WANDA RAIMUNDO ORTIZ’S GUERILLAREINA
STEPHANIE CAFCULES’ FLUID DYNAMICS
FLUID DYNAMICS and GUERILLEREINA: NEW EXHIBITIONS
OPEN AT 6TH STREET CONTAINER GALLERY
Miami, FL- just in time for holiday vacationers and Art Basel Miami, Visual ArtistsStephanie Cafcules and Wanda Raimundi-Ortiz prepare for their solo exhibitions to be hosted at 6th Street Container Gallery.
Cafcules presents a new exhibition entities Fluid Dynamics, her continued investigation of altering synthetic materials and exploring the dynamism of painting into sculpture, and in the main gallery,
Raimundi-Ortiz presents GuerillerReina, the newest installment of her “Reinas”series.
The opening reception for these two energetic exhibitions is November15th, 2013 and will be open through December 12, 2013. Both Cafcules and Raimundi-Ortiz will be in attendance.
About Stephanie and Fluid Dynamics
Stephanie Cafcules is influenced by art history and inspired by textures andpatterns in nature. Transformation of synthetic materials either physically or chemically is a main process throughout her work. Her ‘Pour’ series focuses on poured paint as sculptural paintings and painterly sculptures.
Stephanie Cafcules B. 1982 in Chicago is an emerging artist and MFA Candidate at the UCF’s School of Visual Art and Design. President of the Knights Association of Visual Artists Club, recipient of the South Eastern Art Conference travel grant in 2012, 2nd place in the Spring Exposition at Infinity Art Gallery, Honorable Mention in the Junk or Genius exhibition at Gallore Gallery and manager at Gallery 500 among others. She is currently a Graduate Teaching Assistant in the School of Visual Art and Design at the University of Central Florida.
About Wanda and GuerilleReina, the most recent addition to the REINA series, chamelion interdisciplinary artist Wanda Raimundi-Ortiz assumes the persona of warrior queen GuerilleReina, interrogating notions of power, authority, and honor.
Wanda Raimundi-Ortiz is an award-winning interdisciplinary artist whose work spans video, performance art, installation, painting and spoken word.
Repeated Marks features the work of nine artists working in a range of different media. While no two artists work in the same media, threads of concept and narrative tie these artists together. Their works are an investigation to locate the individual in the intersection of time, place, and identity, and they invite the viewer to find their place among them as
well. This show seeks to engage the space of 6th Street Container in a manner that asks the viewer to consider not just the work in the frame, but the proximity and place.
Featuring the work of AdrienneRose Gionta, Andrew Horton, Gardner Cole Miller, Ivan Santiago, Joe Locke, Kristen O’Neil, Nick Gilmore, Stephanie Mora, Yasmin Khalaf.
MIAMI PROJECT - Kandy Lopez
A daughter of two parents from Dominican Republic who struggled and fought for their children in America, I was born in the small town of Bayonne, NJ and was raised in the hectic city of Miami, FL. Growing up as a female Dominican American in Miami was a struggle. At a young age I had to find a way to survive as an Afro-Latina female in a city populated by minorities. Miami, Florida is my home. The media has portrayed it as a tourist destination of excitement and crazy entertainment but no one ever sees the “real” Miami. The Miami of poverty, drug violence, and political neglect. The Miami of oppression, racism, and prejudice. The “real” Miami informs my current body of work. This work should give a feeling of nostalgia for those who have been raised in these type of environments. It should also educate those who haven’t. The images are not about glorifying or idealizing the struggles but about educating the public of the reality. It is about living in a city and the struggles within it. This is a homage to my Miami
HUGO FERNANDEZ’S WILFREDO SO FAR
Hugo Fernandez’s Wilfredo So Far
“Wilfredo So Far…” represents digital images created over the last five years of documenting my 94 year-old father’s life. The project began, in some sense, 20 years ago, when I moved to New York to get to know him better, after about thirty years of absences, on his part, from my life. I had photographed him before, but in the last 10 years I had begun videotaping and audio recording his many stories about growing up in Cuba, the revolution and his exile. While he is quite the raconteur, whenever the machines would turn on he became more stayed and formal in his telling. As I became frustrated with the audio, I began filling in the time with the photographic. Not meant to be illustrative, the photos nevertheless capture his day-to-day, his joie de vivre, his anachronistic fashion sense, and his slow decline. Over the last five years he has experienced several near death illnesses, a few funerals, and the last days of his ability to live on his own in his New York apartment of the last 50 years. I hope to compile this work, and the work I can create with what is left of his days with us, along with my earlier photos of him and photos from my family archive, into a written narrative, a comprehensive telling of a long and complicated life.
