The works of five female artists,
Susan Austad, Heide
Hatry, Cynthia Karalla, Katia Santibanez
and Robin Tewes,
who live and work in
New York City
will make up the next exhibition at Headbones
Gallery from April 12 to June 08. In The
Drawer’s Gallery,
Julie Oakes,
whose engagement with museums began at the MET in
New York will show her latest gouaches
from her series,
One Cracked, Two
Broken, based on drawings sourced there
in December, 2018 - willing the distance smaller
between New York City
and Vernon,
BC.
Each woman has a committed studio practice in
New York
sustained while juggling family, teaching and
maintaining active and extensive exhibition
schedules both in
New York and
internationally. Each has ‘gone the distance’.
It is important to state the context, NYC, for it
means they are working in the most sophisticated,
and as yet unrivalled, art scene in the world and
equally important to acknowledge gender as they
contribute towards an ongoing evolution as women
artists strive towards a more equitable positioning
in the arts. The exhibition is amended (with Julie
Oakes) who lived and worked in New York and still has a
personal, artistic and political affiliation with
these women.
Susan Austad’s
studio is in the heart of Soho
where she produces large-scale, multi-media, kinetic
wall reliefs based on imagery from the cosmos.
Using photographs of nebula, flocullant galaxies and
Megallanic Clouds as her source material Austad
creates pictures in watercolor on arches paper. She
furthers her process by translating the visuals into
relief: mesh, three dimensional structures
covered in layers of paper, tinted and then enhanced
in palette with kinetic lights.
Heide Hatry
is known for her performances, often translated into
videos. The immediacy of performance is not lost in
translation because the content is so poignant. She
has used unusual mediums (pig skins, chickens, eggs,
blood) to construct physical spaces, figurative
sculptures and as performance props. Headbones
Gallery will present her latest video,
Politics. Hatry brings a feisty female
perspective into poignant and pertinent focus. She
is represented by UBU Gallery in
New York.
Cynthia Karalla
is a photographer who uses not only a sharply honed
technique to capture subject matter but often pushes
the medium to another level as she manipulates the
photographic itself. Headbones will be
presenting works from the series
The Girls aka
Cracked Ribs and
Bleached
where memory and spirit are revealed through ghostly
shades and the wear of ages suggested through
patina. I Ching
explores repetitive constructs affected by chance,
as in the Asian game of fortunes. Her latest series,
The Developer
Sketches move into a chemical origination
of the imagery so that much like an abstract
painting the gesture of the photographer comes into
play.
Katia Santibanez
works with hair-sized brushes to make sensuous
compositions, often within a geometric composition.
Her extreme attention to detail could be compared to
miniatures of old but rather than depicting a tiny
scene or portrait, her delicate strokes are
testament to the care and facility of a human touch,
personal and intriguing. The shapes are not gestural
however but more like a pattern where each element
is given equal due and is absolutely necessary to
the whole. She is represented by DC Moore Gallery in
New York.
Robin Tewes,
like many great feminists, concentrates on imagery
often sourced from the home. She uses the
architectonics of place to set the scene and then
moves through narrative variance to reposition the
point of view. These new works depict a country home
where we are separated from the life inside but are
able to realize by the changes that are seen from
the exterior that there is more than one story, in
fact the plot continually develops. Using a
perspective with a human edge, Tewes grants to the
ordinary and extraordinary an aura that lifts what
could be deemed ‘mundane’ up to a phenomenal
stature.
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