H É R Y

On-line art gallery focused on minimalist pieces of various categories.

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Murray Fredericks Mirror 12, 2017  Pigment print  47 × 58 in (119.4 × 147.3 cm)  Edition of 7

Born (1970) and raised in Sydney, Australia, Murray Fredericks studied politics and economics at Sydney University. Following his undergraduate degree, he spent five years traveling in the Middle East and in the Himalaya. The experience of spending large amounts of time in these 'powerful' locations provided the basis for his approach to his photography.

Essentially self-taught in photography, Fredericks undertook and completed a Masters of Art and then his MFA at the College of Fine Arts, University of New South Wales some years into his 'exhibiting' career.

Fredericks's work is derived from a perspective that views culture as something that cannot be wholly accounted for through social construct. It's a view that sees some values as derived from a 'time-less essence'. The work attempts to represent the experience when thought is temporarily suspended and the mind encounters 'other'. (Biography) 

murrayfredericks.com.au

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Delaney Allen  Getting Lost, 2014 Artist Book Publication Studio 

From transportive natural vistas to staged studio tableaux, the enigmatic scenes on view within Delaney Allen’s exhibition Getting Lost at Nationale trace a personal, yet familiar, journey. After experiencing multiple deaths and sorrows, Allen felt isolated within grief. However, inspired by passages from Rebecca Solnit’s A Field Guide to Getting Lost, he sought solace from the stasis of his past amidst the unrestrained present of the road.

Upon first glance, Allen’s photographs from this process reflect the indoctrinated spirit of American exploration- Manifest Destiny, Ansel Adams, On the Road. However, prolonged examination reveals a more peculiar symbolism. The magnificent peaks and ethereal skies, alongside his experiments with synthetic light, color, and texture, are haunted by a bodily presence. Everyday rock accumulations and peculiar plant growths assume traces of the human hand while still-lifes of kitschy fabric and sculptural talisman emerge as chaotic altars to bygone loves. While Allen can never return to the specific moments or spirits captured within each image, he appears to learn to accept such loss through the controlled construction of photographic memories. As Solnit explains, “...the art is not one of forgetting but letting go.”

Born in Fort Worth, TX, Delaney Allen received his MFA from the Pacific Northwest College of Art in 2010. His photographs have been shown nationally and internationally. He was listed in Magenta’s Flash Forward emerging photographers list of 2013 and attended photographer Alec Soth’s Camp For Socially Awkward Storytellers that same year. Allen currently lives and works in Portland, OR, where he is represented by Nationale. (ARTSLANT)

delaneyallen.com

[mherynowski]

Jamie Harris  Infusion Panel in red, brown, and purple, 2008 Glass, stainless steel  19 x 14 x 1.5 in 

For years, he’d been attracted to the color sensibility of artists such as Kenneth Noland and Ellsworth Kelly. Then he decided to press beyond opaque colors and begin playing with translucence. “I wanted to capture that flowing sense of color and movement I see in my work when glass is 2,000 degrees,” Harris says.

He developed his Infusions during a recent residency at Corning. Harris was already using a technique called Swedish overlay – rolling one bubble of glass over another, like rolling a sock onto a foot – to combine colors for his Incalmos, which play off an Italian style of design built in three bands of color. To build his Infusions, he combines bubbles of glass, but instead of sculpting the hot matter into vessels, he puts it in molds and lets it cool in a kiln. Then he brings the heat back up and lets the glass slowly melt into the form’s corners. The results are paintings done in glass.

