Category: In General

by Steve Rockwell

A way to describe the exhibition of work at the Lonsdale Gallery in Toronto featuring Andrew Ooi and Tyler Matheson might be a study in two-point perspective. The viewer will tend to structure the gallery’s “A matter of Perspective” show around a common focal point. If Matheson speaks to the individual and their private journey of discovery, then Ooi addresses society in a holistic sense. Nevertheless, both artists in their own way arrive at a cosmology. 

The “Oblivion” half of Matheson’s contribution grapples with image and identity of the self in a game of hide-and-seek. There is a sense that the thickly troweled grout elements are engaged in a chase with the reflective looking glass portions of the canvas, motivated somehow by a wish to bury any fugitive reflection, thereby extinguishing or annihilating them. These iridescent islands themselves are effectively a pulverization of the familiar seven colours of the rainbow. Is it this threat of entombment to which the “Oblivion” titles refer?

The tiling grout in Matheson’s “Parallax” series is devoid of reflective properties, but possesses an iridescence that appears to have transitioned or migrated from the “Oblivion” works. The formerly lifeless grey concrete breathes iridescence, a beneficiary of the now departed reflected self. I read this dynamic of pitching one medium against another as a measured psycho drama, not different in kind to the musings of Shakespeare’s Hamlet in the soliloquy, “To be, or not to be,” apprehensive as the prince was about “the sleep of death” and “what dreams may come” in its wake.

Playing one line of sight against another is the optical law described by “parallax,” the everyday feature of vision that allows for depth-perception. Astronomers use its principles to measure relative distances between planets and stars. “Parallax” brings us to the doorstep of cosmology, the signifier through which our convergent lines of perspective must necessarily pass. Grinding out the etymological derivatives of cosmology furnishes us with enough links to deliver the universe and its order down to the level of the individual self with the words: cosmic, cosmos, cosmopolitan, and cosmetics.

Ooi’s meticulously obsessive art is a blueprint for something much larger than the less than two by two-foot paper constructions in the “A  Matter of Perspective” exhibition. The artist introduces the notion of scale with his titles without delivering their literal specifications as architects might do in their plans. Each Gampi paper cube, one of 49 in “Scale 2” for instance, is a unit of time and space within which the artist has, in some respects, inhabited quite literally. “Scale 2” is a compressed set of ordered forms that viewers may magnify to an indeterminate size through their imagination, much like the film projection to a screen of a film strip.

Similarly, the seven by seven cube composition stands in for the 49 days that a wall calendar of seven weeks might represent – a way of storing time spent, and now made visible in the intricacy of its fabrication. As Gampi paper is used in paper screens, windows, and lanterns, its particular sheen and lustre, the 49 cubes serve to sift and reflect their light energy, the ambient illumination displaying the inherent beauty of a Japanese paper perfected over the centuries. 

It is in the making of Ooi’s “Scale” series of art that the finer tissues of meaning are revealed. Ooi’s “anthropology” is holistic in the purest sense – the parts of a whole are intimately interconnected, to the extent that the cubes of its composition are knotted together with cords. In that respect each “Scale” work is a living skeleton held back from potential fragmentation by its sinews, no single cube being independent from the next. This perspective applies broadly to the human condition in that the individual within society interpenetrate their environment, each playing an essential role towards a harmony within the whole. Whether we like or not, each of us are mountaineers roped together.  

Matheson and Ooi, as it might be said of artists generally, address life energy, and how we choose to expend it. Steppenwolf in their “Born to Be Wild” song saw it as “Fire all your guns at once and explode into space.” The boosters of many of our life rockets may already have been spent. As capsules begin their descent, as it did at the launch, their countdown is meted out in seconds. Light years may, of course, separate the landing at a point, somewhere between Oblivion and Kingdom Come.

A Matter of Perspective continues through August 13, 2022. Lonsdale Gallery, 410 Spadina Road, Toronto, Ontario, Canada M5P 2W2. info@lonsdalegallery.com www.lonsdalegallery.com

by D. Dominick Lombardi

There are some of us, who can move from one art form to another and always find footing. Those individuals have a natural ability to respond to the challenges, find those inner voices they trust, and overcome every bump and detour in their journey. One of those genuine, passionate and dedicated individuals is Yul Vazquez, who credits much of his success to his mother, and a childhood filled with spiritual, social, and supportive experiences. Vazquez recalls with fondness those “ mystics and spiritualists” who were his mother’s friends, and he sees Cuba as a most significant part of his being.

