I’m excited to share that Peek, Peep, and Peer will be part of Tag Gallery’s CA Open 2017, on display in Los Angeles, August 9-26.
Views is my 2017 fine art collection that explores the human condition through a visual language shaped by light, power, communications, sexuality, and the landscape. Each set explores how we perceive, using a variety of media to analyze the view.
Monument Views at The Women in Games International E3 Party 2017 hosted by Two Bit Circus in downtown Los Angeles. These digital artworks were displayed on 12 inch screens.
How do you think about art? You just start thinking. I’ve had the pleasure of spending a year in thoughtful art practice with Eve Chayes Lyman and others. This article explores a small sample of Eve’s art and what I think about when I view it.
Her lens travels, much of her imagery is taken in Afghanistan, North Africa, and Latin America. The dynamism of her Arab Spring images — from Cairo, Morocco, and Tunisia — are as rich as her documentary-style views into the lives of others.
Complimenting her talents at photography, Eve has a body of drawn and painted figures that simultaneously explores and exposes the human form. Prolific and impassioned, each piece is a window opening into its own reality.
“The art I make is perhaps a result of all my thoughts,” Eve wrote to me, “but when I make art, I never think.
“I try to ride the wave,” she continued, describing the way she works as a spiritual and alchemical process, “allowing each element [of the painting] an unfiltered, uncontrolled freedom, knowing at any moment I could crash and burn — and often do. It is a painful, exhilarating process.”
I find her work evocative of Egon Schiele. But unlike Schiele, whose figures were freed by hard lines and angles, Eve’s portraits are liquid, almost lyrical in composition — a feminine counterpart to Schiele’s masculinity.
Blue Moon, for instance, flows like an aerial view of a river delta, the florescent ink creating blooms that form into a proud display of the feminine body. The divot of the subject’s hip may be one of the most divine aspects of the piece and, true to style, highlights the unique beauty of imperfection that is so characteristic of her works.
“The human figure,” she explains, “naked, vulnerable, unencumbered by context, has an infinite capacity to express and embody the essence and complexity of what it means to be human.”
Indeed, Eve’s subjects are most masterful when she allows her hand and the media to drive the form of the painting. Her yellow and ochre portrait of JJ carries a weight of age and experience in his gaze because she allows her pen to dynamically form the eyes. We feel the depth of the piece as the liquid watercolor application meets the layered and staccato swirl of the pen.
Experimentation is a vibrant aspect of Eve’s craft. Constantly exploring, Eve works in a variety of media. Fragment, for example, is charcoal on newspaper, Red is pastel on gesso and acrylic ground, and many works incorporate watercolor, pencil, ink, and other textures.
Though her paintings vary in media, her consistency in subject and style creates a collection that is both accessible and individual. Within Eve’s art you are capable of finding not only a mirror to your own soul but one that reflects back the heart of what it is to be human.
Eve Chayes Lyman is a photographer and graphic artist. Her work has appeared in various publications including Harvard Magazine and Marie Claire and has exhibited in national and international venues.
You can presently see Eve’s work at the Neutra Museum in Silverlake. She and I will be showing together at the Canoga Park Youth Arts Center for our pop-up show, Small Groups, November 14-20. Visit her Facebook page for currently available paintings, including those featured here.
The Kellogg University Art Gallery at Cal Poly Pomona delights art lovers with Ink & Clay 42. Artists explore both media in a variety of forms and — whether by curatorial design, artistic coincidence, or some other joyous trick of fate — tackle visions of utopia and dystopia in a contemporary context.
The ink works, including the Juror’s Choice Purchase Award Winners, David Avery’s No. 2 and No. 4 from The Coming of the Cocklicranes series, and my own Pulse, provide the darker view.
From the lonely paths in Anthony Lazorko and Edgar Ivan Rincon’s woodblock print, Crossroads, to the dual views of Colleen M. Kelly’s Naked Under Her Clothes pieces, the ink works challenge by asking viewers to engage with the unexamined. Indeed, Kelly’s Cursive Study, which received on of the Juror’s Choice ink awards, is a beautiful testament to the dying art of handwriting.
The flicker of Roland S. Escalona’s Close Quarters is more reminiscent of a perpetual storm of life, even in its electric patterning, than it is of the light one might seek in life. And though the crisp, white, neatly cut row-houses huddle close, they ultimately feel cold, the individual lost in a hegemony of enforced sameness.
As a counterpoint, the clay works were often delicate, bright, and reflective of hope and promise.
Meriel Stern’s showstopper, Domestic Flow 3, an installation of porcelain ‘basket’ forms, is beautifully reminiscent of the sea. It’s undulations, structure, and color are both wave and whale-like, while the subtle blue gray swirls mimic microscopic life. You wish to fill each precisely hung vessel with whispered memories.
Similarly, Ethan Snow transports us to a bright and mechanical future; the pastel pinks, golds, and whites in his porcelain ‘idols’ have both the whimsy of space-fantasy and the thoughtfulness of form. Snow’s Central won the Curator’s Choice Honorable Mention.
Whimsy was also on display with Gina Lawson Egan and Annie Nguyen’s latest works. Both artists, staples of the Ink & Clay exhibitions, delight with new stories and characters in their familiar creative styles.
Not all ink works were dystopian, such as Barbara Foster’s woodcut, Telltale Signs, and not all clay works were hopeful. Pascual Arriaga’s Exposed is a truly sobering sculpture that reveals as much as hides.
Overall, the exhibition delivers on its long running promise for fine art. There were a couple of misses for me but I’m honored, once again to be among such a talented cast of artists. From virtual reality to porcelain quality, Ink & Clay 42 is an excellent destination for art lovers.
Peter Mays, executive director of the Los Angeles Art Association and Gallery 825, served as curatorial juror alongside Denise Kraemer and Patrick Crabb, who served as jurors for ink and clay works respectively. The exhibition, which was curated by The Kellogg University Gallery’s own Michele Cairella Fillmore, runs through October 27, 2016. You can view all the works, including mine, on the Ink & Clay 42 site.
Update 10/19 – I had wrongly spelled Meriel Sterns name, misnamed Barbara Foster, and incorrectly named the shows curator. Corrections are reflected above with apologies.
The City of Los Angeles Department of Cultural Affairs’ Los Angeles Municipal Art Gallery presents
Open Call 2016: Play
August 14 to September 18, 2016
Opening Reception: Sunday, August 14, 2pm – 5pm
Candy wrappers clothe the bathers as they look, longingly, at their various objects of desire.
Pop Art at the Beach is watercolor, ink, and candy wrappers on 140 lb paper, 42×42 inches, black wooden frame.
K. Ryan Henisey is a queer artist in Los Angeles. The art in his #ArtToEndViolence collection celebrates a passion for important and challenging social justice issues juxtaposed against a veneer of pop art. The superficiality of the genre draws attention to the violence perpetuated against communities marginalized by the dominant culture by forcing the viewer to confront what is meaningful.
Ryan’s other works can be seen at the upcoming Open Show, Play, at LAMAG at Barnsdall on August 14 and later this fall in Oakland for a second installment of Viral: 25 Years from Rodney King. #ArtToEndViolence is on display at the residence gallery at Wilshire / Vermont through 2016 and Slumbering Sea and other select works are on loan to the Newhall Aquarium.