Friday, January 27, 2017

Resistance Movement: Kellie O'Dempsey and Jennifer Wroblewski

Performance stills: O’Dempsey and Wroblewski, Resistance Movement
Kentler InternationaDrawing Space, January 15, 2017
Photo credit: Silvia Forni; Musicians: Ben Gerstein, Mike Pride, Jonathan Moritz

Resistance Movement
January 15 – February 19, 2017
First Performance & Opening Reception: Sunday, January 15, 4-7pmwith musical guests Ben Gerstein (trombone), Mike Pride  (percussion) & Jonathan Moritz (saxophone)

Final Performance & Artists’ Talk: Saturday, January 28, 4pmwith musical guest M.A.N.I.A.C. Empire Gallery Hours: Thursday – Sunday12 – 5pm
Kentler International Drawing Space is pleased to present Resistance Movement, a collaborative exhibition by Kellie O’Dempsey and Jennifer Wroblewski.
Resistance Movement is a performance-based drawing installation by artists whose partnership spans two continents (Wroblewski is based in the U.S. and O’Dempsey in Australia). Large-scale drawings, projected onto paper, tulle, and the gallery walls, will document two performances scheduled throughout the duration of the exhibition. The artists will respond to one another’s movements, the music of live performers, and the audience with multi-disciplinary tools including pencils, brushes, animation, digital devices, sound and light design. The changing images on view will convey and build upon the dynamism of the performances.
Originally conceived as dance-based project called Discotheque, the work assumed a more political tone in response to the recent U.S. presidential election. The current iteration, Resistance Movement, explores themes of communication, transcendence, alliance and solidarity. The title refers not only to group protest, but to the mechanics of drawing itself. Here O’Dempsey and Wroblewski use the immediacy of drawing and performance to mediate the intimate and shared experiences of time and place.
A brochure with an essay by Charlotta Kotik accompanies the exhibition. Kentler International Drawing Space is located at 353 Van Brunt Street (between Dikeman & Wolcott Streets) in Red Hook, Brooklyn. For more information, contact Executive Director Florence Neal, 718.875.2098 or visit Founded by two artists in 1990, Kentler International Drawing Space Inc. is a 501(c)(3) non-profit arts organization presenting contemporary exhibitions of drawings and works on paper by emerging and under- recognized local, national and international artists as part of the cultural fabric of the community. Kentler’s Programs: Exhibitions and Events, The Kentler Flatfiles and K.I.D.S. Art Education. The gallery is open free to the public Thursday - Sunday12:00 to 5:00 p.m.
Board of Directors Matt Lewis Danielle McConnell Florence Neal
Pat Weber Sones Heather Strelecki
Advisory Board
Mariella Bisson
Rafael Bueno
Beth Caspar
Karni Dorell
Gail Flanery
Robin Holder
Susan Newmark Fleminger Nene Humphrey
Charlotta Kotik Nancy Manter Meridith McNeal Rachel Nackman Mercedes Vicente
Executive Director Florence Neal

For more on Kellie Dempsey's and  Jennifer Wroblewski's work, visit their respective websites at and

Tuesday, January 24, 2017

Shannon Belardi: Accumulated and Convoluted

Untitled I


An Arimad Test III

An Arimad Test II

An Arimad Test I


Untitled II

In these recent drawings I investigate different ways of organizing accumulated and convoluted marks on paper by abstracting them into a harmony of grids and spectrums. These works are spawned from my growing interest in the practice of collecting and archiving, specifically historical objects and their relationship to landscape history.

I currently live and work in the Santa Cruz Mountains in Northern California and graduated with a Bachelor of Fine Arts from San Jose State University in 2015.

Friday, January 20, 2017

The FID Prize Announces Finalists

The International FID Prize announced it finalists. See the catalog at  Nominees and Candidates are also included on Facebook at 

Winner of the Grand Prix FID 2016 was Jaanika Peerna who was featured on Expanded in August 2015.

