Tag Archives: contemporary art

KESHA BRUCE | Take Me to the Water | Martin Cid Magazine

25 Sep
Kesha Bruce
Kesha Bruce Gifts for Mami Wata, 2022 40 x 30 in. Mixed-media Textile Collage on canvas Courtesy Morton Fine Art and the artist

ART

New Mixed-media Paintings by Kesha Bruce at Morton Fine Art Represent a Crossroads Between Poetry and Praxis

THE FRUITION OF A LONG AND INTUITIVE PROCESS, BRUCE’S WORKS SUGGEST A CONSTELLATION OF SIGNSGREATER THAN THE SUM OF THEIR PARTS.

BY ART MARTIN CID MAGAZINE

SEPTEMBER 9, 2022

Washington, D.C. – Morton Fine Art is pleased to announce Take Me to the Water, a solo exhibition of mixed-media paintings by the artist Kesha Bruce. An intuitive combination of painting, collage and textile art, Bruce’s work represents the culmination of a holistic creative practice developed by the artist over several decades. Her eighth exhibition with the gallery, Take Me to the Water will be on view from September 17 to October 11, 2022 at Morton’s Washington, D.C. space (52 O St NW #302).

Kesha Bruce
Kesha Bruce Waves Singing for the Moon, 2022 40 x 30 in. Mixed-media Textile Collage on canvas Courtesy Morton Fine Art and the artist

The wall works of Kesha Bruce are less discrete executions of a concerted vision than the steady accumulation of a long creative process. Referred to by the artist simply as paintings, these mixed-media compositions are in fact patchworks of painted fabric, individually selected from Bruce’s vast archive and pasted directly onto the canvas in a textile collage that can sometimes resemble a quilt. The result of a slow and perpetual artistic method, each work represents hours of treatment, selection and juxtaposition until the whole becomes manifestly greater than its parts. Bruce’s process ends with her titling of each work: a poetic articulation of what the work is at this point capable of expressing for itself.

Much like water, the routine behind Bruce’s artmaking is cyclical and in service to a greater equilibrium – a pointed contrast to many of the epitomic works that make up much of the traditional art histories of the past several centuries, and which tend to aggressively emphasize rupture, madness and unsustainability as the most fruitful mothers of invention. Bruce’s process is distinctly different, and points to more a promising alternative for artmaking, in which creativity and lived experience are inseparably intertwined. For Bruce, this means that art can be not only a form of self-care but an act of self-discovery. Noting that her color palette has become markedly warmer since she moved to Arizona (where she currently serves as the Director of Artist’s Programs for the state’s Commission on the Arts), the artist delineates her method as a form of strategic openness – making room and taking time to allow the materials to guide her toward their final form, rather than the other way around.

Kesha Bruce
Kesha Bruce She was Born to Water, 2022 60 x 48 in. Mixed-media Textile Collage on canvas Courtesy Morton Fine Art and the artist

The show’s title, Take Me to the Water, alludes to a 1969 rendition of the traditional gospel song by Nina Simone at the University of Massachusetts Amherst. Bruce locates something transcendent in the recording of Simone’s performance that encapsulates what any form of artmaking, at its best, can be: a conversation between oneself and the divine. Deftly aware of the elemental power of water as a force that follows its own paths and forms its own shapes, Bruce identifies her artistic process closely with this element, and notes how the transcendental effects which result from it can be as overwhelming and rhythmic as the ocean waves of Big Sur.

As an exhibiting artist for over 25 years, Bruce has steadily oriented her craft toward capturing and encouraging the process of artmaking as an end in its own right – a way both of making something new and taking stock of oneself. As an administrator who oversees the creative programming for the entire state of Arizona, Bruce is intuitively attuned to the reciprocal relationship between transcendent acts of self-expression and the quotidian struggle to survive. In this role, she is a mentor and advocate for hundreds of other artists; the example she sets in her own artistic practice, with its emphasis on personal growth over commercial capitulation, thus becomes a form of potent political praxis.

Kesha Bruce
Kesha Bruce Memory of Matala, 2022 60 x 48 in. Mixed-media Textile Collage on canvas Courtesy Morton Fine Art and the artist

Kesha Bruce (b. 1975, Iowa). Born and raised in Iowa, Bruce completed a BFA from the University of Iowa before earning an MFA in painting from Hunter College in New York City. Bruce has been awarded fellowships from the New York Foundation for the Arts (NYFA), The Vermont Studio Center, The CAMAC Foundation and the Puffin Foundation. Her work is included in the collections of The Smithsonian Museum of African American History and Culture (14 pieces), The Amistad Center for Art and Culture, The University of Iowa Women’s Center, The En Foco Photography Collection and MOMA’s Franklin Furnace Artist Book Collection. She has been represented by Morton Fine Art since 2011.

