SPRING/BREAK Art Show

SPRING/BREAK Art Show

SPRING/BREAK Art Show

Kanad Chakrabarti, "Derivative Work," 2014-18, Digitally-dyed canvas, acrylic/oil paint, marine ropes and fixings, nylon fishing rings, steel cables, electrical tape, forged mild steel, lead 60 x100 x 90 in (60 x 254 x 228.6 cm)

SPRING/BREAK Art Show

Sarah Pettitt “Complacency Turns to Stone,” 2018 Braided fabric, painting, 76H x 45W x 18D inches (193 x 114.3 x 45.72 cm)

SPRING/BREAK Art Show

Robert Raphael “Lekythos,” 2017 Porcelain, glaze, wood, 70 x 10 x 10 inches (177.8 x 25.4 x 25.4 cm)

SPRING/BREAK Art Show

Shaan Syed, "From the Series: Things to Think About When Looking at the Sky Grid of 12 screenprints Each: 36.85 x 25 inches (36.85 x 63.5 cm) / Overall: 109 x 161 inches (276.86 x 408.9 cm)

: watching the conkers arrive

curated by:
Jason Andrew, Kanad Chakrabarti,
and Sarah Pettitt

featuring:
Kanad Chakrabarti
Oliver Evans
Sarah Pettitt
Robert Raphael
Robert Rivers
Shaan Syed
Audra Wolowiec

ROOM #2349

Exhibition Dates: March 6-12, 2018

>Tickets

SPRING/BREAK Art Show
4 Times Square (Entrance at 140 West 43rd Street)
NYC

> Download info about our room (PDF)

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In its first appearance at an art fair, ever, Norte Maar presents “watching the conkers arrive.” Curated by Jason Andrew, Kanad Chakrabarti, and Sarah Pettitta the room will feature a collection of works by seven artists from the UK and Canada, Brooklyn and Queens, NY, which interrogate language, geography, culture–all involving cross-disciplinary works with abstract grounding, leaving room for reflection on heritage and the borders of experience.

Kanad Chakrabarti’s (Ranchi, India / New York), born in Ranchi, India, pursues a collision between technology, markets and the politics of history. In this installation, he looks at Sicily as a metaphorical omphalos that foregrounds the tension and cultural confrontation that globalisation has wrought. Kanad, an MIT undergrad, received his MA from the Slade School of Fine Art (London), and currently divides his time between London and New York. www.ukc10014.org

Oliver Evans (London, UK) takes and collects photographs to document time and place, occurrences and circumstances. His travels have been vast and his collaging of images tells only fragments of a story. http://oliverandrewevans.com

Sarah Pettitt (UK / Queens, NY) simultaneously interrogates beginnings and endings. Her process exists in the space between the visual and the haptic, and steps outside the constraining bounds of language. Her materials and visual antecedents harken to the totem, the votive, the funerary rites of the ancients, viscerally evoking the power of the anthropomorphised form. http://sarahpettitt.co.uk

The ceramic-base work of Robert Raphael (Brooklyn, NY) draws on the complex history of decorative art, a tradition that intersects and runs parallel to the history of art. Decoration is often perceived to be superficial, but he believes its strength lies in its seductive nature and the complex meanings that result when surface, mass, pattern, and cultural history come together. http://robraphael.com

Drawn simply with one continuous calligraphic line, Robert Rivers’ (London, UK) nose paintings are almost architectural renderings of space–of outside and inside. Grass and straw gathered from walks in the countryside are caught amidst the threads of the embroidered noses, fragments of summer, they disrupt the singular curving line and cross languages of paint, drawing, and collage.

Shaan Syed (London, UK) is interested in asking a question of context and culture: how do established systems of looking relate to how we see anew and how do they influence the way we make, look at and read images now? Primarily through painting, yet also incorporating screen-printing, sound and performance, Syed addresses the conundrum that painting may be at once a process, a reveal and a sign. http://shaansyed.com

Originating from Detroit, Audra Wolowiec (Brooklyn / Newburgh, NY) is an interdisciplinary artist whose work oscillates between sculpture, installation, text and performance with an emphasis on sound and the material qualities of language. Her poetic sound installations and experimental language scores often use the gap, space, or breath in between speech—not as forms of negation, but as complex generators of meaning. Audra currently divides her time between New York City and Newburgh, NY. https://www.audrawolowiec.com

Skills

  • Visual Arts

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