This year at Art Miami, CEG is featuring several artists exhibiting work smaller in scale. We hope you’ll stop by the both and experience these intimate pieces in person.
Marina Black’s photography is about experimentation and the physical process of reworking the surface. She works in analogue, digital and camera-less technologies and likes the tactile qualities of prints, and dealing with fragments, that often take her to a new place. She states: “Inspired by Goya’s Disasters of War, the imagery from the series Hasard Anticipé may be associated with manifold of inward and outward conflicts. I would like to comment on moral questions that emerge from the knowledge that harm and malevolence occur in both worlds: outside, and, to an extent, inside our minds.
“Portraying children rather than adults feels like magnifying fears and scars of childhood. I like the confrontation they create, that is simultaneously suggestive of tenderness and cruelty. I am interested in investigating the complexities of the childhood world, and how susceptible children could be to mental and physical injuries. While there might be joy in childhood, there are also bullies, strangers, loneliness and conflicts to be negotiated.
“All combined, I like to subvert the sanitized notion of children as innocent beings, removed from and unaware of ambition for power and control. The images, populated mainly by the youth, represent dark forces akin to spirits or villains from childhood dreams or worse – the incarnations, that exist inside our minds and might never entirely mature.”
Marina Black originally studied History and Painting, then art has become her primary preoccupation. Black received W. Lawrence Heisey Graduate Award in Fine Arts for outstanding achievement in creative & scholarly work, as well as a number of Ontario Arts Council grants. She was a featured exhibitor of the CONTACT International Photography Festival. Her work has been published in Eyemazing Susan Vol.II, curated by Susan Zadeh; FOSSILS OF LIGHT + TIME, curated by Elizabeth Avedon, an editor of L’Oeil de la Photographie; Mercy project, curated by a photographer James Withlow Delano; and BURN, 1st edition, curated by a Magnum photographer David Alan Harvey. Black’s work has been shown in solo & group exhibitions worldwide and reviewed in numerous fine art publications. She maintains an active art practice both independently and collaboratively working with artists from different mediums. Her photographs are included in the public collection of Heritage Municipal Museum of Malaga, Spain; in Alliance Francaise in Canada; in IZOLYATSIA non-governmental arts foundation, Ukraine.
Building facades melt into darkness, their architectural details vanish, leaving only glowing windows in a sea of pitch black, like stars in the night sky.
Stray Light is an ongoing photographic project aimed at imaging the nocturnal urban landscape. We have all but lost the night for our progress. In its place we have formed a new cosmos, one of vanished surfaces and flecks of light. Carefully constructing each image from multiple photographs, I reform the urban landscape in my own vision – one that seeks to reconstruct the heavens in its absence above the cityscape. Light emanating from each window references a world unknown, evoking a sense of mystery and awe. We no longer look up to the night’s sky with awe. Instead, that is how we look out at the city.
Clarissa Bonet lives and works in Chicago. Her work explores aspects of the urban space in both a physical and psychological context. She received her M.F.A. in photography from Columbia College Chicago in 2012, and her B.S. in Photography from the University of Central Florida. Interested in the physical space of the city and its emotional and psychological impact on the body, she uses the camera to transform the physical space into a psychological one, providing a personal interpretation of the urban landscape. Her work has been exhibited nationally, internationally, and resides in the collections of The Museum of Contemporary Photography’s MPP collection, The South East Museum of Photography, and The Haggerty Museum. Most recently she received the Chicago Individual Artist Grant and was curated into a group show at Aperture Foundation Gallery.
Pete Jacobs lives and works in Chicago. Born and raised in New Haven, CT, he attended Wesleyan University, graduating with a B.A. in English Literature. A published poet, he has received, among other awards, a National Endowment for the Arts Fellowship. In recent years, his drive to experiment and innovate has steered his interests towards the visual arts.
As a photographic conceptual artist and a painter, he often portrays a vulnerable humanism. His multi-panel Tableaux series transforms the worldly—a tightrope walker, a laughing woman, a collection of prosthetic eyes, a text statement on unrequited love—into strange and illuminating melding of expressionistic color fields with ghostly underlying imagery.
In these visual narratives, the viewer experiences both a sense of fracturing into parts and a coming together as a whole. As with chapters in an unfolding story, the eye lingers on the contents of one panel and then is drawn on to the next in a progression of hue gradients and the linking up of the image. A tension hovers in this attempt at unity never fully realized due to the spatial separation of the individual panels.
For more than twenty years, Laurent Millet has channeled his innate curiosity to create photographs that question the way objects appear within space and time. Citing R. Buckminster Fuller and Denis Diderot among his influences, Millet creates an artistic vocabulary through metal wire, vineyard posts and barrel hoops – objects prevalent in the coastal town of France in which he resides. There is a rich history of artists constructing environments simply to be photographed and then disassembled. These created realities were prevalent in the 1980s, as works by Sandy Skoglund, Bernard Faucon, Bruce Charlesworth, James Welling and other artists burst onto the scene. All of these artists worked with objects to create a narrative, captured by the camera. Laurent Millet (b. 1968 France) continues to work in this tradition, using various 19th c. printing techniques to magnify his vision.
As he stated in a 2014 interview in L’Oeil de la Photographie: “I felt like I had to take refuge in something that was comforting and reassuring… This idea brought me back to what I did as a child in the countryside when I would play with wood and stones. I rediscovered that pleasure as an adult… Starting with the first things I built, fishing machines, I felt like a world was opening up in which I could really exist. These objects are powered by my personal fictions, my dream of another life. The photograph is proof of that, a record of the moment, a reward.”
Laurent Millet’s work can be seen in numerous publications including his 2014 book, Les Enfantillages Pittoresques (Filigranes Editions) and in major museum collections, including The Art Institute of Chicago, Maison Européenne de la Photographie (Paris), San Francisco Museum of Modern Art, Los Angeles County Museum of Art, and Fonds National d’art Contemporain (Paris), among others.
Catherine Edelman Gallery at Art Miami 2018
The Art Miami Pavilion
One Miami Herald Plaza @ NE 14th Street
On Biscayne Bay between the Venetian & Macarthur Causeways
|Friday, December 7||11am – 8pm|
|Saturday, December 8||11am – 8pm|
|Sunday, December 9||11am – 6pm|
@edelmangallery @artmiamifairs #artmiami2018 #miamiartweek