In addition to her studio practice, Bruce has been the Artist Programs Manager at the Arizona Commission on the Arts since 2019. She also serves as the Board Chair of Tessera Art Collective, a non-profit organization that supports and elevates the work and practices of BIPOC women artists working in abstraction. Bruce is also co-founder of Blac k Girl Basel – the only event during Miami Art Week intentionally created for Black women artists, creatives, entrepreneurs, activists and cultural change-makers.

Kesha Bruce
Kesha Bruce Gorée Kept Her Secrets, 2022 60 x 48 in. Mixed-media Textile Collage on canvas Courtesy Morton Fine Art and the artist

Morton Fine Art

Founded in 2010 in Washington D.C. by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora.

52 O St NW #302, Washington, DC 20001, United States

KESHA BRUCE | The Truth in This Art Podcast

22 Sep

The Truth In This Art – A Baltimore Podcast « »Artist Kesha Bruce

a day ago 39:06 

 

 Play

 MP3Episode home

Brief summary of episode:

Kesha Bruce, Born and raised in Iowa, she completed a BFA from the University of Iowa before earning an MFA in painting from Hunter College in New York City. Kesha Bruce has been awarded fellowships from the New York Foundation for the Arts (NYFA), The Vermont Studio Center, The CAMAC Foundation and the Puffin Foundation. Her work is included in the collections of The Smithsonian Museum of African American History and Culture (14 pieces), The Amistad Center for Art and Culture, The University of Iowa Women’s Center, The En Foco Photography Collection and MOMA’s Franklin Furnace Artist Book Collection. She has been represented by Morton Fine Art since 2011.

Morton Fine Art is pleased to announce Take Me to the Water, a solo exhibition of mixed-media paintings by artist Kesha Bruce. An intuitive combination of painting, collage and textile art, Bruce’s work represents the culmination of a holistic creative practice developed by the artist over several decades. Her eighth exhibition with the gallery, Take Me to the Water will be on view from September 17 to October 11, 2022 at Morton’s Washington, D.C. space.

The wall works of Kesha Bruce are less discrete executions of a concerted vision than the steady accumulation of a long creative process. Referred to by the artist simply as paintings, these mixed-media compositions are in fact patchworks of painted fabric, individually selected from Bruce’s vast archive and pasted directly onto the canvas in a textile collage that can sometimes resemble a quilt. The result of a slow and perpetual artistic method, each work represents hours of treatment, selection and juxtaposition until the whole becomes manifestly greater than its parts. Bruce’s process ends with her titling of each work: a poetic articulation of what the work is at this point capable of expressing for itself.

Much like water, the routine behind Bruce’s artmaking is cyclical and in service to a greater equilibrium – a pointed contrast to many of the epitomic works that make up much of the traditional art histories of the past several centuries, and which tend to aggressively emphasize rupture, madness and unsustainability as the most fruitful mothers of invention. Bruce’s process is distinctly different, and points to more a promising alternative for artmaking, in which creativity and lived experience are inseparably intertwined. For Bruce, this means that art can be not only a form of self-care but an act of self-discovery. Noting that her color palette has become markedly warmer since she moved to Arizona (where she currently serves as the Director of Artist’s Programs for the state’s Commission on the Arts), the artist delineates her method as a form of strategic openness – making room and taking time to allow the materials to guide her toward their final form, rather than the other way around.

The show’s title, Take Me to the Water, alludes to a 1969 rendition of the traditional gospel song by Nina Simone at the University of Massachusetts Amherst. Bruce locates something transcendent in the recording of Simone’s performance that encapsulates what any form of artmaking, at its best, can be: a conversation between oneself and the divine. Deftly aware of the elemental power of water as a force that follows its own paths and forms its own shapes, Bruce identifies her artistic process closely with this element, and notes how the transcendental effects which result from it can be as overwhelming and rhythmic as the ocean waves of Big Sur.