Kelly Sturhahn - Transient Patterns
KELLY STURHANHN - TRANSIENT PATTERNS
The 6th Street Container Gallery is pleased to present a solo exhibition by artist, Kelly Sturhahn. Sturhahn’s work explores traditional themes of the sublime in nature with contemporary reflection, simultaneously considering experience, perception and transformation. As an artist in New York City, she became drawn to the work of the Romantics and the Hudson River School, and their appreciation of art and nature. Utilizing multiple media, Sturhahn pushes conventional boundaries to convey her ideas, creating new, authentic forms. In her works on paper, she responds to source imagery, emphasizing what might be referred to as photographic flaws, such as lens flare, blur or pixilation. Her expressive use of ink and wash results in exquisite works that are at once a commentary on painting traditions and a record of her personal journey. In her installations, Sturhahn employs intricate craft techniques and tactile materials such as lace and sequins, activating space on a grand scale. Light, nature, photography, textiles and architecture intertwine, transforming the awe-inspiring qualities of nature, into an experiential, dream-like realm. Sturhahn’s work freely recalls Pattern and Decoration, Minimalism, and Op Art among other movements, and probes the significance of the aesthetic origins therein.
For this exhibition, Sturhahn will present two interactive installations, along with several paintings and works on paper. Taking inspiration from the Florida landscape, her work incorporates refracted sunlight, pouring rain and mercurial bodies of water that traverse multiple dimensions. Upon entering the gallery, prepare to be transported by Night Fall, an interactive installation comprised of black lace and hundreds of hand-sewn sequins. In Sturhahn’s second installation, Achromatic Rainbow, white lace painted in atmospheric values takes the form of an overhanging arc that spans the width of the gallery. Her textile-based paintings display black and white striped fabric that has been variously altered by cutting, slicing, painting and sewing processes, disrupting the perpetuity of the original pattern. Sturhahn’s works on paper reinvigorate the landscape with abstracted impressions, void of horizons, and inventive approaches in ink and wash. With experimental intuitiveness, patterns and imagery cycle through refinement, distortion and reinvention: lace takes on architectural space; sliced stripes vibrate optically, and inky impressions negotiate gravity. Sturhahn’s unique interpretations allow us to perceive our environment in unexpected, refreshing ways.
About the Artist:
Kelly Sturhahn is a New York and Florida based artist. She earned a Bachelor of Fine Arts degree from Ringling College of Art and Design in Florida, and a Master of Fine Arts degree from Hunter College in New York. After graduate school, Sturhahn continued to live and work in the thriving art community, Williamsburg, Brooklyn. Sturhahn’s work has been widely exhibited in galleries and museums throughout the United States. Highlights include solo projects in New York at Ann Street Gallery, Skylight Gallery, Saratoga Arts Center, and Times Square Gallery; and in Florida at Melvin Art Gallery. Her work has been included in numerous group exhibitions at the Boca Raton Museum of Art; The Space/Fardom Gallery, Long Island City; Hudson Guild, New York; Garbageman Astronaut Space, Portland; Skylight Gallery, Keene Valley; Artists Space, New York; and Jack the Pelican Presents, Brooklyn, among others. She has also been featured at international art fairs including Scope in New York and Grendel Miami during Art Basel. Her artwork may be found in private collections throughout the United States. Recently, Sturhahn was honored to be a Visiting Artist and Lecturer at Ringling College of Art and Design in Florida, and an Artist-in-Residence and grant recipient at both the Vermont Studio Center (Johnson, VT), and Salem Art Works (Salem, NY). Sturhahn is currently Assistant Professor of Art and Foundations Program Director at Florida Southern College.
Lou Anne Colodny (Louie The Smasher)
Artist Lou Anne Colodny, aka Louie “THE SMASHER” Sams dons the gloves and enters the boxing ring to explore the world of “sweet secrets” - which is a name used in the trade to denote female fisticuffs. She becomes a virtual fighter, placing her likeness on “other people’s bodies” in an attempt to understand and empathize with women who enter the “Squared Circle” of boxing. Colodny’s work has always explored societal pressures on the individual. This body of work is no different. Female boxing challenges many notions about femininity, power, aggression, shame, and desire. It has always been frowned upon by society.