Shona Macdonald: Shading the Real and Imagined

Ground Covering 2013-present

Ghosts #7 Large

Ghosts 2016

Ghosts #6 Large 2016

Ground Covering 2013-present

Ground Covering 2013-present 

Ground Covering 2013-present

Weather in Winter Detail 2013

Weather in Winter Detail 2013

Waves: Shore 2009

Waving  Frontal System 2009

Shona Macdonald received her MFA in 1996 in studio arts from the University of Illinois at Chicago and her BFA in 1992 from Glasgow School of Art in Scotland. She has had selected solo shows at Ebersmoore, Chicago, (2012), the Roswell Art Museum, Roswell, NM, (2011), Engine Room, Wellington, New Zealand, (2010), Proof Gallery, Boston, MA (2009), Reeves Contemporary, NY, NY (2008), Den Contemporary, LA, CA, (2007), Skestos-Gabriele, Chicago IL, (2005), Galerie Refugium, Berlin, Germany, (2002),  and Fassbender Gallery, Chicago (1998 and 2000). She has shown in numerous group shows.  Her work has been reviewed in Art in America, Art News, the LA Times, Chicago Tribune, Chicago Sun Times, Sacramento Bee and New American Paintings.  She has been a Visiting Artist at over forty institutions, including Wimbledon College of Art, London, (1998), Georgia State University, Atlanta, (2007), Cornell University (2006), the University of Alberta, and the University of Calgary, Canada, (2002). Shona Macdonald was the recipient of a grant from the Pollock-Krasner Foundation, NY, (2009), a Fellow at Roswell Artist-in-Residence in Roswell, New Mexico, (2010-11), Can Serrat, Barcelona, Spain, (2012), and the Cromarty Arts Trust in Scotland.  She is a Professor of Studio Art and Graduate Program Director at the University of Massachusetts Amherst. See her website at

Maria Paterson: Thought and Process

The Farm

Forest Pool

The Red and Yellow Horse 

Under Construct 

My recent artworks have emerged from my experiences over the past three years. A time of extreme changes and transitions.

Using drawing mediums such as graphite, ink and watercolor, I can use more direct marks on the surface alongside the uncertainty of water, its fluidity allows my movements to be involved without too much control, it creates a buffer between me and the need to control the every detail of the surface. I will often use a feather rather than a brush for this reason. By also limiting my use of color to more monochromatic palettes I can communicate more depth in my emotional responses to this environment, allowing more scope to create contrast, emphasizing the lights and dark. I want to use the materials in an intuitive sense, letting the artwork dictate direction. 

Taking that further in “forest pool” I take apart an artwork to reconstruct over another overlaying its parts onto a previous work, combining and breaking apart reforming the pictorial space, creating different modalities in the same work, views reflecting the shifting alternating states of being.


Sunday, January 15, 2017

Jeanne Heifetz: On Mottanai

Mottanai is a Japanese admonition against waste. Born of the enforced frugality of poverty — and later of wartime — mottainai is both a practical and ethical commitment to preserve, repair, and reuse. As embodied in repeatedly patched indigo boro textiles, mottainai asserts the inherent dignity and worth – even sacredness — of inanimate objects.

However, mottainai is more than an expression of regret at the misuse of objects; it is equally an exhortation not to waste time. These drawings are not utilitarian work garments or blankets. The labor-intensive process of drawing, although akin to stitching, serves no practical purpose. In the end, does the drive to create beauty for its own sake respect or defy mottainai?

Mottanai No. 1

Mottanai No. 2

Mottanai No. 3

See more work at :

Thursday, January 12, 2017

Joana Fischer: Playtime

Baumschaukel - Treeswing

Spielzeit - Playtime II

Spielzeit - Playtime III, 2016, 21 x 21 inches

The imagery of my collage-like drawings reveals intertwined, evocative dream landscapes and questions environmental and existential topics. Delicate fragments are taken out of context and assembled together in something new: Urbanism and nature, inside and outside, specific locations and open areas, near and far, silence and commotion, superposition and exposure, resolution and desire, ease and self-absorption.

In my Playtime series, I present drawings that challenge and call attention to the need of free, unstructured playing time in nature for children. In this fast-paced and highly pressured, often urban and over scheduled world, essential free play for children becomes more and more abolished."

