In preparation for NADA Miami, here is an exclusive look at some of my favorite pieces that I have found after searching through hundreds of gallery previews.
Polly BorlandThe Queen (Mr. Pink), 2017
Hand Stitched Wool Tapestry | 12 x 10 inches
Polly Borland is known for her intimate and often unsettling photographic portraits of peripheral cultures. Her knit interpretations of her 2001 portrait of the Queen woven by prisoners in a rehabilitation program in the UK also brings light to people on society’s periphery, as it is literally constructed by those under the queen's program. The artist further emphasizes this by intentionally displaying the back of the woven piece, rather than the perfectly stitched "front".
Ridley HowardMovie Star, 2017
Oil on Linen | 30 x 36 inches
Ridley Howard explores the nuances of color, shape, and composition through ultra-smooth portraits that are, at their core, color studies. The landscapes in his scenes are reminiscent of uncomfortable tourist photos and encompass spaces of memory.
Farah AtassiThe Party, 2017
Oil and Enamel on Canvas | 63 x 78.75 inches
French Syrian artist Farah Atassi's paintings speak to Picasso and Cubism, reducing everyday objects to flat, elemental shapes that dissolve into pattern. However, the real strength is found underneath her clean lines, as you can easily see previous iterations allowing for a more personal aesthetic in response to what is typically a stark graphic image.
Sayre GomezBlue Abstraction over Blue Landscape, 2016
Acrylic on Canvas | 84 x 120 inches
Sayre Gomez seeks to find subjects “that imbue a sense of familiarity yet remain difficult to place". His blue abstraction piece gorgeously interprets this notion with an abstract painting seemingly pasted on a hazy landscape.
Ryan Nord KitchenSunset, 2017
Oil on Linen | 60 x 60 inches
A newcomer to the resurgence of abstract expressionist work, Ryan Nord Kitchen creates ambiguous landscapes that have a visual rhythm and layering experiences to create another reality.
Brie RuaisWashing Away, Great Basin, 2017
132 lbs of Fired Clay, Glass and Hardware | 50 x 45 x 4 inches
Brie Ruais emphasizes the physicality of clay in her forms, but also in how she creates her pieces. She starts with material that matches her own body weight, ultimately using her entire body to mold and manipulate the surface.
Dashiell Manleye.f.w. (t.l.o), 2017
Oil on Linen | 39 x 32 inches
Manley has created a unique form of abstraction using thick impasto paint and a process of repetitive mark making that creates an exquisite textured object.
Andrew ManiaChristie, 2016
Pencil and Pastels on Wood | 16 5/8 x 15 11/16 inches
Andrew Mania's small portraits resemble traditional religious icons, yet exude a provocative undertone. He reflects on an erotic, hedonistic and narcissistic world.
Alex OlsonFor a Shift of Perspective, 2017
Oil on Canvas | 11 x 8 1/2 inches
Alex Olson’s paintings aim to be exact records of how they were made, self-evident in their construction. What characterize her works are layers of marks, made not only by traditional means of painting, but also with her fingers, scraping away and dragging the paint to create textured surfaces.
William O'BrienFor a Shift of Perspective, 2017
Bronze | 24 x 24 x 7 inches
Through drawing, painting, sculpture, and ceramics, O’Brien explores a traditional application of materials, but also experiments and refutes such practices. Inspired by Modernism’s use of primitive forms, as well as the history of material usage of Outsider Art, O’Brien’s multidisciplinary practice is a search for identity and genuine expression through material and process.
Keith SonnierLooped Grid, 2017
Neon, Steel, Wire, Transformer | 34 x 20 x 14 inches
Keith Sonnier radically reinvented sculpture in the late 1960s. Employing unusual materials that had never before been used, Sonnier, along with his contemporaries, called all previous conceptions of sculpture into question.
David KortyWord Painting (Arizona), 2017
Flashe, Ink, Paper on Canvas | 72 x 48 inches
Korty's paintings contain a rich collection of patterns, gestures and deconstructed text. The text is rendered in ink on paper and collaged both beneath and above the surface of a matte, black Flashe paint. The alternating surfaces create a deceptive play between additive and reductive processes.