BOMB 123/Spring 2013
Colin Snapp and Daniel Turner discuss Jules Marquis, learning from their surroundings and the endless possibilities of collaboration.
Isaiah King’s prints reflect two sides of longing—stemming from desire and plain need. In this line, his work shares a direct link to to the German Expressionists, though updated with contemporary views of graphic design.
Sculptural weight still looms large in Scott Redden’s work. In conversation, the one-time sculptor turned painter takes Lynn Maliszewski on an excursion through his characteristically bold landscapes.
Behind Erica Harris’ collage is a life of travel and volunteer service projects. Her materials carry the stories of their sources recomposed as tales of familial and feminine struggle that cross cultures and time.
Influenced heavily by the figure, her background in architecture, the suburban swamplands of Lafayette, LA, and most recently, the dilapidated houses of Queens, NY, Lauren Bordes’ paintings present an alternate reality rooted firmly in our own.
Lauren Clay’s sculptures permeate the visual field like gamma radiation, unmistakably succulent in their Easter-egg hues.
Sculptor Hans van Meeuwen’s odd fragments and modifications impinge upon the confines of any space they occupy. Summoning adolescent relations and solutions combined with innate tension, he invites viewers to revert at a whim.
Kelsey Henderson paints strangers she meets over the internet or through loose friend-of-friend connections. Her subjects become a celebration of the newly discovered, the outsider’s gaze, the place just before the beginning.
Lynn Maliszewski talks with artist Rachel Beach, tracing Beach’s preoccupation with transitions in perception, from the sculptural disorientations shown at Like the Spice Gallery to her upcoming residency at the Lower East Side Printshop.
Lynn Maliszewski on Jenny Morgan’s hyper-realistic, technically experimental portraits with subjects that hover in the space between intimacy and autonomy.
