Tag Archives: solo exhibition

WENLU BAO “Blossoming Prison”


Artwork: Wenlu Bao “Plastic Nature”,
Mixed Media on Canvas, 2020

WENLU BAO

BLOSSOMING PRISON

July 31, 2021 (5pm)~ August 31, 2021

Opening Reception July 31, 2021 5~7PM (Artist will be present)

AG Gallery is pleased to announce its new exhibition “Blossoming Prison” by Wenlu Bao is opening on Saturday July 31, 2021. Exhibition is on view in public at the gallery space and in the gallery show window. Exhibition features her original mixed-media work on Canvases. Please visit AG Gallery and see the exhibition in person.

ABOUT ARTIST

Wenlu Bao is a mixed-media artist based in Brooklyn. Wenlu’s work mainly concentrates on female inner crisis and disorder. The discovery of hidden contradictions under seemingly peaceful life awakens her and anger coming after that partially forms up her inspirations. She is a young artist, whose works have been exhibited around the US and China and also been featured by Dazed Beauty. A versatile system has been created based on her original pieces. Her website, wearable or portable creations all work together to narrate, which enables her to enter different aspects of the market. Wenlu received her MFA of Photographic and Electronic Media in Maryland Institute College of Art.

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Florent Poussineau | Contemporary Sapiens

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FLORENT POUSSINEAU
“CONTEMPORARY SAPIENS”

September 7, 2019 ~ September 30, 2019

AG Gallery is pleased to announce its new exhibition “Contemporary Sapiens” byFlorent Poussineau. We are extremely delighted to have Poussineau at AG Gallery for his first solo exhibition in New York City, and to present his latest oil paintings on playful yet could be controversal/challenging mediums including sugarpaste, translucent paper, and porcelain. Please join us for the  opening reception at AG Gallery on this Saturday September 7, 6-8PM. Artist will be present at the opening reception.

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Contemplation, Wolf, 2019, Wood, porcelain and oil paint, 12 x 12 inch

ABOUT ARTIST
Florent Poussineau is a contemporary artist based in France. Poussineau’s works are about relationships between people (individuals and also as a society) and food (and the food industry). Poussineau works mainly in performance, video, installation, and painting. In this exhibition we present Poussineau’s latest oil paintings of wild sapiens on ceramic and other landscapes made by himself. Poussineau create works from questions about the relation that we all have with food in the society. He especially focused on the western society’s food culture because it is where he was born and raised, and especially France, as he is based in today. Poussineau uses food both as a fine material, close to a piece of art, elite, and as a repulsive and disgusting element. Through food He play, prioritize, provoke contradictory feelings and reproduce in a certain way particular behavioral patterns present in our consumer society.

As Poussineau himself also mentions, having partnerships with professionals in the food industry is essential in his work. It questions the status of the artist / craftsman, gastronomic territory and knowhow. From an early age Poussineau was able to have apprenticeship with professionals in the food industry, including his father who is a pastry chef, and for many years his father has been one of  main teachers of Poussineau.

Food has been occupying our major daily actions; hunting, cultivating, harvesting, preparing, sharing, cleaning, and consuming, and so on. Besides the past enormous development of the science and technology and the improvement of mass productions and changing of our diet or that cooking at home has became not essential activity in some culture, food remains as a significant dominant part of our culture and it will always be. Looking at the food through Poussineau’s work is another way to experience consuming, discovering, and questioning of our food culture, and ourselves.

“The evolution of human thought has led him to suppress his enemies and to increase his dominant position in his territory. He has colonized the entire planet and is now in overpopulation. With his heritage passed down for generations, he has the conscience, the knowledge, the technology and the communication. He lives in society, in urban or rural environments and generally in shared dwellings. His diet consists of food wrapped in plastic and harvested in what is called supermarket. Fruits and vegetables, preparations made from cereals, dairy products and also meat. Where do these foods come from, how are they produced, what is livestock traceability? Individuals belonging to a relatively new species no longer wish to know it, and no longer wish to do so on their own. This is the situation of contemporary sapiens in 2019.” -Florent Poussineau 2019

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Contemplation, Goat, 2019, Wood, translucent paper and oil paint, 12 x 12 inch

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Contemplation, Moose, 2019, Wood, sugarpaste and oil paint, 12 x 12 inch

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Half-Human|Natsumi Goldfish

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“HALF HUMAN”

November 3, 2018 ~ November 25, 2018

Opening Reception: Saturday, November 3, 2018 6-8PM

AG Gallery is pleased to announce a solo exhibition “Half Human” by a Japanese contemporary artist Natsumi Goldfish, opening on November 3, 2018.

