Tuesday, November 24, 2015

Yulia Pinkusevich: Fragmented Perspectives

Silencing the Cacophony, 2015 Acrylic, spray paint, oil, vinyl, marker on linen, grommets, rope, burlap and sand from Coney Island. Canvas: 69 x 161 in. / 175.26 x 408.9 cm. Overall: 110 x 417 1/2 in. / 279.4 x 1060.45 cm. - See more at: http://www.yuliapink.com/folio-1/#sthash.jlwcksCX.dpuf
Add caption

Yulia Pinkusevich is a multi disciplinary artist working primarily in drawing painting and installation. She creates large-scale environments that deal with urban and social systems. Her installations directly engage the body of the viewer and address surrounding architectural spaces. The work often deals with the rapid spread of urbanized life and the fragmented perspectives witnessed through the architectural lens.  Edges of buildings, voids, windows, doors, power-lines and car windshields provide this framing for us to look through. Architecture is experienced through a secondary frame of ever more architecture, creating a fragmented, multi-layered structural framework of cement steel and glass, a common vision for the urban citizen.

Formally, Yulia’s work is engaged with the direct experience of the viewer through perspectival illusion and spatial perception that play with the subconscious and cognitive understanding of space. By breaking logical perspectives she creates illusions of impossible spaces, non-places or Utopias that shift the viewpoint to the panoptic.
SIMA (Sculptural Seating) in collaboration with Sam Cuttriss & Gizmo Art Production Local second growth Redwood
15' x 9' x 6' apx 2015 Permanent collection of McMurtry Art and Art History Building, Stanford University( 1 / 40 ) 

Her background itself is rooted in change. Born and raised in the USSR, her understanding of rules, social status and human abilities were redefined when moving to the United States. Learning to adapt and observe things carefully and move fluidly throughout her surroundings became a survival strategy. Due to her personal history, Yulia possess an amalgam of opposing belief systems, within which she constantly struggles to find refuge. Yet to find this refuge, she has thus far traveled to over a dozen countries and lived in several states. Within her travels and observations she has witnessed the homogenization of culture though increasing globalization. She questions and studies this changing landscape by exploring architecture, design and urban theory. Her work focuses on the perception of systems and attempts to tether seen and unseen forces acting upon urban narratives.

 Thresholds: Shadow Self
 Thresholds: Shadow Self
 Thresholds: Shadow Self

 Thresholds: Shadow Self

About the Artist
Yulia Pinkusevich is an interdisciplinary visual artist born in Kharkov, Ukraine. She holds a Masters of Fine Arts from Stanford University and Bachelors of Fine Arts from Rutgers University, Mason Gross School of the Arts, graduating both universities with highest honors. Yulia has exhibited nationally and internationally including site-specific projects executed in Paris, France and Buenos Aires, Argentina. Yulia’s work is represented by Kent Fine Art in New York City, she has been awarded residency grants from Autodesk Pier 9, Facebook HQ, Recology (San Francisco Dump), Cite des Arts International (Paris), Headlands Center for the Arts, Redux in Charleston, South Carolina, Goldwell Open Air Museum Las Vegas and The Wurlitzer Foundation in Taos. She was also the recipient of The San Francisco Foundations 2011 Phelan, Murphy & Cadogan Fellowship in the Fine Arts as well as Stanford University SiCA’s Spark and ASSU Grants. Yulia’s work has been widely written about in various print publications, including The Miami Herald, Sacramento Bee, Kansas City Star, The Columbian (Vancouver), Oman Tribune and the Gulf Times (Quatar). Other magazines include Ltd Arts, Dwell and Adbusters. Prominent online media includes KQED, Rhizome and Square Cylinder. Yulia has lectured at Stanford University and is currently Assistant Professor at Mills College. She lives and works in Oakland, California.

Monday, November 23, 2015

Cindy Imhoff-Bruininks: Site on Site

I am drawn to the periphery of places, calling attention to what is not there as well as what may be.


I work in series, documenting daily experience in multiple ways as a means of contrasting the stereotypical with the unique. Interior spaces, landscapes, and objects such as buildings, cars, and fire hydrants come from sites that I see on my daily journeys. Images play with perspective and scale in a way that often converts the distant and unnoticed to the up-close and intimate.