As an exhibiting artist for over 25 years, Bruce has steadily oriented her craft toward capturing and encouraging the process of artmaking as an end in its own right – a way both of making something new and taking stock of oneself. As an administrator who oversees the creative programming for the entire state of Arizona, Bruce is intuitively attuned to the reciprocal relationship between transcendent acts of self-expression and the quotidian struggle to survive. In this role, she is a mentor and advocate for hundreds of other artists; the example she sets in her own artistic practice, with its emphasis on personal growth over commercial capitulation, thus becomes a form of potent political praxis.

The Truth In This Art

The Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond’s arts and culture.

Mentioned in this episode:

Kesha Bruce
Come see Kesha Bruce’s 8th exhibition with Morton Fine Art starting Sept. 17

To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.

Available Artwork by KESHA BRUCE.

KESHA BRUCE | Take Me to the Water in See Great Art

20 Sep

ART IN THE NORTHEAST

Kesha Bruce paintings at Morton Fine Art in Washington, D.C.

BY CHADD SCOTT POSTED ON 0 COMMENTS

Kesha Bruce, Kesha Bruce Waves Singing for the Moon, 2022 40 x 30 in. Mixed-media Textile Collage on canvas Courtesy Morton Fine Art and the artist.
Kesha Bruce, Kesha Bruce Waves Singing for the Moon, 2022 40 x 30 in. Mixed-media Textile Collage on canvas Courtesy Morton Fine Art and the artist.

Morton Fine Art presents “Take Me to the Water,” a solo exhibition of mixed-media paintings by Kesha Bruce. An intuitive combination of painting, collage and textile art, Kesha Bruce paintings represent the culmination of a holistic creative practice developed by the artist over several decades. Her eighth exhibition with the gallery, “Take Me to the Water” will be on view from September 17 to October 11, 2022 at Morton’s Washington, D.C. space (52 O St NW #302).

The wall works of Kesha Bruce are less discrete executions of a concerted vision than the steady accumulation of a long creative process. Referred to by the artist simply as paintings, these mixed-media compositions are in fact patchworks of painted fabric, individually selected from Bruce’s vast archive and pasted directly onto the canvas in a textile collage that can sometimes resemble a quilt. The result of a slow and perpetual artistic method, each work represents hours of treatment, selection and juxtaposition until the whole becomes manifestly greater than its parts.

Bruce’s process ends with her titling of each work: a poetic articulation of what the work is at this point capable of expressing for itself.

Much like water, the routine behind Bruce’s artmaking is cyclical and in service to a greater equilibrium – a pointed contrast to many of the epitomic works that make up much of the traditional art histories of the past several centuries, and which tend to aggressively emphasize rupture, madness and unsustainability as the most fruitful mothers of invention. Bruce’s process is distinctly different, and points to more a promising alternative for artmaking, in which creativity and lived experience are inseparably intertwined. For Bruce, this means that art can be not only a form of self-care but an act of self-discovery.

Noting that her color palette has become markedly warmer since she moved to Arizona (where she currently serves as the Director of Artist’s Programs for the state’s Commission on the Arts), the artist delineates her method as a form of strategic openness – making room and taking time to allow the materials to guide her toward their final form, rather than the other way around.

The show’s title, “Take Me to the Water,” alludes to a 1969 rendition of the traditional gospel song by Nina Simone at the University of Massachusetts Amherst. Kesha Bruce locates something transcendent in the recording of Simone’s performance that encapsulates what any form of artmaking, at its best, can be: a conversation between oneself and the divine.

https://e3343eeda4fdbe43f0a924ca968222bf.safeframe.googlesyndication.com/safeframe/1-0-38/html/container.html

Deftly aware of the elemental power of water as a force that follows its own paths and forms its own shapes, Bruce identifies her artistic process closely with this element, and notes how the transcendental effects which result from it can be as overwhelming and rhythmic as the ocean waves of Big Sur.

As an exhibiting artist for over 25 years, Kesha Bruce has steadily oriented her craft toward capturing and encouraging the process of artmaking as an end in its own right – a way both of making something new and taking stock of oneself. As an administrator who oversees the creative programming for the entire state of Arizona, Bruce is intuitively attuned to the reciprocal relationship between transcendent acts of self-expression and the quotidian struggle to survive. In this role, she is a mentor and advocate for hundreds of other artists; the example she sets in her own artistic practice, with its emphasis on personal growth over commercial capitulation, thus becomes a form of potent political praxis.

https://e3343eeda4fdbe43f0a924ca968222bf.safeframe.googlesyndication.com/safeframe/1-0-38/html/container.html

About the Artist

Kesha Bruce (b. 1975, Iowa). Born and raised in Iowa, Bruce completed a BFA from the University of Iowa before earning an MFA in painting from Hunter College in New York City. Bruce has been awarded fellowships from the New York Foundation for the Arts (NYFA), The Vermont Studio Center, The CAMAC Foundation and the Puffin Foundation.

