Formless Threads & Stratified Dimensions Curated Exhibit
The Falcon Power pop-up art project is a collaboration between New York metropolitan area developers and local artists.
Falcon Power’s latest exhibition is once again hosted at the magnificent space at 1414 Grand Street in Hoboken and runs from June 28, 2016 to September 10, 2016.
This exciting exhibition is curated by Roy Kinzer and features paintings by Tim Daly and Roy Kinzer, and a site-specific installation by KC Tidemand. The exhibition, Formless Threads & Stratified Dimensions, presents a study into the nature of urban rhythms, architectural structure, and unreal dimensions.
Press release for Formless Threads & Stratified Dimensions.
The collision between mass industrialization and the natural world has been the basis of much of Tim Daly’s paintings and drawings for the past three decades.
Tim Daly was born and raised in Jersey City, New Jersey; his home and studio are in Hoboken. He was known early on for his paintings of the mostly unseen landscape surrounding Jersey City and the Meadowlands, and the urban industrial landscape of the New York/New Jersey metropolitan area. His subject matter has expanded to include the rest of the world. Here’s the artist’s description of a favorite memory that epitomizes the Meadowlands, the subject of many of his paintings:
Walking down a narrow trail between the phragmites reeds, turning a corner and coming face to face with a great blue heron that was as surprised as I was. Five feet tall with an 18″ beak, he spread enormous wings and with two slow, noisy wing beats rose straight above me.
Tim Daly has exhibited extensively. For more information about Tim Daly, visit his Web site: www.timdaly.artspan.com.
How can root and fungal formations teach us how to become better citizens, to escape the normative molds that restrict our creative and empathetic qualities? This question is at the heart of my art practice.
It forms itself around a two-part construction, ﬁrstly of visualizing the power structures that arise from a stratiﬁed knowledge production, and secondly, in manipulating these systems. Such power structures are found physically, through architecture and natural topography; psychologically, through cultural norms and immaterially through technology and the virtual world of the internet. They affect us by shaping our collective and individual behavioral patterns, but we in turn affect them.
We traverse these networks in and out, like a needle weaving itself within a grid of threads, and sometimes we can manipulate or circumvent these systems, causing a paradigm shift in the social fabric. To do so, one ﬁrst has to visualize the boundaries shaped by power/knowledge, and then to play with said limits and disrupt the ﬂow. This is what my work attempts to do; it mimics systems, yet it includes glitches or adaptations in order to change the visual outcome.
My art often ﬁnds itself on a larger scale, such as room installations and in ways that beg for visceral interaction and visual investigation of the space created. Using as few and as basic materials as possible, such as wood, plastic and sheer labor, my artwork center around the notion of production and expansion. I draw inﬂuence from the polarity between reductive and emergent systems, where the former is characterized by its hierarchical networks while the latter is a decentralized web of connectivity. Using these two contrasting networks as a tableau for my work, I exaggerate and play with the limits of their visual properties and through this, explore how they affect our behavior through liberation or restriction.
KC’s Web site: www.kctidemand.com.
Roy Kinzer has been making and teaching art for over 20 years. He has an extensive exhibition record and frequently completes commissions for art consultants, corporations and private collectors. He is a past recipient of the prestigious Pollock-Krasner Artist Grant. He holds a Certificate of Art from the Pennsylvania Academy of the Fine Arts and an MFA from Vermont College of Fine Arts.
His current paintings are titled Urban Planning and Aerial Landscapes. Here is the artist’s description of the work:
My paintings are fractal landscapes and cityscapes derived from digitally altered topographical maps and satellite images. I work in the tradition of the Hudson River School Luminist painters, who used perspective, magnified scale and dramatic lighting to explore the Sublime, the feeling of rapture or awe caused by the beauty and terror of nature. I use Luminist techniques of color and solarization and apply the aesthetics of fractal patterns to simulate a view of earth as taken from a satellite.