cocktail party
saturday
april 26th
6-8pm
melanee cooper gallery
740 n. franklin
saturday
april 26th
6-8pm
melanee cooper gallery
740 n. franklin
Alicia LaChance
more exuberance please
April 18th 5-8 pm
Ancient worn temples and the fluency of Japanese printmaking are the inspirations for artist Alicia LaChance's paintings. LaChance uses fresco on canvas, spontaneously painting layers as well as scraping into these works. As the pigment is stained into the wet plaster, the image and color start to appear. Afterwards, she transfers transparent glazes of oil onto the painting, creating a lacquered surface which adds to the Asian references.
The sepia toned nature expressed by using tar with resin also imbues an antiquated quality mixed with a strong graphic abstraction of color and shape. The powerful combination and reaction of color, shape and surface creates a visual tension of material and subject that lends dynamic energy to the painting. The vignettes of color and shape create a dialogue between the abstraction and the natural quality in the imagery of painting.
The fresco on canvas creates a tactile surface, juxtaposed with a shiny veneer. Combining color with the material translates an ancient undertone of material and immaterial as well as content of surface and substance.
LaChance's work was recently acquired by the Flat files, Contemporary Museum of Art, Saint Louis, Missouri. Her work is also included in many other corporate and private collections.
so yeah, come friday...
Melanee Cooper Gallery
740 N Franklin
Chicago, IL 60610
View Larger Map
The sepia toned nature expressed by using tar with resin also imbues an antiquated quality mixed with a strong graphic abstraction of color and shape. The powerful combination and reaction of color, shape and surface creates a visual tension of material and subject that lends dynamic energy to the painting. The vignettes of color and shape create a dialogue between the abstraction and the natural quality in the imagery of painting.
The fresco on canvas creates a tactile surface, juxtaposed with a shiny veneer. Combining color with the material translates an ancient undertone of material and immaterial as well as content of surface and substance.
LaChance's work was recently acquired by the Flat files, Contemporary Museum of Art, Saint Louis, Missouri. Her work is also included in many other corporate and private collections.
so yeah, come friday...
Melanee Cooper Gallery
740 N Franklin
Chicago, IL 60610
View Larger Map
Third time is a charm.
My third trip to New York was not filled with drama, hospitals, or spending the night in the airport (well, almost spending the night in the airport). Rather it was filled with excitement, perfect company, and enough art to keep me happy.
Perusing the art fairs of Art Now and Red Dot Fair was far more enjoyable than even I was initially going to give it credit. It was a great feeling looking at artwork, talking with gallery owners, recognizing familiar faces in an unfamiliar place, and feeling so content yet excited and motivated by these surroundings.
With a happy heart, I subwayed my way over to the Whitney, meeting one of my favorite professors that I had in DC. As we sat for tea, she and I spoke of where life had taken us this past year. I will always appreciate her advice. We parted ways and I scoped out the Whitney Biennial for a while. Wandering through the first two floors, taking in as much as I could, before I landed at the fourth floor to listen to a tour. Fabulous tour with unique perspectives. I think it was the fastest 45 minutes in my life.
Sunday's art consisted of a visit to the Guggenheim where the show entitled "I want to believe" by Cai Guo-Qiang dominated the exhibition space. Pretty great stuff though, as we walked our way up the spiral I felt more and more connected to the work.
A smaller exhibition off the main course, From Berlin to New York: Karl Nierendorf and the Guggenheim was also interesting to me. Saw some great Klee pieces and a Leger that were worth taking note.
The Guggenheim wrapped up the art I saw during my art-filled 48 hours in the city. And with this brief description of the art part of my trip, I conclude that it was a fantastic time.
My third trip to New York was not filled with drama, hospitals, or spending the night in the airport (well, almost spending the night in the airport). Rather it was filled with excitement, perfect company, and enough art to keep me happy.
Perusing the art fairs of Art Now and Red Dot Fair was far more enjoyable than even I was initially going to give it credit. It was a great feeling looking at artwork, talking with gallery owners, recognizing familiar faces in an unfamiliar place, and feeling so content yet excited and motivated by these surroundings.
With a happy heart, I subwayed my way over to the Whitney, meeting one of my favorite professors that I had in DC. As we sat for tea, she and I spoke of where life had taken us this past year. I will always appreciate her advice. We parted ways and I scoped out the Whitney Biennial for a while. Wandering through the first two floors, taking in as much as I could, before I landed at the fourth floor to listen to a tour. Fabulous tour with unique perspectives. I think it was the fastest 45 minutes in my life.
Sunday's art consisted of a visit to the Guggenheim where the show entitled "I want to believe" by Cai Guo-Qiang dominated the exhibition space. Pretty great stuff though, as we walked our way up the spiral I felt more and more connected to the work.
A smaller exhibition off the main course, From Berlin to New York: Karl Nierendorf and the Guggenheim was also interesting to me. Saw some great Klee pieces and a Leger that were worth taking note.
The Guggenheim wrapped up the art I saw during my art-filled 48 hours in the city. And with this brief description of the art part of my trip, I conclude that it was a fantastic time.
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