Sway Moves Us: Exciting Exhibition from Seven Artists at the Brand

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Curated by Chenhung Chen with project management from Linda Sue Price, Sway, at the Brand Library and Art Center, is an exciting exhibition that is both perfectly curated and filled with stunningly original art work in a variety of mediums.

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One of the most beautiful aspects of the exhibition is Chen’s astonishing ability to create a show in which the works seem to truly speak to each other; they are linked and separate at the same time, a cohesive presentation that pulls viewers into the experience of the exhibition.

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Each of the seven participating artists use a variety of materials including wire, cords, neon, plastic, found materials, graphite works, and acrylic and pencil. Primarily sculptural, the dimensionality of the works adds the to sense that the exhibition is a living, mutating form that swims with motion – or shall we say, sways with it. If this is a world of art – and it is – it’s a new world, composed of lines and light, intense color, grand patterns, and highly tactile images.

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Chen’s flowing,  often delicate wire copper wire crochet work constrasts and compliments her thicker wire abstract sculputures. Both styles of her work undulate, as if they were strange sea creatures, or alien life forms.

That sense of the alien and unexpected, of sea life and forest floor, permeates the exhibition and the viewers’ gaze. We are invited to experience something unique, alive, delicate materials made strong and connected.

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Snezana Saraswati Petrovic’s work here includes a room-sized installation that utilizes video images as well as delicate, lace-like plastic to immerse viewers in an a dive deep into a sea of art.

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Other works of Petrovic’s pulse in fierce orange or yellow, and again we seem to be a part of a world of mysterious alien shapes, puzzling and vibrant, highly textured and dream-like.

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She gives us starfish and stars, sea nettles and dimensional snowflakes, webs, fissures, and the illusion of plunging beyond or into our own consciousness.

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Price’s neon works throb with kinetic energy and motion, the colors seem impossibly vibrant, they are as vivid and visceral as light pulled from the center of the earth and straight through the soul.

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Pieces that literally move and those whose colors dance create a sense of nighttime magic, a glorious lit-up world that is both transcendent and emersed in noir.

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Speaking of light, Echo Lew creates drawings based on light and shadow, strange and ethereal, as rhythmic as if they had sound.

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His unusual process in creating these drawings from something as ephemeral as light itself is reminiscent of auras, ghostly presences, a spirit world.

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Both Debbie Carlson and Gina Herrera work with found materials that include articles as diverse as ladders and yarn and bottle caps and latex gloves.

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Herrera in particular creates works that are infused with a sense of humor and wit, fantastical and fairy-tale-like. She creates both creatures and abstract shapes out of what could be artistic detritus in less gifted hands.

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Carlson’s sculptural works link prosaic articles and repurpose them into something sublime, strange, and cooly geometric.

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The eye studies the lines that make the shapes that fuse recognizable objects into something far more interesting and rich.

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Anne Marie Rousseau exhibits a series of painted acrylic images, both sharp, modern, and shiny with color; lines of gold dance and opal-like paint shimmers within the works like the veins of rich minerals found within the earth.

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The large scale works seem to vibrate; located on the outside wall of the main galleries, they serve as a kind of introduction or portal into another realm. Her work is always filled with a sense of motion, here, the pieces are perhaps the most literal and lyrical interpretation of the show’s title.

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It perhaps goes without saying that the works here are each magical, they invoke and call out a sensual beauty, a reworking of line, shape, form, and texture that upends the expected and presents a new and intensely satisfying view of the world.

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Above, curator Chen, attendee Betty Brown, artist Petrovic

Sway is an exhibition to be savored – go take it in. The Brand Library and Art Center is located in Glendale – or perhaps, with this show, in another universe entirely. The exhibition runs through June 14th.

