to make a piece like this, in its original iteration?
A: This piece in my mind will never be finished. Firstly, I want to complete the transcription of Carroll’s second Alice book. As I mentioned before, I have only partially completed Through the Looking-Glass. Secondly, while at some point the drawings and component parts will be complete, I see this piece staying in flux and transition, resisting any one finite form. The piece is intuitively recombined in each new space it comes to inhabit, never going together the same way twice. Each installation is to a certain extent improvisational. Drawings for a particular installation are usually in the making for several years, as I tend to work on a lot of different pieces at once. If I sat down and focused solely on one installation alone it would come together faster but I like splitting my attention across different works and projects in the studio, in the hopes that different pieces might influence one another in a way I can’t predict.
Q: Is it your intention that viewers read your works?
A: I hope people are neither prevented from reading the work nor feel obligated to. I’m not particularly interested in using text as a means to directly articulate a message or illustrate a meaning. There is a tradition of text in art, established especially in certain kinds of artistic investigation that really took off in the 1960s, that focuses on text as a device for communication or a signifier of meaning. I’m more interested in and inspired by artists like León Ferrari, Robert Smithson, and Mira Schendel, who I think were really interested in the abstract potential of text. People can look for meaning in my drawings, but the structure defies any sense of logic. I don’t give anyone a specific place to begin. Text I think isn’t always straightforward, obvious, or transparent. I like channeling this room for flexibility, ambiguity, and a text’s potential.
Q: Will you tell me about the inspiration for the forms themselves?
A: A lot of the pattern I gravitate towards as source material is nature based. I’m fascinated with how humans over time have tried to depict and document the world around them. With this piece, I’ve had people tell me that they are reminded of life under the sea, seaweed and sea fans for instance. These weren’t forms I intentionally had in mind but I guess it’s impossible for me to get away from where I grew up. The natural surroundings of my home state of Maine and elements of my upbringing I think work their way into my work subconsciously.
Originally this piece was kept in a palette of black, white, and yellow in that I was thinking of the color of type in a book, and of Alice’s blond hair. Eventually I began to add more and more color in an attempt to reference the wackiness and the vibrancy of Carroll’s Wonderland.
Another reason the work remains in flux is that in a way it’s meant to mirror Alice’s own experience. As she travels through Wonderland she is constantly shrinking or expanding to make her way through the space. There’s a lack of fixed boundary to her own body as she continues on her adventure. This piece is meant to evoke that sense of boundarylessness I find so appealing.
See the installation time-lapse video here: