From January 15 through March 13, 2004

 

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December 9, 2003, New York, NY -  Haim Chanin Fine Arts  presents Winds, an exhibition of works by Ariadna Capasso, Vicky Colombet, Virginia Katz, and Shirley Paes Leme, on view from January 15 through March 13, 2004. Each artist uses a common element, the wind, as a point of departure, as inspiration, to create unique works of art. In Ariadna Capasso's video-installation the viewer is enveloped by the rhythmical sounds and images of a storm by the sea. Vicky Colombet's subtle wax and oil paintings are reminiscent of the texture and feel of a landcsape molded by the action of the wind. Virginia Katz uses nature as the creative agent; she ties pens and markers to tree branches, letting them record the shifts and intensity of air currents. In essence, the wind records its own history. Shirley Paes Leme paints with smoke; her techniques include imprinting smoke on glass and using soot to create lyrical and abstract images of the evanescent.

 

The wind has always fed the imagination of humans and has come to symbolize life and fertility.  It is associated in many cosmogonies with the cycles of nature and, thus, with change and renewal. From a gentle breeze to a hurricane, the wind is characterized by sound, intensity, and movement. The wind is ungraspable, unpredictable, fluctuating, yet of incredible strength. The magic of the wind resides in its invisible force; its meanderings are only made evident by their effect on the things in its path. The challenge we posed to the four artists in the show was to capture the essence of the wind with a visual vocabulary.  

 

One of the abrupt or violent manifestations of the wind is the tempest. An impending storm places us in a state of alertness. Capasso's video-installation Vivir sin después, to live with no afterwards, recreates this moment of heightened awareness that is triggered by the perception of potential danger, by a situation outside of the norm. The multi-media piece is installed in a sand-filled room. The changing rhythm of the images and sound makes the viewer teeter between exhilaration and a sense of urgency. Unaware of the danger, children continue to play. The audience partakes in the game, the ritual, which helps the children and us to cope with the changing surroundings.

 

Born in Buenos Aires in 1974, Ariadna Capasso received her M.F.A. from the University of Colorado, Boulder in 2000. Her videos have been screened at Scope Art Fair, at the 2nd International Congress of Latino Artists, New York, at Primavera en La Habana, Cuba, and at the Non Still Art Festival, Boston and Brooklyn. Two large-scale collaborative video installations, La Conquista and Urban Corridor (which is also part of Rhizome.org), were shown at the CU Art Galleries, Boulder. She has exhibited at Galería Galou, Hatton Galleries, Colorado State University, the Boulder Museum of Contemporary Art, and Escuela Nacional Preparatoria, Mexico City, among others. In 2003, Capasso received a grant from the Manhattan Community Arts Fund. She currently lives and works in New York.

 

In her attempt to capture the wind, Vicky Colombet, largely influenced by Asian landscape art, does not simply depict Nature; she tries to imitate its actions, to become one with Nature. Blending wax and oil, Colombet plays with our eye. Her paintings fluctuate between abstraction and representation, transparency and opacity, matter and illusion, breath and silence. From far, her work has the grain and the depth of a dune brushed by the wind; it is only upon close scrutiny that one realizes the infinite delicacy, smoothness and intricacy of the surface.

 

In 1982, Vicky Colombet decided to dedicate her life to painting. She left her own successful design firm to study with the renowned master Henri Dimier. Since then she has  exhibited widely both in Europe and in the USA. She has had individual exhibitions at Evo Gallery, Santa Fe, J. Guhl Gallery, Montreux, Switzerland, Alain Margaron Gallery, Paris, Busch Gallery, Germany, and Mossa Gallery / Museum of Nice, France, among others. She has also participated in numerous group exhibitions. In 2001, she received the Adolph and Esther Gottlieb Foundation's grant. Born in France, she currently lives and works in New York.

 

Virginia Katz devices mapping systems to apprehend intangible experiences, invisible structures and motion. The process is dependent on direct interaction and collaboration with the subject, usually natural phenomena, which becomes, together with the artist, the creative agent. In the present Wind Diagrammatic series, Katz developed a system that would allow the wind to record itself. During the California storms she tied markers and pens to tree branches, which left traces of their movement on the paper. This procedure is meant to bring to our consciousness a visual awareness of the wind that extends beyond our familiar experience. The marks left by circulating air are a reflection of the landscape, since the obstructions in the topography are what affect its flow.  Mapping unfixed phenomena is a way of capturing and thinking about the landscape by means other than the immediately visible. This perception of the multidimensionality of the system in which we live invites a deeper sense of awareness.

 

Virginia Katz was born in Brooklyn, NY, in 1956. She lives and works in Southern California.   Katz is an M.F.A. candidate at California State University, Long Beach. Her works have been exhibited at Inflatable Evolution-White Lodestone, Werby Gallery, Long Beach, The G.A.S. Station, Max L. Gatov Gallery, Long Beach, curated by Doug Harvey (Art Critic for LA Weekly), Irvine Fine Arts Center, Irvine, CA, Insights 2002, University Art Museum, Long Beach, CA, The Second City Council Art Gallery, Juried by Tyler Stallings (Curator of Exhibitions, Laguna Art Museum, CA), Long Beach, CA, and Saddleback College Art Gallery, Mission Viejo, CA.

 

Shirley Paes Leme tries to seize the evanescent, to imbue the intangible with shape and volume. She draws with smoke. Her works trace a breath, an exhalation, the gust of wind, the cloud's path. She gives permanence to the impermanent. To capture the transient, Paes Leme developed a new technique pyrophytography, which consists of applying a colorless liquid to paper or cloth; the drawing is then revealed by the action of the heat from a flame. Such as the meanderings of the wind, or of history, the final result is always  unpredictable.

 

Born in Brazil in 1955, Shirley Paes Leme lives and works in São Paulo. A Fulbright scholarship recipient, she graduated from John F. Kennedy University, Berkeley in 1986. In 1999, she was a resident artist at Künstlerhaus Bethanien, Berlin.  She has been  teaching at the Universidade Federal de Uberlândia since 1979.

 

Paes Leme has had solo exhibitions at Kunsthaum Gallery, Berlin, Museum of Contemporary Art of Rio Grande do Sul, Porto Alegre, Jaspers Gallery, Munich, Brazilian-American Cultural Institute, Washington, DC, São Paulo Museum of Modern Art, and Fiberworks Gallery, Berkeley, among others. She has exhibited at the São Paulo Biennial, the Fundação Calouste Gulbenkian, Lisbon, the Musée d'Art Contemporain, Bordeaux, and the 7th Havana Biennial.

 

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Find Out More about Vicky Colombet

 

 

 

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Haim Chanin Fine Arts All Rights Reserved (C) 2003