  • Genie Davis; photos: Genie Davis

 

 

 

 

Neon Magic – Linda Sue Price

A neon admirer since her childhood, neon artist Linda Sue Price gives us the pulsing, romantic neon glow of a Las Vegas fueled by dreams. She fuses that romance with fluid, glowing, exuberant mixes of form and light, creating highly textured, energetic works that are sinuous and supple, but along with the beauty often contain a message of inclusivity or social purpose.

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It’s not random to mention Las Vegas in regard to Price, who has called visits there in her childhood “special…because of the extensive use of neon.” She would analyze the patterns in animated neon motel signs, and take in the colors, the shapes, their feel.

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Now, Price gives viewers a gift of the same wonderfully intimate enthusiasm she experienced as a child. Her abstract, mixed media neon sculptures use free-form bent to create unique shapes that seem almost impossible to realize from tubing.

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Her colors resonate: argon purple, neon red, krypton white, mercury blue, fluorescent powders painted or baked inside tubing to create an even more eclectic rainbow. She gives us unusual patterns and forms; even beaded tubing at times, controlling that beading with small transformers to pulse.

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She coils, curls, and spins us into a world that reminds us of the joy of light, the inventive and jubilant quality of bringing illumination into the world.

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Whether using backgrounds that are simple and reflective or complexly textured, giving us simple but meaningful words or a collage of images, Price creates a visual backdrop that reflects the neon itself, neon that has depth and pulses with the magic that only its glow can make. She reveals and revels in the intricate process of bending, and in the creative process, showcasing the tube itself and the way it can be bent, making it the focus of her work.

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Her recent series Connections utilized photographic backgrounds of people that either Price or her husband photographed throughout Los Angeles and Lakewood. Computer generated backgrounds gave viewers images that “represent race, gender, and the age demographics of California,” she relates. The idea behind the work was to “hate the haters and celebrate diversity” she says – all the rainbow colors and shapes of neon embodied in people.  Literally and figuratively, she reflects the interconnected relationships of life in Los Angeles.

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In Continents, the backgrounds utilize a variety of lush, patterned textiles created by indigenous cultures around the world, representing seven different continents.

Price explores this beautifully, with universal, abstract neon suspended in an almost dream-like way above concrete evidence of humanity’s connection, community, and the world we all share. The neon sculptural forms themselves are curved and beautiful, free, floating, soft, cursive-like.

We are not used to seeing neon in the abstract, and in creating luminous works that are essentially undefined, Price is allowing viewers to look at something beautiful without any established preconceptions.

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Recently, she collaborated on a piece with artist Tracey Weiss, whose own lustrous work in plastics, here floral,  made a terrific companion medium to Price’s neon, above and below.

Linda sue with tracey weiss

 

Price shares studio space with Michael Flechtner, who creates his own neon work. Flechtner shapes a different but wonderful sort of motion-filled work, often using amusing pun-filled verbiage or traditional narrative shapes to tell his story.

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Flechtner notes of his work and Price’s “Our process is the same, but I work in images and she dances with the glass. I get an idea design and go for it with a lot of plays on words and planning.” His witty work is always a stand out; and Price and Flechtner, when paired in a recent exhibition at the Fine Arts Building in DTLA, were a perfect point/counterpoint to each other. From neon signs to a menorah featuring waving cats with synchronized neon eye movements, Flechtner’s work is also a consistent delight.

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Price, whose work is now on view in She Bends, a nationwide traveling show that began at the Los Angeles Museum of Neon Art, is also among the exciting group of artists displaying at Sway at the Brand Library and Art Gallery in Glendale, described as “an investigation into the seen and perceived spaces that inform meaning.”

.The opening reception for Sway is April 20th from 6 to 9 p.m.

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And on May 19th, from 1 – to 5 p.m., viewers can take in a wide range of Price’s current and coming work along with that of Flechtner at their Open Studio. The studio is located at 7712 Gloria Ave., #4, Van Nuys, Calif.  Go feel the neon magic.

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  • Genie Davis; photos: Genie Davis, and provided by Linda Sue Price, Michael Flechtner