Updated: Aug 29, 2019
The title “Florescence” (not to be confused with fluorescent) is a botanical term meaning “a state or period of flourishing”. We felt this title was apt for the coming Spring as well as the first show at Beatnik in the new year. “Florescence” comes from the Latin word for blooming, and we are excited to present this show as the first of 2019 and a period of growth and renewal at Beatnik.
The artists we have chosen exemplify different aspects of the “florescence,” each creating forms that seem to flower and expand. Zahra Ammar, in paper, Jeff Mayry in oil, and Irubiel Moreno in layers of pattern and symbolism.
Spring is a time of growth and flourishing and “Florescence” embodies that.
Inspiration is found everywhere, but for Ammar everything looks better in paper. Through her striking use of color and keen tactile sense Ammar constructs captivating paper worlds which we are excited to have a part of our Spring show at Beatnik.
Ammar began quilling 5-6 years ago as a hobby she started with her sister, and for her it has developed into something far beyond the realm of a crafting. Ammar is passionate about using the traditional technique of quilling to create fine art. Each design is constructed precisely. The elaborate shapes are a result of beautiful geometries that are at once mathematical and organic.
Ammar draws inspiration from the complex geometries of the middle east, and is constantly learning new geometric constructions. She has a number of tools that she uses to execute exact cuts, and create her beautiful designs. The placement of the paper strips creates intricate forms, utilizing negative space and the play of light and shadow on the paper.
When asked what his inspiration was for his work Jeff Mayry said “I don’t know, boredom? A lack of hobbies?”
His paintings are anything but boring, and reflect his sensibility for color, texture and depth. Mayry’s works are done primarily in oil, but he will often manipulate the texture of the dried paint through sanding it down and then layering more color over the top.
His most recent group of paintings contain abstract hints of organic forms rendered with a mix of colors across a large canvas.
When asked about his use of color, Mayry described how when working in a small garage studio there is limited space, so he will only have about 8 tubes of paint out at a time and as he’s painting he forgets to switch colors.
The mix of organic shapes are layered and constrained within a kind of grid. There are parts of the painting where the bright mix of colors become dark, giving an invitation into the complex inner world of the artist.
We were unable to schedule an official site visit with Irubiel, but below you can read his eloquent description of the significance of his artwork:
My artwork for the past several years has used revealing archetypes of history, that I believe have a crystal clear impact on our contemporary psyche today. In the current postmodern climate where many believe history has no relevance or truth, I find myself returning to the lessons of the brutal twentieth century. Continually revisiting those aspects that are often hidden or misrepresented in the “formal” recordings for posterity.
In my varied and mixed media approaches to making art; installations; public, and digital projects, the context of the work has what I consider an interactive communion with the observer. I recently started to document my creative process, with some memories dating back to being a child. I was confronted with a picture that seemed to emerge from practical considerations, rather than theoretical ones. To be concise with this concept I’ve categorized three ideas that I have grappled with.
One’s own creative process can evolve and change form over time without losing it’s ethos.
Honesty, diligence, and pain appear to be a prerequisite to discovering true axioms.
People don’t have ideas, ideas have people.
In his book ‘Maps of Meaning’ Jordan B. Peterson points to an echoing universal truth. The world he says according to mythology is a “forum for action” between the known and the unknown – or the explored and the unexplored territory. He believes that the space between chaos and order is what holds meaning to life and can transcend our vulnerability as finite creatures.
Carl Jung’s idea appears to be that the subconscious mind is equal to importance to the conscious mind, and that cognitive harmony requires integrating these two modes into a unified mental whole. This I have tried to do with my paintings.
“Somewhere there was once a Flower, a Stone, a Crystal, a Queen, a King, a Palace, a Lover and his Beloved, and this was long ago, on an Island somewhere in the ocean 5,000 years ago. . . . Such is Love, the Mystic Flower of the Soul. This is the Center, the Self.”
Come to Beatnik Friday, February 1st 6-9pm for our opening reception!
Blog post by Helena Zittel