Process is key to my work. "The World As It Goes By" is a series of plastic sculptures drawn from my car windows. I explore the process of drawing through tracing, cutting, and brushing acrylic shapes. The shapes provide a perimeter for miniature landscapes that float in and out of the periphery and evoke the fleeting moment and the daydream.


“Everywhere at Once” is a series of large-scale drawings that become continuous landscapes. Areas of density and confusion are contrasted with areas of rest as a means of exploring the rhythms of day-to-day existence. Each segment emphasizes what came before it and what might come next.


“Landscapes at Large” is a series of site-specific installations of drawings on plastic. Here line drawings from sites I see are re-introduced into the outside world by superimposing them onto vistas and tiny spaces.


Be it an instant, the mundane, or the imagined, I experience moments through art-making in order to perceive that which may be overlooked. I am interested in exploring the gap between where one is physically and where one longs to be. Through this interest my work becomes a meditation on the untouchable.


Cindy Imhoff-Bruininks is a Bay Area Artist and current member of Marin MOCA at the Novato Arts Center. She received a BFA in Painting from the San Francisco Art Institute and an MFA in Art Practice from The University of California –Berkeley. Her work ranges from drawing, painting and collage, to wall sculptures and site-specific installations. Exhibitions and publications include: Bronx River Arts Center, Mesa Arts Center AZ, Southern Exposure SF CA, Holter Museum of Art MT, Berkeley Art Center, Berkeley Art Museum and New American Paintings: MFA Annual. Awards include: Viewing Program, The Drawing Center (New York, NY) and Affiliate Artist, Headlands Center for the Arts. For more information visit: www.cindyimhoff.com

Peter Foucault: Tensions in Between

Cosmos 3
Cosmos 4


Foucault’s procedure connects his work with the Surrealist lineage of automatism, the chance-enamored strategies of Fluxus and oddities on the fringes of art such as Harold Cohen’s computer-generated drawings.’
-Kenneth Baker, San Francisco Chronicle

Peter Foucault creates works on paper, videos, and installations that are fueled by his love of drawing and mark making. He has created a series of Drawing-Projects, which utilize systems developed by the artist to produce complex abstract compositions. At the root of these projects is a constant tension between control and the loss of control. Viewer interactivity plays an integral part in his drawing installations - large-scale artworks in which participants influence the outcome of a drawing that is created by a small robot over the duration of an event or exhibition. His work is concept-driven, and often utilizes objects that reference printmaking and multiplicities.

His work has been featured in exhibitions at the Getty Museum and Getty Villa, Oakland Museum of California, Torrance Museum, Yerba Buena Center for the Arts , Marine Contemporary, Smithsonian Institutes’ Freer and Sackler Gallery, Kit Schulte Contemporary (Berlin, Germany), the University of Salford (Manchester, England), and The Orange County Center for Contemporary Art (Los Angeles, CA).

In addition to his own practice, Foucault is the Co-Founder of the Mobile Arts Platform (MAP), a Bay Area-based artmaking and curatorial team that creates interactive “pop-up” mobile exhibitions that directly engage the public. The MAP project was included in the American Association of Museums 2012 annual “Trends Watch” report.

Foucault has received funding from the Creative Work Fund, the City of San Jose Public Art Program, the City of Oakland’s Cultural Funding Program, the City of Palo Alto’s Public Art Program, US Bank, the Seattle Center Foundation, the Puffin Foundation, and the Zellerbach Family Foundation. Foucault has recently presented lectures at Stanford University, City College, San Francisco University and the SETI Institute (Mountain View, CA).

Staccato Series 1
Staccato Series 2

Foucault’s work has been reviewed in The San Francisco Chronicle, The SF Weekly (Pick of the Week), ArtWeek, Wired Magazine, Stretcher Magazine, and Artnet Magazine. In 2009 his drawing Four Square was featured on the cover of California Home and Design Magazine. Foucault’s work is represented by Room Art Gallery, (Mill Valley, CA), Karen Imperial Fine Art (San Francisco, CA), the SFMOMA Artists Gallery (San Francisco, CA) and is available through Restoration Hardware as part of their RH Modern line. He lives and works in Oakland, CA.


Collision 2

Sun Burst 1