At the age of three, Vazquez traveled with his mother, sister and grandmother to America from Cuba, which at the time, would have been an incredibly dangerous journey (this was 1969, after the Cuban Missile Crisis in ‘63, and the Bay of Pigs in ‘61). By the time his family fled Cuba, the Cold War was raging, travel to and from Cuba was forbidden, and the US placed an embargo of all goods flowing back and forth, virtually isolating the island. Growing up, Vazquez was exposed to a rich history of Afro-Caribbean Religions and Deities, an exposure to the occult that would follow him throughout his life, and one that would eventually appear as cryptic signs, mysterious symbols and bold sentences in his visual art. 

His creative journey began when his mother noticed his interest in music, especially the drums. Since it was the four of them living in a small efficiency apartment in Miami Beach, it was not the easiest commitment to make, but the drum set was there, in the corner of their all-purpose room by the time Vazquez was eight years old. His musical tipping point came when he was twelve, when he heard Whole Lotta Love for the first time. By then he had switched to guitar, and when he heard Led Zeppelin’s iconic song it shook him to his core, “I was stunned, stopped in my tracks thinking ‘What is This?’”. Instantly, the die was cast for Vazquez and soon, with a lot of hard work and ingenuity, the self taught musician was earning upwards of $90 per gig! 

Even though music will always play a key role in Vazquez’s life, his fate would change when he got his first acting role as Flaco in The Mambo Kings. Since then, he has appeared in countless movies and television series that most recently includes Severance, Promised Land and the soon to be released The White House Plumbers. 

Most recently, Vazquez has added a career in the visual arts, creating striking images that shifts between arresting black & white photography, fantastical mixed media paintings and stream of consciousness drawings. Opening July 16th at Red Fox Contemporary Art in Pound Ridge, NY, Vazquez will offer a variety of his works in a solo exhibition titled Bruce, which promises to add quite a substantial amount of heat to mid-summer. Among his wizardry of works will be Fingers Freddy, a work prompted by an x-ray of a six-fingered hand he spotted on the internet. Blown up and placed in a field of black, the image becomes haunting and mystical as Vazquez adds a frenzy of words, symbols and small sympathetic characters. His keen eye, especially when observing social behavior, helps Vazquez to elucidate both his observations and his emotions, which can stem from anywhere in his personal history to his current experiences.

If anyone has ever spent time on a movie set, it would be crystal clear how grueling the lives of actors and filmmakers are, where the 12-16 hour days waffle between endless waiting and pressure packed performing. Knowing this little detail would give you a better picture of what a wonderful, cleansing and fulfilling time Vazquez has in the solitude of his studio. In a recent conversation, he mentioned the alarm on his phone set for 3pm, which reminds him to take a “moment of gratitude” for his good life and the great people he has to share it with. I believe that gratification, his acknowledgement of his circumstance clearly comes through in his art.

Vazquez often references his mother in his art, focusing on her light, love and strength. One example is Mother, where Vazquez uses a B-movie photograph of an obscure actress in a playful pose, with lightning bolts coming out of her fingers and costume. This combination of power and poise captured his attention, just like it did with the six-fingered x-ray, only this time, a weirdly iconic image of a female space alien became the center of his attention. Tags of “Where r u mother when I am so lost?” and “Your heart was always so full” crosses the upper portion of the picture plane, while on the bottom left appears a kid with a guitar who is clearly loving and cherishing her presence.

The exhibition, which is titled Bruce, refers to an omnipresent ‘being’ that symbolizes all, the entire universe, including the most important human traits in the artist’s mind: “kindness, never malevolence, and always having a heart of gold.” Bruce appears in a painting of the same name, as a buoyant bunny who sports a huge grin and hopeful eyes. The figure eight seen here, which surfaces from time to time in Vazquez’s work, signifies infinity, or no end to Bruce’s positive and all encompassing positive energy.

The multimedia work Joker began as a collage of bits and pieces of playing cards that happened to have the compelling distinction of a skull and crossbones on the back. Vazquez tags the blown up version of that collage with animated hearts, stars, squiggles and sprays, which are partnered with various phrasings like “Memento Mori,” “Love is the Law,” “Traveler” and “Mi Reina” (My Queen). Taken in all at once, a voodoo vibe breaks through the layers of iconic images, passionate declarations and whirlwinds of emotion that leave us with a potent and mesmerizing visual.