Her work is included in the collections of The Smithsonian Museum of African American History and Culture (14 pieces), The Amistad Center for Art and Culture, The University of Iowa Women’s Center, The En Foco Photography Collection and MOMA’s Franklin Furnace Artist Book Collection.

She has been represented by Morton Fine Art since 2011.

Kesha Bruce is also co-founder of Black Girl Basel – the only event during Miami Art Week intentionally created for Black women artists, creatives, entrepreneurs, activists and cultural change-makers.

Kesha Bruce, Memory of Matala, 2022 60 x 48 in. Mixed-media Textile Collage on canvas Courtesy Morton Fine Art and the artist.
Kesha Bruce, Memory of Matala, 2022 60 x 48 in. Mixed-media Textile Collage on canvas Courtesy Morton Fine Art and the artist.

https://e3343eeda4fdbe43f0a924ca968222bf.safeframe.googlesyndication.com/safeframe/1-0-38/html/container.html

Morton Fine Art

Founded in 2010 in Washington D.C. by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice.

Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora.

Available Artwork by KESHA BRUCE.

KESHA BRUCE | Take Me to the Water in East City Art

18 Sep
Kesha Bruce, Memory of Matala, 2022, 60″x48″, mixed media textile collage on canvas

About Take Me to the Water

Morton Fine Art is pleased to announce Take Me to the Water, a solo exhibition of mixed-media paintings by artist Kesha Bruce. An intuitive combination of painting, collage and textile art, Bruce’s work represents the culmination of a holistic creative practice developed by the artist over several decades. Her eighth exhibition with the gallery, Take Me to the Water will be on view from September 17 to October 11, 2022 at Morton’s Washington, DC space.

The wall works of Kesha Bruce are less discrete executions of a concerted vision than the steady accumulation of a long creative process. Referred to by the artist simply as paintings, these mixed-media compositions are in fact patchworks of painted fabric, individually selected from Bruce’s vast archive and pasted directly onto the canvas in a textile collage that can sometimes resemble a quilt. The result of a slow and perpetual artistic method, each work represents hours of treatment, selection and juxtaposition until the whole becomes manifestly greater than its parts. Bruce’s process ends with her titling of each work: a poetic articulation of what the work is at this point capable of expressing for itself.

Much like water, the routine behind Bruce’s artmaking is cyclical and in service to a greater equilibrium – a pointed contrast to many of the epitomic works that make up much of the traditional art histories of the past several centuries, and which tend to aggressively emphasize rupture, madness and unsustainability as the most fruitful mothers of invention. Bruce’s process is distinctly different, and points to more a promising alternative for artmaking, in which creativity and lived experience are inseparably intertwined. For Bruce, this means that art can be not only a form of self-care but an act of self-discovery. Noting that her color palette has become markedly warmer since she moved to Arizona (where she currently serves as the Director of Artist’s Programs for the state’s Commission on the Arts), the artist delineates her method as a form of strategic openness – making room and taking time to allow the materials to guide her toward their final form, rather than the other way around.

The show’s title, Take Me to the Water, alludes to a 1969 rendition of the traditional gospel song by Nina Simone at the University of Massachusetts Amherst. Bruce locates something transcendent in the recording of Simone’s performance that encapsulates what any form of artmaking, at its best, can be: a conversation between oneself and the divine. Deftly aware of the elemental power of water as a force that follows its own paths and forms its own shapes, Bruce identifies her artistic process closely with this element, and notes how the transcendental effects which result from it can be as overwhelming and rhythmic as the ocean waves of Big Sur.

As an exhibiting artist for over 25 years, Bruce has steadily oriented her craft toward capturing and encouraging the process of artmaking as an end in its own right – a way both of making something new and taking stock of oneself. As an administrator who oversees the creative programming for the entire state of Arizona, Bruce is intuitively attuned to the reciprocal relationship between transcendent acts of self-expression and the quotidian struggle to survive. In this role, she is a mentor and advocate for hundreds of other artists; the example she sets in her own artistic practice, with its emphasis on personal growth over commercial capitulation, thus becomes a form of potent political praxis.

