jan. 15, 2011 – feb. 26, 2011 Refractive Brain Therapy
“Refractive Brain Therapy” is a conceptual animation-installation project that consists of a few large digital metal prints along with 3D animation and LCD monitors through large water-filled vats.
In this exhibit, LiQin Tan shows a decidedly unique understanding of refractivity. The project touches on the natural means, more important, a social phenomenon as well. In Chinese ideology, the phrase “refractivity” holds the dual meaning of 1) initiating an illusion; 2) leading towards social reality, with applications to psychological activities, including brain washing.
mar. 4, 2011 – mar. 26, 2011 The Importance of Small Things
Brigitte Rutenberg does very detailed ink drawings by the thousands on stamp-sized pieces of vellum paper and Mylar with which she assembles her PAPER QUILTS while her 3-D GLASS BOOKS with ink drawings consist of hinged glass panels reminiscent of the under-glass painting done in the 1800s. With these works she draws attention to “the importance of small things” for which women’s work is traditionally known.
apr. 1, 2011 – apr. 30, 2011 Primeval Geographies
Dalet Gallery presents this solo exhibit of Irena Kononva as a part of a project called CONTEMPLATIVE REALMS. These pictorial excavations intend to peel layers of superimposed earth histories as well as layers of our mind and soul. The geological layers of soil that are often depicted in the paintings correspond to multiple layers of paint. Fluid element is omnipresent, as it would be in aquatic primordial nature, but it also hints at the fluidity of our imagination and thinking process. The vast landscapes are void of figures although human presence is manifested by subtle signs. The paintings are filled with biomorphic shapes that blur the boundaries between organic flesh and crystalline mass, merging life with dead matter, making viewers guess if what is depicted is a mountain or an animal. It is fitting that sand – a product of long interaction between stones and water – is one of the physical components of these works. These paintings map out utopian lands, but more than anything else they are maps of our unconscious.
apr. 1, 2011 – apr. 30, 2011 Sea of SAMSARA
Dalet Gallery presents this solo exhibit of Sky Kim as a part of a project called CONTEMPLATIVE REALMS. “SAMSARA” is a Sanskrit word meaning the eternal cycle of life, or literally the “continuous flow” that captures the cycle of birth, life, death and rebirth. Sky Kim’s 30 foot-long scroll series captures this continuous flow, the imprinted path of noble transmigration through microscopic scanning. This vitality and non-stop evolutionary movement are what is going on in the center of her work. The visual intensity is a result of meticulous hand drawn labor and the numerous patterns made with a certain logic and creative mind are intriguing to look at, but complicated to create. There is a constant tug of war embedded in the organic undulations in her work. The images are comforting, yet dizzying; fluid, yet stagnant; organic, yet abstract; delicate, yet obsessive. Symbols of water and blood represent what we once were in the womb, the beginning point of life, and of her personal memory of her stillborn twin sister. In her work, each circle, the most perfect form found in nature, and each line contain the energy which allows a being to consistently evolve into a complete form of nature.
apr. 1, 2011 – apr. 30, 2011 The Secrets of the Wind
Dalet Gallery presents this solo exhibit of Juri Kim as a part of a project called CONTEMPLATIVE REALMS. Juri Kim’s work is an attempt at visual communication. She is interested in the relationship between text and image and between perception and knowledge and personal experiences. She uses text that she has collected from every day life to create a visual lexicon. Ms. Kim employs the Braille Alphabet writing system to prove the idea that what you see is what you know. The act of filling her painting with dots that are units and cells charged with a special and personal meaning is a practice that is reflective of a Zen exercise. The work is a constant act of finding and losing, remembering and forgetting, asserting and denying, inventing and destroying, daily evoking life and death. She wants to open a visual window for viewers to explore new possibilities.
may. 6, 2011 – jun. 25, 2011 The Orchestra of the Damned
The variety of the exhibited works reflects the 60-year period spanning the artist’s early paintings (dated 1951) to a recently created series of collages and mixed media on wood and paper.
In his paintings in oil paint and mixed media, Hart visually forges a concretized world of highly personal mythologies.