Half-human figures in Natsumi Goldfish’s works are a metaphor of invisible borderlines between humans and other lives on the earth that separate and connect them from each other. In half-human figures, Natsumi Goldfish depicts human nature that is within individual human beings. Some human-ness in human beings are only seen when we are around nature and other lives, while such human nature might be subtle and minor in today’s our society, they are fundamental that initially defined humans from other lives. Natsumi Goldfish is interested in relationships that humans uniquely create between human beings, with nature, and with other lives. By making half human figures, Natsumi Goldfish tries to observe and rediscover and visualize the fundamental characteristics of human beings, and identify the borderline between humans and non-humans.

“We are always humans as a whole and as individuals. What is human being anyway? Is original human-ness of human being still present? It seems like humans are trying to erase some part of human-ness of individual human beings from our gene, in order to develop an ideal human society or human as a whole. If a human society is formed by the humans, by discarding or neglecting some basic human nature in our gene, we are also going to retrogress the society in the end, aren’t we? We are always half human since the moment when we are born, but perhaps the other half depends on each of us.”-Natsumi Goldfish

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Picking Flowers by Natsumi Goldfish, Oil on Canvas, 2017

Humans are highly social creatures and for centuries we have been making societies from the earliest band societies: hunter-and-gatherer societies, to agricultural societies, to contemporary societies today. Human existence has been sustained by the communal living. Human as a whole has developed and improved with technology, science, and economic systems, that have made our individual life easy and convenient. Individual humans, on the other hand, have not changed so much, nor improved the inner abilities or physical appearances in any drastic way since we have identified ourselves as human. As society developed, the roles and values of humans have changed. Humans have lost the opportunities to utilize such inborn qualities of human beings. What individual humans have been offering like imagination, curiosity, ideas, and craftsmanship seem to be not essential anymore to live. Without one of us, without you or me, the society will function and will improve no problem. The most of roles available in the society is some kind of consumers. Perhaps we should have never take for granted our ability to imagine, or to be human, even if the society that does everything for us. Human’s inner abilities and senses have been less practiced and stagnant. As an evidence, we used to do only things that we know how or used tools that we can make, but today we do everything we do not know. Our lives are convenient with the science and technology that offered by the society, but we do not know how to make them nor the fundamental structure of them. We know how to grow plants from seeds bought at a store but many of us do not know how to harvest seeds from plants. Many of us rely on medications to recover from sickness, but we cannot make nor know the detail ingredients of the white pills prescribed by physicians. Most of us know how to use a smart phone, but we cannot make one from scratch. We can turn on a light but we cannot make a lighting system or a light bulb, moreover the electricity is sold and supplied from other source. Just like humans have been modifying nature and other animals, I feel like humans societies are trying to modify some part of human nature. Something might be fading away from our gene even this moment.

ABOUT ARTIST
Natsumi Goldfish is a contemporary Japanese artist based in New York City. Goldfish grew up in the fringe of Tokyo, a place of between of all, where nature and urban culture, and many different elements coexisted. The environment inspired and educated her to believe in pluralism, or something close to the idea of being between and both. In 2011 she moved to the United States. In 2013, she received her B. A. in Art from Tyler School of Art. Goldfish primary works with oil painting. Her creation is based on her interest in conscious and unconscious human behaviors seen in the history as well as in her ordinary life.

Official Website: www.natsumigoldfish.com

 

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Roses on a Winter Day by Sascha Mallon

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Roses on a Winter Day

by Sascha Mallon

February 26, 2017 – March 12, 2017 
Opening reception: Sunday, February 26, 6-8pm

AG Gallery proudly presents Roses on a Winter Day, a solo exhibition by artist Sascha Mallon. Please join us at the opening reception of this sensual exhibition on Sunday February 26, and meet the artist. 

About Exhibition
Roses in this exhibition are a metaphor for the ambivalence of love. Sascha challenges expressing her personal feelings, emotions, and memories about and around love using her narrative drawings and writings which together she calls “visual poems”. In her work, roses appears not as symbol or metaphor of subjective beauty, but as if it is a very sensitive and personal part of herself. Love happens and grows inside and out outside our mind and this show is about the importance of the both side of love. How much can an individual lover put out and share her personal love out of her comfort? How much can we understand and how will we receive, analyze, or simply feel them from her work? Those might be some of her and our challenges, questions, and joys in this exhibition.

~Message From The Artist About Roses on a Winter Day~
Roses represent the mixture between beauty and also the pain that comes with too much attachment to people. It is attachment, not true love, when there is pain.
Winter represents the absence of love. The beauty of roses reminds me of the beauty of the heart. Flowers are vulnerable and the roses usually sleep in the winter. Coldness represents the busy life where people don’t have time for each other, or it can be the absence of love for other reasons. The roses sleep until there is spring again. Love comes in cycles. As love is one of the central things, I like to think about roses on a winter day seems to be the perfect title. I think in live all is about love, or what we think love is. It is about the love we feel, the love we think we don’t get, or the love we are not able to give. I think everything is about love, because when we truly love we are happy and kind to each other and then the roses even bloom in the winter.

About Artist
Sascha Mallon is a Brooklyn based visual artist who also works as a hospital artist-in-residence at a cancer center doing art with the patients.