About Kesha Bruce
Kesha Bruce (b. 1975, Iowa) Born and raised in Iowa, she completed a BFA from the University of Iowa before earning an MFA in painting from Hunter College in New York City. Kesha Bruce has been awarded fellowships from the New York Foundation for the Arts (NYFA), The Vermont Studio Center, The CAMAC Foundation and the Puffin Foundation. Her work is included in the collections of The Smithsonian Museum of African American History and Culture (14 pieces), The Amistad Center for Art and Culture, The University of Iowa Women’s Center, The En Foco Photography Collection and MOMA’s Franklin Furnace Artist Book Collection. She has been represented by Morton Fine Art since 2011.

About Morton Fine Art
Founded in 2010 in Washington, DC by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora.

Morton Fine Art founded the trademark *a pop-up project in 2010. *a pop-up project is MFA’s mobile gallery component which hosts temporary curated exhibitions nationally.

Gallery hours: By appointment only.

Morton Fine Art is located at 52 O St NW #302.

Available Artwork by KESHA BRUCE

di Rosa Museum of Contemporary Art | ADIA MILLETT | A Force of Nature

16 Jun

JULY 23 – OCTOBER 30, 2022

adia millett: a force of nature | opening july 23

“the land at di rosa… changing like the direction of the seasonal smoke, reveals to us that with death comes new life.” -adia millett

Adia Millett: A Force of Nature presents new paintings, textiles and sculptural installations by the Oakland-based artist, created in response to di Rosa’s distinctive landscape. “The land at di Rosa,” Millett writes, “lush with soaring vultures, cracks in the decomposing earth, traces of snakeskin, and endless layers of shadows, arouse our creative minds to remember where we come from. The multitude of colors, changing like the direction of the seasonal smoke, reveals to us that with death comes new life.”

Ranging across diverse media, Millett’s practice is rooted in “taking things apart, removing, replacing, cutting, pasting, sewing and building.” Evoking “the mended shapes of an old quilt, or polygonal segments of a cathedral window,” the works suggest “the importance of renewal and rebuilding, not only through the artistic process, but also through the possibility of transformative change.” Human beings, like earthquakes, forest fires or floods, are also forces of nature.

Millett earned her BFA from UC Berkeley followed by an MFA from CalArts. Her work has been exhibited at institutions including the Studio Museum in Harlem; the Craft and Folk Museum in Los Angeles; the Museum of Contemporary Art, Atlanta; the Santa Monica Museum of Art; and the Contemporary Art Center, New Orleans.

related programs

July 23: opening reception

October 29: Artist talk

triangle
Adia Millett, Snake in the Fire, 2022.
“The countless creatures I witnessed living on the land, including a baby rattler, became mirrors. We are able to see ourselves in other living beings. As they navigate the land, so do we. I imagine the young snake using its senses to transition from the challenges of one season to another. Here the triangle-shaped painting, not only integrated the shades of red to symbolize fire, but blue, green, yellow, and gold, for the water, air, and earth. Like the snake, we move, shed, and thrive.”
a blue and white dress on a wood floor
Quilted Ancestor: Earth (unfinished)
The three Quilted Ancestors titled Sun, Moon, and Earth were created to bring the fabric to life. As a viewer, we can begin to imagine a ghost, spirit, or loved one beneath the shrouds. In turn, the titles suggest that we can then image our planet or the moon as an entity, or family member. The quilts are covered with pieces of fabric that reveal the layers and complexity of who we are.
a pair of blue and white underwear
The Collective ( 1 of 10)
The Collective is a series of ten abstract forms, slightly resembling the shape of a figure or mummy. These forms are designed to float amongst the wall, each one unique and still connected to the others. Millett does not see these as body forms, but rather an energetic trace within the body. Like all the work in this exhibition, they are emblematic of transition, elevation, and the many dimensions of who we are.
a colorful rug with a design
Grandmother is perhaps the most personal piece in this exhibition. It starts with a piece of an unfinished quilt top from Millett’s grandmother. Adia adds hand-stitching in and around it and moves outward creating a mandala of feathers, most of which were collected from the land at Di Rosa. Earth tones surround what Adia calls a “medicine wheel”. Being the great-grandchild of Indigenous and African American slave foremothers, Adia uses her art to pay homage to the woman who came before her. The vast elements of the earthwork as a connection point to her matriarchal lineage.

di Rosa Center for Contemporary Art 5200 Sonoma Hwy, Napa, CA 94559 | 707-226-5991 | Hours | Contact

