106 Green is proud to
present "No Kineme Stands Alone", a show conceived and curated by Saira
Mclaren and Fran Holstrom. The opening reception will be on July 20th
from 6-9pm.
The show will run from July 20th - August 18.
Gallery hours are on Sunday from 1-6pm or by appointment. Please contact
Mitchell Wright at 106green@gmail.com or 865-771-0666.
No Kinema Stands Alone
Jenny Blumenfield
Mike Hein
Hein Koh
Matt Miller
Irvin Morazan
Keiko Narahashi
Tracy Thomason
Lizzie Wright
Using the recent resurgence of craft as a springboard, Saira Mclaren
and Fran Holstrom bring together eight New York City artists whose work
references “the body” and the elusive messages conveyed in gestures,
while simultaneously challenging the meaning or common use attributed to
their materials.
Presented in pairs, the works converse with
one another, making signs, relaying messages and traces of a body once
present and now gone. Unexpected material use and an informal DIY
aesthetic are king.
Beginning with the body and its long
relationship to the vessel, artists Jenny Blumenfield and Keiko Narashi
use ceramic as starting point to explore ideas of womanhood, identity
and ultimately usefulness and value.
Rejecting conceptions of
beauty, Hein Koh and Matt Miller’s work comes from the inside. Their
work is visceral, intestinal and gruesome. Their abject aesthetic is
pushed so far that it enters over into the beautiful. They are like
ancient remains, waiting for their afterlife out of the Canopic Jar.
Reconfiguring reality, Lizzie Wright and Mike Hein make sculptures out
of found and constructed materials, which become uncanny vignettes with
no defining line between the real and the fabricated. Household items
and debris are assembled with sculptural elements in forms that act as
totems and makeshifts signs from an anonymous author.
In their
own distinctive styles, both Irvin Morazan & Tracy Thomason comment
on adornment in popular culture as seen from their perspective. Tracy
Thomason uses beauty products, in lieu of paint, teasing out the
seriousness of abstract painting. Meanwhile, Irvin Morazan puts urban
street culture center stage, wearing chunky sculptural headdresses
during elaborately choreographed performances.
*The term kineme
was first used (in 1952) by Ray Birdwhistell, an anthropologist who
wished to study how people communicate through posture, gesture, stance,
and movement, and later popularised during the late 1960s by members of
the counter-culture seeking to de-verbalize human
communication-Wikipedia
No Kineme Stands Alone sign by Mike Hein.
Tracy Thomason. (Khol Findings 1) or The Face as a Thinning Name, pictured above. (Silhouette 1, Center Extraction) or Jelly Rolling Over Her, pictured below.
Tracy Thomason. (Khol Findings 1) or The Face as a Thinning Name. Mascara on paper. 12 inches x 18 inches. 2012.
Tracy Thomason. (Silhouette 1, Center Extraction) or Jelly Rolling Over Her. Hair gel and vinyl, 18 inches x 18 inches with dimensions variable.
Lizzie Wright (left) and Mike Hein (right).
Lizzie Wright. AH HA. Plywood, paint and colored Christmas lights with fake flowers. 48 inches x 24 inches x 6 inches. 2013.
Mike Hein. Untitled. Found foam, cardboard and acrylic. 27 inches x 9 inches x 8 inches. 2013.
Matt Miller (left) and Hein Koh (right).
Hein Koh. Don't Get Your Panties In A Twist. Dry pigment, pantyhose and polyfil. 22 inches x 24 inches x 8 inches. 2013.
Matt Miller. Untitled. Paint and melted polystyrene. 2012.
Matt Miller, Lizzie Wright and Tracy Thomason.
JennyBlumenfield (right), Tracy Thomason (middle) and Keiko Narahashi (right).
Jenny Blumenfield. She's the Brooding Type. Glazed ceramic. 2013.
Keiko Narahashi. Split Pot. Glazed ceramic. 2013.
