Galleri Urbane returns to PULSE art fair with a highly-selective presentation of seven gallery artists. As the works of these artists possess varying conceptual bases, they are grouped together with a formal curatorial approach that considers color, medium, scale, and activation of space.
Melinda Laszczynski’s ceramics are a natural extension of her paintings. Clay is a balance of alchemy and anticipation, a push and pull between manipulation and the (at times merciless) nature of the material. It holds onto that memory of manipulation, whether a touch of the hand or a glaze, a hazy but persistent layer til the end. Liss LaFleur’s pristine, blown colored glass works are a counterpoint to Laszczynski’s maximal approach to sculpture. Spinning forms of classic Jello molds reference mid-twentieth century America. The series of glass jello sculptures began during a residency at the Museum of Glass in Tacoma, Washington in the fall of 2017. LaFleur blows glass directly into copper gelatin moulds - relics from our past and windows into cultural ideas of female objectification - to break down the boundaries between material, performance and critical discourse.
Jason Willaford’s works, which provide an intermediate between the booth’s three-dimensional sculpture and two-dimensional painting, are comprised of vinyl sewn together with nylon thread alongside acrylic and spray paints that interact with the material’s printed color and image fragments. Each work is made compartmentally, giving them the ability to be small, contained works or large site-specific wall installations. Another artist in the booth who abandons the confines of a rectilinear canvas is internationally exhibited and collected artist Donald Martiny. He has continuously developed new approaches to his signature large-scale brushstrokes that obscure the boundaries between painting and sculpture. Two works created for the lobby of New York’s One World Trade Center and a recent outdoor installation for a private collection in Zurich each required equal parts artistry and engineering.
The booth also features artist/architect Gail Peter Borden, who utilizes multiple glossy, resin-coated acrylic paintings to make larger works that simplify and abstract architectural spaces and planes. Complementing the surfaces of Borden’s paintings are Loring Taoka’s objects made of plexiglass. An exploration of visual optics that utilizes both digital methods and manual applications of paint, Taoka’s work calls viewers to question what they are seeing, what they are understanding, and how that understanding shifts as one moves around it. Paintings by Stephen D’Onofrio seek to distort the line between mass-produced art objects and unique works of art. With a visual vocabulary taken from art history and commercial design, he contemplates the relationship between those fields in the age of commerce.
Utilizing a limited number of works by each artist, the variety serves as a representation of the artistic vision of the gallery.