But beauty isn’t all that he’s after. “I’m so interested in how I can use color in glass sculpture in a way that can be emotionally evocative, even if it’s abstract,” Harris says. (American Craft Council)

jamieharris.com

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Richard Caldicott  Chance/Fall 4, 2010  From the series Chance/Fall  C-Print  50 × 39 4/5 in (127 × 101 cm)  Edition of 5 

Since the artist’s acclaimed series featuring Tupperware in the 1990s, Richard Caldicott has continually challenged photographic codes of representation in favor of new aesthetic and symbolic intentions.  Employing traditional analog photography methods, Caldicott imbues his minimalist set of components with rich, vibrant color.  The result is stunningly beautiful abstract work that is both self-contained and part of a larger dialogue, with nods to iconic minimalism, Color Field paintings, and pop reappropriation. (Sous Les Etoiles Gallery)

richardcaldicott.co.uk

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Gianni Asdrubali  Zeimekke, 2015  Acrylic on canvas  72 1/5 × 46 7/10 in (183.5 × 118.5 cm) 

Gianni Asdrubali is an Italian abstract painter, best known for his large-scale works painted on either canvas or wall. Born in 1955 in Tuscania, a small town in the Lazio Region, the artist was a member of Astrazione Povera – an artistic movement active in the early 1980s in Italian art scene. [...]  From the beginning of his career, Asdrubali considered the notions of space and emptiness in an innovative, unexplored way. His first significant artwork was Il Muro magico (translated as The Magic Wall), constructed from white walls that were filled up with signs, creating a dialogue with the emptiness. Based on the definition of the emptiness as the original nucleus of his art, Gianni creates pieces composed of geometrical, black or chromatic forms, suggesting shapes going beyond the visible and originating new dimensions. (Widewalls)

gianniasdrubali.com

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Mary Ramsden  The dirtiest selfie at 50pt (part 1), 2015  Acrylic on canvas  168 x 127.5 cm 

Mary Ramsden creates abstract compositions in which amoebic forms fuse with bold, gestural mark-making. Ramsden’s practice is unapologetically painterly. Her works are testament to a commitment to painting as a progressive language that demands our attentive engagement. Strategically refusing referential readings, she makes painted objects whose compositional unity belies the complexity of their making. In Ramsden’s work even the subtlest adjustment is generative. Each shift in palette, variation in scale, or nuance of mark effects an incremental development within a broader scheme of experimentation. A recurring theme in Ramsden’s work is a preoccupation with the edge: a concern that is realised formally and pursued methodologically. (Pilar Corrias Gallery)

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Miya Ando  Rose Mini Mandala, 2016  Dyed Bodhi skeleton leaves and monofilament on archival ragboard 21 × 21 in (53.3 × 53.3 cm) 

Miya Ando is an American artist whose metal canvases and sculpture articulate themes of perception and ones relationship to time. The foundation of her practice is the transformation of surfaces.  Half Japanese &  half Russian-American, Ando is a descendant of Bizen sword makers and was raised in a Buddhist temple in Japan and in coastal Northern California. She has continued her 16th generation Japanese sword smithing and Buddhist lineage by combining metals, reflectivity and light in her transcendent paintings and sculpture. (Biography)

miyaando.com

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Karina Petersen’s illustration. 

Karina Petersen is a graphic designer and illustrator based in Kolding, Denmark. She graduated from Kolding School of Design in 2009 with a MA in Graphic design. She works within the fields of Illustration, Print/Textile Design and Printmaking. For Karina it is important not to have a specific style or just to work with one medium, but to try new things, always with a very experimental and artistic approach.

karinapetersen.com

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Niele Toroni  Empreintes de pinceau n°50 répétées à intervalles réguliers de 30 cm., 1979 Glycerophtalic paint on paper Canson 

For over 40 years Niele Toroni has worked with a fixed pattern: imprints are made with a n°50 paint brush at regular 30 cm intervals. Each "work", which the artist himself prefers to call "Travail/Peinture' (Work/Painting), is made with this procedure and is applied on a medium of a varying nature: canvas, paper, carton, wall, ceiling, etc.  By applying this pattern first in 1967, Niele Toroni became one of the artists who initiated an innovative vision on painting: reduced to its elementary material expression (paint, brush, color, support) and a minimal though necessary act of the artist.  To argue that Niele Toroni's works are all identical, comes down to remaining stuck at the elementary proposition of the work, failing to look at its wider deployment, failing to observe it. (Greta Meert Gallery)