Spielzeit - Playtime IV, 2016, 21 x 21 inches

Synthese-synthesis, 2015, ink on drafting film, LED backlight, 33.5 x 57 inches

Young Art Ausstellung, Galerie Schimming

Zeitgeist - solo exhibition - Swenson Gallery Miami 2

Zeitgeist - solo exhibition - Swenson Gallery Miami Installation Front View

Zeitgeist - solo exhibition - Swenson Gallery Miami

Joana Fischer (Bruessow) was born in Ahlen, Germany in 1985. In 2010 she received her Bachelor of Arts in Fine Arts at the Academy of Fine Arts in Muenster, Germany. She studied under prof. Irene Hohenbuechler and prof. Sushan Kinoshita. In 2008/09 she earned an Erasmus and DFJW scholarship at the Ecole superieure d’art d’Aix en Provence, France.
Joana's work is in private collections in Germany and the United States. She had public exhibitions in galleries and fairs in Miami, Florida, in Germany and had museum appearances at the Baker Museum, Naples, FL, the Coral Gables Museum, Miami, FL and the Boca Museum of Art, Boca Raton, FL. Joana is represented by Gallery Schimming in Hamburg, Germany.

Current and upcoming exhibitions:
8th All-Media Juried Biennial, Art and Culture Center Hollywood, FL, opening January 20th, 2017
THE FINE LINE, Gallery 2612, Miami, FL, opening Saturday, January 14th, 2017.
Sea of Art, bG Gallery, Santa Monica, CA, opening Feb. 18th6-8pm

See more at:

Sunday, January 8, 2017

Matthew Whitney: Marking Movement

A Line Amongst Other Lines

Movement in Kind

I am interested in the process of movement, and my current work manifests in the everyday practice of walkingMy means of contextualizing these everyday practices involves drawing on paper, considered a 2D medium. It’s a form of reverse-embodiment, in which the real encounter becomes charted by the 2D. I write and draw not just by pen and paper, but also by using GPS technology to record my paths through a landscape. In other words, I am able to write text and draw images into the urban grid by the direct action of walking. This integrates yet another space: that of the digital, and in which dimensional realm do we situate the digital? We call it the “virtual”, which can be both 2D and 3D, and also neither, as we encounter it on a screen or projection or hologram. A screen is flat, but pixels have mass, and what we are seeing is representations of binary information – ones and zeroes, which actually occur as electrical pulses. Is electricity flat? As we move, we blur categorizations of 2D and 3D space, for we never fully exist in one, and we never exist anywhere for long. Rather, we pass through spaces, always feeling our way. Movement is thought of as getting from point A to point B - be it in walking, riding the bus, gardening, making things, or even sitting still. The constant of durational time makes non-movement, or being static, an impossibility. A line is sometimes understood as a point moving through space. The extent of that point though can also be thought of as a line, for as you get closer, the point becomes larger, and in a sense can be reconstituted as a line. Thus perhaps a point also cannot be considered static.

My practice thus intersects between the 2D, the 3D, and the virtual, simultaneously. I am, as most of us are, attempting to feel our way between all these realms in which we daily operate. Walking, drawing, writing, information gathering and decoding, all at once. I don’t know that understanding “possibilities and limitations” of “flatness” is a productive exercise, for I don’t think I can believe in flatness as a concept. Flatness is understandable as an idea, but as a praxis of engagement, flatness doesn’t “hold up”.

Movement Pixellated

My current work is comprised of personal cartographies: medium and large-scale drawings rooted in the everyday practice of walking. I combine smartphone GPS tracking with traditional drawing mediums as a means of excavating how a line, understood as a point moving through space, can be a mark made on paper, a series of illuminated pixels, or a path made by walking.

The walks, in combination with the software, give me the ability to represent a path via the recording of a digital line over this map, based on where I walk. Using this tool, I can write and draw not just by pen and paper, but also by recording my walking paths through a landscape. In other words, I am writing and drawing in the urban grid by the direct action of walking.


Walk Downtown

Matthew Whitney is a multidisciplinary artist, educator, and pedestrian. He lives and works in the Greenwood neighborhood of Seattle, and enjoys going for walks with his family.

Further work can be viewed at
Instagram: @mattpwhitney

For questions or purchase of work, please contact