Context Art Miami 2013

Kathryn Markel Fine Arts

December 3rd-8th, 2013 Art Miami Pavilion | Midtown Miami - Wynwood

3101 NE 1st Avenue Miami, FL 33137

Kathryn Markel Fine Arts New York / Bridgehampton Booth E30

Deborah Zlotsky Deborah Zlotsky’s paintings are form and color to perfection , and imperfection.   The surfaces are abraded, repeatedly repainted and re-varnished, so that there is not a strict geometry to the work and instead a looseness, a freedom often a s s o c i a t e d w i t h A b s t r a c t Expressionism. The forms are neither geometric nor organic but a beautiful combination of the two.   The color palette is mature and handsome and adds a gravity to the work.   

Deborah Zlotsky, Insofar, 2012 Oil on canvas, 60 x 48 in.

 

Josette Urso Josette Urso's still life paintings are anything but still.   Urso paints spontaneously and intuitively to capture the movement of life around her.   Her lush, staccato brush strokes are the visual journey of that process.  From the palette to the energy they exude, Urso's paintings bring a slice of sweet giddiness to the indoors  

Josette Urso, BlueSkinny, 2013 Oil on panel, 20 x 16 in.

 

Josette Urso, BackLitBlue, 2013 Oil on canvas, 24 x 30 in.

 

Marilla Palmer M a r i l l a P a l m e r ' s d e l i c a t e compositions of flowers and leaves combine nature and theatrical embellishments; sequins, glitter and beads are all decadent components used to make nature her Soubrette.  P a l m e r ’ s w o r k s o n p a p e r a n d sculptures reflect her overall interest in combining natural elements with fabricated materials  

Marilla Palmer, Variegated Twig with Stitching, 2011 Mixed media on paper, 22 x 15 in.

 

Marilla Palmer, Variegated Twig with Shadows, 2011 Mixed media on paper, 22 x 15 in.

 

Yolanda Sanchez, Wild Prayers for Earth, 2013 Oil on canvas, 48 x 60 in.

 

Yolanda Sanchez Yolanda Sanchez engages us with color as an experience, alluding to gardens and natural form or movement as a r e f e r ence for enchantment. Sanchez does not attempt to recreate the world around us, but utilizes painting as a means to become more finely tuned to it. The resultant work is wildly expressive, creating an experience unique to each individual viewer, a magical experience often taken for granted in our day to day lives, but emphas ized through Sanchez ' s masterful manipulation of paint and canvas.   

Yolanda sanchez The blackbird sings, 2013 Oil on canvas, 45 x 32 in.

 

AnnE Neely

Ann Neely’s work is inspired by the challenges we face today in preserving water. Neely attempts to convey the beauty of this resource and what we are giving up by ignoring it. Neelys work’s merges color, line, and mark-making into an unrecognizable, yet intriguing scene that is symbolic of costal changes and elemental shifts.   

Anne Neely, Urban Marsh, 2011 Oil on linen, 16 x 20 in.

 

Anne Neely, Bedrock, 2010 Oil on linen, 16 x 20 in.

 

Anne Neely, Aglow, 2011 Oil on linen, 16 x 20 in.

 

Christian Haub

Christian Haub’s focus on sculpture allows him to show off his strong design sensibility and his predilection for cadence, rhythm and musical structures. Haub uses cast acrylic in varying hues and densities to interact with light, either artificial or natural, in a style that makes the surface active and kinetic. Almost filmic, they change form as one walks around the intimate gallery rooms.   

Christian Haub, Keith Moon Float, 2013 Cast acrylic sheet, 57 x 42 x 3 in.

 

Jeffrey Cortland Jones Cool.   Jeffrey Cortland Jones' paintings have a fine, cool sense of simplicity.   They are not concerned with telling a story, or weighty in heavy concept. These, like the great Minimalists of the '60's, are simply about the physical act of painting and the physical experience the viewer has with that creation.    They sit patiently and quietly on a wall in a beautifully minimal room, waiting to be spoken to.   

Temptation, 2012 Enamel on acrylic panel, 14 x 11 in.

Spooky, 2012 Enamel on acrylic panel, 14 x 11 in.

Senses, 2012 Enamel on acrylic panel, 14 x 11 in.

Control, 2012 Enamel on acrylic panel, 14 x 11 in.

Susanna Bluhm Using the visual language of abstracted landscapes, signifiers of p l a c e , a n d a v i b r a n t — a l m o s t psychadelic—palette , Bluhm has created a su ite of narrat ive paintings and inspired by the Bible’s “Song of Solomon”—a book of verses about love.  Each image functions as a snapshot, from which a narrative can be understood. Images depicted on the c a n v a s e s m a y h a v e s e v e r a l associations.   

Susanna Bluhm, We were made to cross that line, 2011 Oil and acrylic on canvas, 40 x 40 in.

 

Donald Martiny

Donald Martiny’s focus as a painter is gesture. His goal is to encourage a dialogue within an architectural space. The paint is a mixture of polymers and dispersed pigment. He create his works on the floor, moving around them. Often he use brooms for brushes. The result is a unique painting of gesture and human experience, in a sense Martiny shows a direct reflection of his physicality at a specific time.   

Donald Martiny, Shuar, 2013, Polymer and pigment, 18 x 10 ½ in.

 

Paul Behnke

Behnke’s work, similar to that of the German Expressionists he counts among his influences, is gestural, yet hard edged. He works spontaneously, almost recklessly, laying down marks, which may then be completely covered over so that they may later divulge their true forms under layers of nearly translucent color. Each painting exhibited is painted on a square canvas so that the picture a s a n o b j e c t c a n b e n e i t h e r forgotten nor denied.   

Paul Behnke, Sleepwalker, 2012 Acrylic on canvas, 48 x 50 in.

 

5 2 9 W e s t 2 0 t h , S u i t e 6 W N e w Y o r k , N Y 1 0 0 1 1 | 2 1 2 . 3 6 6 . 5 3 6 8 2 4 1 8 M o n t a u k H w y B r i d g e h a m p t o n , N Y 1 1 9 3 2 | 6 3 1 . 6 1 3 . 6 3 8 6

MARKEL@MARKELFINEARTS.COM W W W. M A R K E L F I N E A R T S . C O M