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Lee Ufan  Dialogue,  2011  Watercolor on paper  77 x 57 cm 

Painter, sculptor, writer and philosopher Lee Ufan came to prominence in the late 1960s as one of the major theoretical and practical proponents of the avant-garde Mono-ha (Object School) group. The Mono-ha school of thought was Japan’s first contemporary art movement to gain international recognition. It rejected Western notions of representation, focusing on the relationships of materials and perceptions rather than on expression or intervention. The artists of Mono-ha present works made of raw physical materials that have barely been manipulated.  In 1991 Lee Ufan began his series of Correspondance paintings, which consist of just one or two grey-blue brushstrokes, made of a mixture of oil and crushed stone pigment, applied onto a large white surface. (Lisson Gallery)

studioleeufan.org

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Sander Steins Remorse For The Weeds (edition 1/3) Giclée print on Photo Rag 308 grams matte fine art paper 60 x 80 cm 

The introduction of the Internet and digital camera rekindled Steins’ creativity. In 2004 he fully focused on photography. At first he mainly worked with models, but later he returned to his old favourite themes of forests and industry. That was also the time he rediscovered his love for drawing. Photographs were frequently mixed with drawn and painted elements, first digitally but later also with acrylic paint, charcoal and ink on materials such as paper, canvas and wood panels. In 2009 he held his first solo exhibition in Beek-Ubbergen (The Netherlands). After that followed a very productive phase in which he shot thousands of pictures for his projects ‘Forest’ and ‘Construct/Destruct’, and produced countless of paintings and drawings. (Biography)

sandersteins.com

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Leon Polk Smith  untitled,  1990 Paper on paper  20 x 14.125 inches 

Leon Polk Smith took a particular interest in the De Stijl movement, especially inspired by Piet Mondrian, and ended up producing a fantastic array of geometric artworks. Instead of the horizontal and vertical lines that Mondrian applied to painting, Leon often included the diagonal as well and focused on producing logical art that had order. (OEN)

leonpolksmithfoundation.org

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Phil Sims  Grey Yellow Studio Painting,  2004 Acrylic on linen on board  91.4 x 81.3 cm 

Phil Sims' signature brushstroke is delicate and subtle; the inclusion of clay in his pigments gives his paintings a soft matte texture that lets the viewer experience the full intensity of a beautiful color. (Bartha Contemporary Gallery)

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Robert Janitz  Paris s’allume,  2014 Oil, wax, flour on linen  137 x 106 cm 

In the painting and sculptural work of Robert Janitz’ surfaces are membranes of memory and description. It is the space of the paint itself that Janitz explores in his painting, giving it haptic form. He generates his paint using wax, flour, and oils, using it on primarily large canvases to create volumes and extend it as a mass into sculptural space—on the painting surface just as in his sculptural paintings. Thick brushstrokes, limited colour palettes, and uncomplicated form give way to an immersive openness that renders the subject of these paintings the paint itself and, more importantly, the mere fact of their painted-ness. Janitz thinks of the surface and its continuing development as a site. It develops concrete structures and makes the structural its object, a space, and not least a metaphor of painting itself in the midst of his abstract painting.  (Meyer Riegger Gallery)

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Anna Ullman  BABY BLUES,  2015 Monoprint  |  on paper  11 x 15 in 

Anna Ullman produces large works on paper and canvas with a series of fluid organic and graphic shapes in black and white, as well as splashes of bright color and glitter.  Monoprinting, her specialty, is a form of printmaking that is more painterly, with organic shapes and lines that can only be made once, unlike most printmaking, where there are multiple originals. (Biography)

annaullman.com

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Elvia Perrin  Pane 38,  2015 Intaglio w/Chine Colle' 12 x 12 in 

My prints are a convergence of order and reordering and the revealing and veiling of organized systems and personal habits. I explore the banal of formalism, find order in the layering textures and traces of patterns with a quiet minimalist approach.

Elvia Perrin

elviaperrin.com