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Artist Interview | Aya Kakeda

AG Gallery is pleased to announce an extension of our current Solo Exhibition “Miotsukushi” by Aya Kakeda. Thank you for all those who attended for the opening reception and already visited the show, Please make sure to visit us if you haven’t already.

Meanwhile below is an exclusive interview with Aya Kakeda, with some images of her original works still available at AG Gallery. Please enjoy!

Exhibition will be on view through November 12, 2016.

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~Interview with artist Aya Kakeda~

Q1-Please tell us a little bit about your background…

I was born and grew up in Tokyo, Japan. I moved to the United States when I was in my late teens; I lived in Florida, Georgia, and now live and work in Brooklyn, NY. 
My art education is in illustration, but while I was in school I started to be more interested in Fine Art.  Now I split my time being a illustrator, Fine artist, and educator. 

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Q2-What was the first work of art that you saw or experienced that you still remember today?

My grandmother was a Japanese Tea ceremony teacher. And I grew up surrounded by tea ceremony tools, ceramics, seasonal flowers, and seasonal Japanese paintings that decorate around the tea ceremony rooms.
Since they are for tea ceremony, the art or ceramic themselves are not necessary decorative or colorful; actually they were more in earthy tones had WabiSabi feelings to it, but they always had some twist or hidden playfulness to them which interested me.
Also, in every season Kimono maker would come to our house and show my grandmother rolls of fabrics.  I still remember the scene when the rolls of fabrics would fly through the air, filling the room, and for me it looked like a sea of patterns.  I think that image still sticks to my mind and till this day I love looking at patterns. My work also has a lot of patterns in it. 

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Q3-Who were your earliest influencers of famous artists or creators?

As a child I was very much into monsters, ghosts, animals, and Folk stories.
Kuniyoshi (Ukiyoe Master) has a huge influence on me. I discovered his playful Ukiyoe that depicts animals as human. It’s quite humorous. And his monsters are not always very scary; they are very silly and I loved that about his monster work. 
Also growing up in Japan I was more into non-traditional art like Manga and Animation.
I always liked  Shigeo Mizuki, Osamu Tezuka, and Fujiko Fujio A.
Their world is twisted, dark, and full of monsters, but also humorous.
I think that’s my favorite mixer; dark creature world but humorous. 


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Q4-Please tell us about your work…

I like telling stories and creating my own whimsical world.  When I started out, I started by remembering my imaginary world that I had when I was little.  And now that world has been expanding over the years.  My world is mysterious and dark, sometimes with strange creatures but never serious; there is some sort of humor in it. I like the contrast of reality and imaginary, dark and light, cute and ugly, and that reflects in my art I think. 

Q5-What do you make?

Materials have been changing over the years also depending on the project. It varies from Printmaking, embroidery, painting, installation, now I’m very into making a ceramic sculptures. For this show it’s mostly paintings and ceramic sculptures. 

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Q6-What generally inspires or influences you to create your work?

I get very excited to see craft and fabrics from different parts of the world. For that reason, traveling and getting to know the different culture has been a huge influence on me. Every time I go somewhere I get inspired and can’t wait to go back to studio and create.  Also I get influenced by reading, watching cinema, seeing performance, and so on. 
And having coffee talking to friends also inspires me, I am luckily surrounded by many creative minds!

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Q7-What is the main challenge for you when creating your work?

I try to challenge myself by using new materials and I love the process of making things, but I often end up with “ugly s***” and not one, but many many “ugly s***” and that’s frustrating sometimes to not get the result I want.  But it’s also the part of art making I like as well, experimenting and exploring new things. 

 

 

 

 

 

 

 

Q8-What are you currently working on?

I am currently working on a Ceramic series that I started this Summer. Part of them are exhibited at AG gallery right now!
I have been trying to combine the beautiful deep colors and textures of the ceramic glaze  and very artificial flat colors. My work usually has believable botanical backgrounds and mythical imaginary creatures, and I would like to push that in the material as well by mixing earth (clay and glaze that are made with minerals from earth) and artificial medium (plastic, resin, and house paint).

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Q9-Is there anything that people might not know about your work (or your medium) that you would like to share?
 
Continuing from the precious question. My new work has a combination of ceramic/glaze and resin/house paint. 
 
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Q10-What is your dream or goal as an artist in 3 years? 5 years?

Ceramic is still a new medium for me and I’m still learning about the medium and also how to show in the space. I would like to figure out how to mix my 2D works and sculpture also to create the whole complete world. So my future plan is to figure that out in the next year or so and make more art!  As a goal I would love to have a bigger body of work for exhibition. 

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Lastly, Do  you have any message to visitors for this exhibition? What we should check out / should not miss in this exhibition?

The past few years have been a transition for me moving from 2D to 3D and also finding a way to incorporate both mediums. So maybe visitors would be able to feel the transition and the new direction and hopefully that’s interesting for them to see. 

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