The central platform of the exhibition is Hart’s recent series of oil paintings, “The Orchestra of the Damned”, in which he creates a compelling metaphor on an anti-war theme, one engaging a contrapuntal collision between the beauty of music and the brutality of war. The figurative musicians in the paintings are all veterans of foreign wars. Much of his work represents complex reformulations through collage; these are deeply personal and symbolically relevant images on wood and paper. The artist has also created three-dimensional works on wood using collage and mixed media on various objects. Besides these paintings in oil and mixed media, Hart engages in book art; here he utilizes a style resonant of Gothic imagery and the visual power of medieval illustrated manuscripts.
may. 6, 2011 – may. 28, 2011 Gatekeepers of the Cycle
The inter-penetrating layers of symbolism, misticism, and narrative in my work constitute a timeless world of ancient rituals and divinatory rites.
In synthesizing techniques of the old masters, ancient mystical teaching, and contemporary science, my work focuses on the uniqueness and universality of inner landscapes and transcendent experience.
– Chris Sedgwick
jun. 3, 2011 – jun. 25, 2011 Autofiction
I paint the world in flesh and bones. Day after day, I write the living autobiography of my vision of the world. I seek to trigger the visual insurrection of an image, to reverse its point of view. Iconoclastic, vitalist, I seek to animate and to report, to expose the inner vision of that which surrounds and encompasses me, and expose it to the outside. I consider nothing or no one as “important” subject matter; but see only “small” characters in my republic
– Thibaud Thiercelin
sep. 2, 2011 – oct. 15, 2011 The Spiral
The Spiral, a title of the Iskhakov’s new show at Dalet Gallery, is used by the artist as an allegory for enhanced dimensionality of his paintings. This increase of depth of layers and meanings does not result in any significant shift from Valera’s trademark hedonistic style as much as it results in addition of new stylistic and emotional dimensions. By analogy to a curve which revolves around a central point but in the same time gets progressively father away from it, his essential visual vocabulary remains unchanged (sensual female bodies, or sill life with rhythmical patterns on the background), but a viewer can see how different in spirit his latest paintings are from the retrospective works, exhibited nearby.
sep. 2, 2011 – oct. 15, 2011 Still Life
Kirill Doron’s luminous and retro-looking still life compositions initially appear simple, unpretentious: his usual theme is an arrangement of ordinary but timeless household items, or tools of artist trade in front of warm-colored walls. The palette tends to appear pastel, monochromatic at first glance. But look closer and you will be enchanted: refined elegance of lines, aristocratic richness of textures endows each and every object with delectable sensuousness, confers upon them importance and expressionistic tension.
jul. 6, 2012 – jul. 14, 2012 Made in Princeton
The Dalet Gallery, with co-curators Kate Somers and Irena Gobernik, is pleased to present two artist groups from Princeton, New Jersey, the Princeton Artist Alliance and the Princeton Photography Club. Together they prove that Princeton and its environs are thriving in the Arts. While New York City and Philadelphia may be a short train ride away, these artists do not have to travel to either city to become exposed to and inspired by great art. They have found what they need in their “collective backyard” and have banded together to nurture their creative spirits.
jun. 1, 2012 – jun. 23, 2012
In his “Primitive-Level Signals” exhibit, LiQin Tan, co-director and professor of art at Rutgers University, presents two of his art series: “Brain Spirit Levels” (2012) and “Burl + 4” (2003-2004). In the former, Tan uses spirit levels as a signal to describe a natural phenomenon in humans, where human brain development is an equalized procedure. The competing concepts of the brain – whether the battle of the brain’s size versus its intellectual capacity, or of its technological versus its spiritual side–are always kept in equilibrium. In the latter art series, Tan presents himself as a digital naturalist, choosing the burl/lava as the natural art form to explore his “Digital-Primitive” theme in a multifaceted and reciprocal process: Making digital 3D images through primitive technology and materials, while also making primitive rawhide/wood/rock art through digital technology.
This exhibition of work consists of spirit-level installations alongside dozens of digital prints on metal, wood, and rawhides. There are also numerous animations projected onto suspended rawhides and LCD monitors displaying separate animations.