The doppelganger, Louie “THE SMASHER” Sams (like Colodny) has had very little formal training in boxing. “THE SMASHER” studied training videos on the web and fights on YOU TUBE. For this exhibit, she trained with her coach, Clarence Brussard. Other source materials came from the Woman’s Boxing Archive Network (WBAN) and various fight magazines and publications. Quotes from the noted book on female boxing, WITHOUT APOLOGY, written by Leah Hager Cohen reverberate through the space from the video portraying the training techniques used by “THE SMASHER”. Not unlike a Cindy Sherman or a George Plimpton, Colodny exposes us to the foreign world of woman’s boxing via her art
Tony Allegro - Recent work in photography and video
TONY ALLEGRO’S RECENT WORK IN PHOTOGRAPHY AND VIDEO
In Allegro’s work, which he describes as “neo-letterist”, the discrepancy between sound and image dominates. His so called narratives or stories, whose development does not lead to the expected narrative outcomes, often have a soundtrack that is turned upside down and backwards, increasing the sense of disorientation. The subtitles have little to do with the words spoken. While having some parallels in the sound track, they have little relationship with the meaning of what we read, see and hear.
In “Romance and Eternity” (2010) Allegro takes a random message left on his answer machine years ago and incorporates it into the work. The enigmatic message, reaffirmed by a fuzzy image of a woman on the phone, and indecipherable subtitles generate a tension between the sense of strangeness of the message and the imperative tone of the call.
Many early works by Allegro deal with the self-portrait. “Tony Self-Portraits” and “L.A. (Los Angeles) Portraits”, both from 1977, are examples of this genre. With a fixed camera and no guiding script, each portrait suggests the artist’s verbal intention. They are sometimes irreverent and often times intimately confessional. The concentration on fragmentary details of the image and the decomposition of the cinematographic frame divided into smaller sub-frames, reproduce and take apart the presence of the “self”. This is a fundamental aspect of the series.
Towards the 1980s, the artist began a revision of his characteristic film language, releasing one of his most iconic works: “Toxic Syndrome” (1985). Even though the filmmaker has no specific documentary intent, this experimental video is a reflection of the artistic and intellectual environment surrounding him in the1980s, and more specifically, of the local Miami art scene. In three parts, “Toxic Syndrome” includes abstract images tied intimately to interviews, confessions and manifestos of artists and friends of the period. Among these artists is Fernando Garcia, one of the most radical artists of that 80s scene whose idiosyncratic work remains almost forgotten.
The constant flickering of the image and the interposition of images that appear out of place, contribute to a reconstruction of the atmosphere of that epoch in the way that memory reconstructs a series events not with cool logic but with an irrational intensity. In this sense, “Toxic Syndrome” should be understood as a simulation of memory rather than a document of the times.
In Allegro’s work, the camera concentrates on color, changes of light and shadow. The “collage” is another technique that the artist employs. Working with the Silkscreen printing technique, Allegro appropriates, without pre-conceived ideas, images from western art’s iconography from Muybridge to Warhol in a sort of remix where memory and chance interconnect, generating an entirely new universe free from all narrative structure.
Violet Forest - Photography/Video
"You’re laughing. When you laugh, I want to transform the entire world
so it will mirror you. But your eyes are instantly extinguished. You say,
passionately, fearfully, “Would you like to go … there? Would you?
It’s lovely there today, everything’s in bloom… .”
Certainly it’s all in bloom, certainly we’ll go. For aren’t you and I gods? …
I sense in my blood the rotation of unexplorable universes… .
Listen—I want to run all my life, screaming at the top of my lungs.
Let all of life be an unfettered howl. Like the crowd greeting the gladiator.
Don’t stop to think, don’t interrupt the scream, exhale, release life’s rapture.
Everything is blooming. Everything is flying. Everything is screaming,
choking on its screams. Laughter. Running. Let-down hair. That is all there is to life.” -Gods
by Vladimir Nabokov
Outside In-Karen Starosta-Gilinsky
There’s something about objects that you want to own, and objects you want to destroy. Also objects that don’t exist yet, until you create them in your mind simultaneously with your hands; those are “my” objects. Sometimes they seem the opposite of whom I reflect; they come out from my sarcastic sense of humor side, my memories, my fantasies.
I brake beautiful objects, mostly because is hard to do it, it is really hard to let go a valuable material, it could be emotionally valuable or expensive or maybe somebody might need it….but I decide to brake it or by the opposite assemble it.
The process of accumulating objects I find interesting as a media for my work, and then putting them together, without planning the result, is one of the most exciting moment I live when creating. The result is always a surprise to me. I can’t control my self, I need to start with the process to discover the result, the final piece coming from individual pieces.
Aggressive and broken, that is the true inside us, the sweet and assembled, that is also the true. My work is connected by opposite techniques, as well as human beings are full of contradiction; but at the end is the same, all goes together.
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