#bos2014

[bimbim-bap-blog]

Business on the school 2014 consist of 2 event. First is the event where we promoted our study (Administrasi Bisnis) to the high school student in Bandung. Second is where we held a business competition for high school student form Bandung and Jabodetabek.

[jonamurph]

BOS 2014

15″x15″ Wood Panels gouache, gold leaf, graphite, ink, polymer, wood stain

At the horizon, Over an ocean frozen, Waves halt in the cycle of time. Standing on parallels forever. Staring down oblivion.

[artsinbushwick]

BOS Studio Visit: Jenny Morgan

by Nicole Durbin

BOS Studio Visit is an ongoing series that seeks to showcase the impressive spectrum of artistic expression on display during Bushwick Open Studios. All interviews were performed during the 2014 BOS weekend.

[AiB] How would you describe your work and themes to a layperson?

[JM] I’m a portrait painter--I work with people from my life--so it’s all based on intimate relationships. I’m trained traditionally, but I’m incorporating abstract elements and metaphorical language on top of traditional portraiture structure.

[AiB] Could you tell me about your process?

[JM] I photograph everyone myself, then work from [the photo] as a reference. I use certain techniques to abstract the realism, so I either sand down certain parts of the body, blur, or add color glazes to push the work out of the realm of the real to the more conceptual and metaphysical.

[AiB] How does the work evolve as you go? Do you have a vision when you begin?

[JM] It depends. Sometimes I jump into it with a fully set format that I’ve worked out in Photoshop or just through writing and journaling, and sometimes the painting dictates where it goes, depending on who I’m working on and the person themselves.

[AiB] How do you decide who you want to work with, and why?

[JM] Well, they’re all people close to me, so it usually depends on what’s going on with their life and the moment and if I’m kind of attracted to them.

This portrait on the wall is another artist friend named Sharona, and I was thinking about painting her in a time when I was in this deep lull and I didn’t really know where the next body of work was coming from. I’ve always been really attracted to her work, so I needed to paint her to siphon off some of her energy, in a way! It was a mutual back and forth, but it was about honoring her creative spirit and taking some energy from that.

[AiB] How would you say your work has evolved over the course of your career?

[JM] I’ve always worked with the figure, but in terms of growth it’s become a little more metaphorical and conceptual, jumping away from photography and photorealism and into other layers of abstraction.

[AiB] What else should people know about about your work?

[JM] That it’s based on people, and relationships, and spiritual connections, and cosmic realities and realms and matrices and…yeah.

###

For more of Jenny Morgan's work, visit her website: here.

[neofossils]

Architecture and Anthropomorphism: Sculpture by Rory Baron

By Anna Mikhailovskaia

Originally published on the Arts in Bushwick blog.

Rory Baron's sculptural wall pieces occupy his studio in 1717 Troutman in a well balanced grouping. The mostly white on white sculptures have a quiet and meditative quality that seems to contradict their composition, which is largely derived from construction material. Symmetry, pattern and repetition are all put to use by Baron to create objects that borrow from the worlds of architecture and anthropomorphic headdress.

Baron invents his process that often entails a building a carefully and meticulously constructed form that later appears deceptively simple. Simplicity of form and the direct visual impact that it delivers are also apparent in his works. There is not a lot of fuss and distraction about these sculptures but rather a quiet and contemplative approach to art making.

A recent series started by Baron involves hacking a standard ceiling tile system that can be purchased at any hardware store and remaking it into something derivative of Dogon Kanaga masks or Kazemir Malevich's 'Black Square.'

You can find references to house siding, shingles and peeling paint chips in Baron's works. Growing up in Ohio, Baron has photographed and documented many structures and environments that one finds in any given American suburb but particularly in his home town of Elyria. When looking beyond formalqualities of Baron's works there is subtle but apparent subject matter that has to do with a sense of loss or nostalgia that these landscapes communicate. Malls, parking lots, highways, Mcmansions, all things that one considers 'spiritually dead' are revived as rich subject matter in Baron's work.

There is often a mingling of architectural geometry and natural elements Baron's works such as in this piece titled 'Home Owner' where a pinecone sits on top of the central form. The pinecone not only adds a touch of humor to the work but is rich in symbolism and can be found in many visual histories of past civilizations such as the Sumerians where it expressed eternal life.

The pine cone makes an appearance in several of Baron's work such as the central piece in the photo above titled 'Owl.'

Several of Rory Baron's works feature an expansive, aura-like structure that provides backdrops for a central form. The lines created by the careful carpentry in Baron's works allow for the eye to travel in an outward direction.

Vising Rory Baron's studio one can feel the rich array of Baron's materialist sensibility and his carefully crafted approach to his work. But beyond the surface one can also find an inquisitive mind at work sifting through environments and histories to create something entirely new.

[arandomjog]

Great view of Boston Harbor from #bos2014 (at Seaport Hotel and Seaport World Trade Center)

[arandomjog]

Kicking off #bos2014 (at Seaport Hotel and Seaport World Trade Center)