
We are proud to present a new group show entitled, The Pattern of Patience, curated by Omar Lopez-Chahoud. The show is on view June 17-August 15, 2021.
The Pattern of Patience is an exhibition that brings together ten artists from diverse cultural backgrounds whose works evoke topics of gender, race, and class in the face of social inequality in a global economy that favors only a few. Technology and greed have become the major forces behind today’s political arena, and yet the labor and cultural production the participating artists work in embraces tradition, personal histories and experience to better understand the construction of a contemporary identity that has lost patience with the status quo.
Teresa Lanceta’s textile works serve as a metaphor for the current and historical dynamic that exists between Spain and the African continent. Lanceta spent time in Morocco learning textile techniques that she incorporates into her beautiful geometric abstractions. Nyugen Smith blends his Caribbean heritage with growing up in Newark, NJ to reference the black experience in The United States. Multiple elements in Smith’s mixed media floor installation confront the viewer and reference a fragmented history that needs to be reconstructed. Marie Watt’s bead works use text to bring attention to her community’s needs. Watt is a member of the Seneca Nation, learning the craft from her mother who also learned it from hers, passing on the tradition. Hellen Ascoli uses weaving in collaboration with indigenous groups in Guatemala as the core of her work to bring attention to the cultural and social-political significance of those groups in the Central American region.
Tamar Ettun incorporates fabric, sculpture, and ceramics into visceral performance-based installations that use the body as a point of reference. Ignacio Gatica brings attention to the uprisings in Chile and the U.S. in a photo installation that juxtaposes the boarded storefronts in both countries. Alicia Henry‘s wall installation emphasizes the tradition of American portraiture and racial stereotypes. Henry appropriates southern cultural motifs to elevate and honor her personal history. She raises above it to become the protagonist in control of the story. Jose Luis Martinat uses discarded packing materials from agricultural and other industries in Peru to talk about global economies. Martinat uses gold threads to make embroidery on such materials, elevating these banners to a religious experience.
STUDIO LENCA reflects on ideas of difference, knowledge, and visibility through portraiture and installations. His work centers around the history and culture of El Salvador, as well as the queer experience. He often employs Salvadoreño iconography to address contemporary issues of the art world and beyond.
Renee Stout objects and paintings address the Hoodoo culture and conjuring still very extant in parts of the US Southeast with roots in the African continent and its metamorphosis through slavery in the US to the present. Device for Stopping the Evil Eye is an apt title for a very old small, rusted metal mechanical device of unknown origin with a mirror now repurposed to keep away evil spirits.
The Pattern of Patience – change comes slowly and at best unevenly. These artists all underscore their hopes and dreams and how will the 21st century progress? Will we adequately attend to global warming, to crippling wealth disparity, to a resurgence of anti-democratic autocracies? Each artist sees beauty in their cultures that need to be valued and safeguarded.
Participating Artists’ CV:
Ignacio Gatica CV 2021
Installation View

Installation view 4

Installation view 3

Installation view 2

Installation view 1

The Pattern of Patience install first floor view 2

Teresa Lanceta Sin Titulo

Jose Luis Martinat_ Country Problem and POssibility (1)

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Helen Ascoli In the Thread I Found (for Lupita)

Tamar Ettun, ceramics

Teresa Lanceta Abril

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Works In Exhibition

Country: Problem and Possibility
José Luis Martinat
2021
Silver metal wire on plastic fabric.
68.89 x 43.3 in (175 cm x 110 cm).

Ynfierno
Jose Luis Martinat
2021
Silver metal wire on velvet and metal structure.
66.9 x 49.2 in (170 cm x 125 cm).

Turtle Island
Marie Watt
2021
Vintage Italian beads, industrial felt and thread.
11 x 33.5 in.

For God and Money
José Luis Martinat
2021
Silver metal wire on velvet and metal structure.
66.9 x 49.2 in (170 cm x 125 cm).

Trauma
Nyugen Smith
2015-2019
Hand-built porcelain, vinyl floor tiles, foamboard, found porcelain boy and girl and net.
Dimensions variable.

Untitled
Alicia Henry
2005-2020
Wood, compressed board, acrylic, graphite, colored pencil, coffee, tea, marker.
Dimensions variable.

Abril
Teresa Lanceta
2003
Wool and cotton.
70.9 x 48.8 in (180 x 124 cm).

Sin Título
Teresa Lanceta
2000
Cotton, wool and taffeta.
53.9 x 66.9 in (137 x 170 cm).

Elixir Eleven
2018
Mixed media assemblage with bottle containing organic materials.
8 3/4 x 8 3/4 x 5 in.

Device for Stopping the Evil Eye
2020
Wood, mixed media and found objects.
3 1/2 x 4 x 1 in.

Bellona Goddess of War
2018
Acrylic and mixed media on panel.
24 x 24 in.

Bayuncos
STUDIO LENCA
2021
Oil on canvas.
42 x 42 in.

Bayuncos
STUDIO LENCA
2021
Oil on canvas.
42 x 42 in.

Caravan
Hellen Ascoli
2019
Fabric woven on the back-strap loom, found fabric and wooden
base designed by the artist.
63 x 15.7 x 15.7 in (160 x 40 x 40 cm)

En los hilos encontré (para Lupita) / In the threads I found (for Lupita)
Hellen Ascoli
2020
Cotton woven on back strap loom, machine sewn
19.7 x 25.6 in.

Stones Above Diamonds
Ignacio Gatica
2020-2021
Aluminium shelves, LED screen, card-swiping kiosk with attached monitor and a collection of encoded smart-card elements created by Tommy Martinez.
Dimensions variable.

Lilit the Empathic Demon (Misha Vessel)
Tamar Ettun
2021
Rope and wood.
69x25x29 in.

Lilit the Empathic Demon (M Vessel)
Tamar Ettun
2021
Rope and wood
44 x 44 x 44 in.

Lilit Incantation Bird 4
Tamar Ettun
2021
Ceramic
12 x 14.5 x 8 in.

Lilit Incantation Bird 3
Tamar Ettun
2021
Ceramic
7.5 x 7.5 x 4 in.

Lilit Incantation Bird 2
Tamar Ettun
Lilit Incantation Bird 2
Ceramic
8.75 x 9 x 3.75 in.

Lilit Incantation Bird 1
Tamar Ettun
2021
Ceramic
18.75 x 8 x 3.5 in.

Dead Sea
Tamar Ettun
2021
Hand dyed parachute fabric and metallic gold tacks
Dimensions variable

Madras Egungun on Martinique Hilltop
Nyugen E. Smith
2017
Color photograph (Epson Cold Press paper with archival ink)
32.5 x 21.5 in.

Companion Species (Stubborn)
Marie Watt
2021
Blankets, thread, and Czech glass seed beads.
14.5 x 22.5 in.