The formidable photography of Vazquez, which is the basis of many of his multimedia paintings, can be overtly cinematic at times, especially when his night scenes shift unmistakably toward the Noir. Conversely, his more ‘candid’ images taken in Miami and New York, where pretty much anything goes, capture everything from bold decadence and pure self indulgence to desolation and despair. That feeling of hopelessness, which at times can reach surreal heights, can best be seen and felt in his photographs taken in Cuba, where time has virtually stood still, as only the strength and ingenuity of the Cuban people can offer light and life.

Vazquez, the visual artist,  is like a diarist, except his tale is told through impactful phrases and images, brilliant color and iconic symbols. Fueled by an innate ability to see through the haze of the mundane, Vazquez continually takes us to a place where life can truly be enlightening.

Bruce, a solo exhibition of the works of Yul Vazquez, opens July 16 at Red Fox gallery, 55 Westchester Avenue, Pound Ridge NY 10576. For more information, please refer to https://www.redfoxartgallery.com/

by Jen Dragon

A Dream Within a Dream is a group exhibition that mines the unconscious. Each artist derives inspiration from the painting/sculpting process as well as the immersive of a projected installation. Curated by Alan Goolman of the Lockwood Gallery, the painters and sculptors: Farrell Brickhouse, William Gary, Joel Longenecker, David Pollack, Claudia Renfro together with the installation artist and filmmaker Beverly Peterson, explore the expressive edge of the mindful eye. Curator Alan Goolman’s vision echoes the current oneiric theme of the 59th Venice Biennale’s, The Milk of Dreams. Goolman was inspired by the Edgar Allen Poe quote: “…all that we see or seem is but a dream within a dream”. With this quote as a guiding theme, Goolman draws together artists whose artworks are united by ambiguity, a distinct commitment to form and a certain exuberant gestural expressionism.

Starting with the stark, shocked paintings of William Gary, this dreamscape becomes panicked with anguished brushwork. The panic-stricken mark-making sets off alarms startling in their explosive energy. Gary’s fractured, painted planes are ultimately seized in an instant of emergency – and emergence – in a world at once commanding and terrifying.

In the next room, the oil paintings of Farryl Brickhouse reel with archetypal narratives worked densely onto canvas. With insistent gestural energy, Brickhouse carves mythic figures with sweeping gestures then deftly knits them back together in a sparkling night world. Brickhouse searches for the color of dusk at the edge of consciousness where the deepest tones meet and match together with the shimmering glitter of stardust.

Across the gallery from Farryl Brickhouse, Joel Longenecker creates dense artwork that hovers at the cusp of painting and sculpture. The volumes of churning paint and the harmonics of color dynamics give Longenecker paintings a geologic and climatic power that summons a mighty topography of seething color and form.

In the center room, Claudia Renfro’s paintings on paper and cast bronze sculptures propose a whimsical world of carnivals, masks and above all, shoes! The electric atmosphere between her figures and their eccentric environments is consistently whimsical.  In Renfro watercolors, clowns ask for a light, a dancing cactus entertains a tall dandy and a woman in curlers, and a ghost rises from the dead tol tell silent stories of a world where little makes sense. Renfro’s cast bronze sculptures of cartoonish shoes are not only stories of shape and form but also a twisted sense of strange fashion.

Nearby, In the abstracted luminous worlds of David Pollack’s watercolors, light shimmers and refracts. The thinnest veils of pigment glow through one another leading the viewer deeper into their hidden hues. The gently percussive brushwork allows for the emergence of a calm glow that promises a better day.

A pleasant surprise in the exhibition Dream Within A Dream is the creation of Shakey’s Meadow, an installation by the light artist and filmmaker, Beverly Peterson. This dedicated environment has an all encompassing, almost Virtual Reality space. With projected digitized stars in a recreated night forest, Peterson plumbs the depths of mystery with her illuminated space. This immersive experience envelopes the visitor and invites participation as the outline of a house becomes a vehicle for transformation from one dimension to the next. 

The exhibition Dream Within a Dream is on view at the Lockwood Gallery, Kingston NY through May 8, 2022