ZAWAHRA ALEJANDRO will present a small survey of the gallery artists' work during the New York City 2015 Armory Week. March 4 - March 8, 2015
Private viewing March 4, 2015 – 6 to 9pm / Official opening March 5, 2015 – 7 to 11pm
119 Ludlow St. New York, NY
Zawahra Alejandro presents work by a diverse group of artists whose innovative approach to depicting abstraction, urban landscapes, and the disappointments and victories of everyday life reveal a unique relevance.
Ivelisse Jiménez and Gracjana Rejmer-Cánovas have abandoned the production of traditional painting in favor of creating solid works of art that establish refreshing dialogues. They do so by actualizing abstract concepts onto geometric, color-field formations that captivate the viewer. For Ivelisse Jiménez, elements of concurrence, contraction, and uncertainty are inherent to her work. Her constructions consist of adapting diverse industrial materials in a manner that takes full advantage of the exhibition space and showcase a hidden and not-so-hidden meaning. Conversely and inversely, Gracjana Rejmer’s uncommon works are composed of disparate textiles that she submerged in pigmented water—allowing for a rare artistic yielding of control as the final color results depend on the manner and level of saturation in which the various fabric textures can absorb color. The process produces provocative contrasts that subtly reference the effect of time and the beauty of decay while yielding truly one-of-a-kind pieces.
Ada Bobonis’ work focuses on various panoramas—urban habitats that are under construction, isolated locales, and areas that have no discernable definition. Through the mediums of photography and sculpture, the artist depicts settings in which the past and present coexist in a state of permanent contradiction. Sebastian Vallejo’s large-scale works integrate chromatic fabrics that carry visual and cultural allusions to the tropics of the Caribbean island from which he stems. In a process of two, Vallejo’s work either showcases a direct transfer of the fabric’s flora and fauna to canvas, or the incorporation of fabric onto the canvas which is then enhanced with hand-applied paint in a seemingly haphazard manner that yields a shockingly harmonious ode to color and country. The artist’s work—in both cases of approach—exhibits the realization and universal language of experiment behind historical works of abstract art.
Ernesto Cánovas explores the concept of irony with beautifully conceived works of art that showcase the depravity and atrocities forged by the human race. Cánovas uses a unique style of light manipulation to showcase dimensional, pulverized landscapes that seen all at once, instill a reflective quality in which the viewer is forced to see past the painting’s beauty and acknowledge the essence of the artist’s statement. The intentional idealization and beautification of a serious subject matter in an attempt to both hide and display the artist’s disquietude with said subject, is a characteristic that both Cánovas and Héctor Madera’s works of art share. In Madera’s latest body of work, drawings of faces inked with woe or joy, illustrated geometric forms, and abstract doodles all give shape to feelings of melancholy and mirth felt through multifarious states of confusion and clarity. To engage the viewers and to simultaneously create an ambience in which the artist’s frustrations are discernible and tangible—Madera’s riotously-colored creations are exhibited on photography backdrop paper that flows from the ceiling to the floor. Not of the do-not-touch variety, Madera’s interactive exhibit performs dual functions—it allows the artist to attempt to work out his frustrations through the viewer’s participation and immersion in the art itself, while also allowing our selfie-obsessed generation to have fun and take that coveted selfie.