©2022 di Rosa Terms and Conditions | Privacy Policy | Site Credits

Available Artwork by ADIA MILLETT

Artist ETO OTITIGBE speaks on his piece “Cenotaph” at Morton Fine Art

15 Jun

Video credit: Jarrett Hendrix

I construct speculative objects that echo within a residual future and the reminiscent present. These objects interrupt urban spaces, appearing to be foreign bodies, parts of an unknown whole, or agents of change. – Eto Otitigbe

Washington, D.C. – Morton Fine Art is pleased to present Materiel Remains: Consider this a blueprint, a series of blueprints., a solo exhibition and a new series of works by the multidisciplinary artist Eto Otitigbe. A creator best known for his public art installations and site-specific interventions, Otitigbe’s work revolves around the recovery of lost or repressed historical narratives and their visual possibilities within the public eye. In his first solo exhibition with Morton Fine Art, Otitigbe reflects on the recent history of public art and its institutional deployment. Materiel Remains will be on view from May 28 – June 28, 2022 in MFA’s Washington, D.C. gallery.

ETO OTITIGBE | Surface Magazine | Artist Statement

13 Jun

ARTIST STATEMENT

Eto Otitigbe’s Blueprint for Excavating Unseen Histories

Seeking to bring history’s repressed narratives to light, the Philadelphia artist meticulously engraves remnants of his own public sculptures onto wood panels to create imaginative inquests for future archaeologists.

BY RYAN WADDOUPS

June 13, 2022

“Don’t You Know That Eye Can Read Your Eyes” (2022) by Eto Otitigbe. Courtesy of the artist and Morton Fine Art

Here, we ask an artist to frame the essential details behind one of their latest works.

Bio: Eto Otitigbe, 45, Brooklyn and Philadelphia (@etootitigbe)

Title of workDon’t You Know That Eye Can Read Your Eyes (2022).

Where to see it: “Materiel Remains” at Morton Fine Art Gallery (52 O St NW, #302, Washington, DC) until June 28.

Three words to describe it: Chemistry, polyvisual, medusa.

What was on your mind at the time: Rummaging through my past and trying to get out of my own way. I wanted to create an image that was about seeing through darkness.

An interesting feature that’s not immediately noticeable: Below many thin layers of acrylic paint is an engraved aluminum plate that was treated with a fluid wash of gun-blackener, which brings with it associations to industry and weaponry. There are a few areas where I removed the acrylic paint and you can see the base layer of metal along with subtle reflections of ambient color and light. The color palette is inspired by syntax highlighting color schemes that are used in software programming languages. This color scheme in particular favors green as a base color alongside other saturated colors that create a sort of electrified static against dark black computer screens. Each color is representative of a unique way that language functions while scripting computer code.

How it reflects your practice as a whole: My process starts with drawing linear patterns-abstractions, or abstract-actions, of structural elements from my previous sculptures and public art projects. Rearranging or remixing prior blueprints expands the visual language of each project and conjoins them. Using software and digital fabrication, the drawings are carved into aluminum plates. I work with artists who run machine shops allowing for detours from the computational blueprints. During the engraving process, machines are stopped, and adjusted, toolpaths are changed; resulting in improvised variations. This process creates branches of work as the concept drawing is met with formal concerns raised by the material. Sanding occurs between each layer to create a sense of visual tension between the carved lines and liquid forms. Likened to a kind of excavation, the engraved lines fluctuate between visibility and invisibility among the layers of acrylic and gun blackened.

One song that captures its essence: I keep looking at and looking into this piece. Siba Dub Plate sets the tone for this kind of introspective journey.

Available Artwork by ETO OTITIGBE

ETO OTITIGBE | Materiel Remains

1 Jun
Materiel Remains : Consider this a blueprint, a series of blueprints.
A solo exhibition of new work by ETO OTITIGBE
May 28th – June 28th, 2022
Contact the gallery for viewing by appointment, price list, additional information and acquisition.(202) 628-2787 (call or text)
info@mortonfineart.com

Available Artwork by ETO OTITIGBE
Shadows, 2022, 36″x27″, aluminum and acrylic paint mounted on wood panel
About Materiel Remains
I construct speculative objects that echo within a residual future and the reminiscent present. These objects interrupt urban spaces, appearing to be foreign bodies, parts of an unknown whole, or agents of change. –  Eto OtitigbeMorton Fine Art is pleased to present Materiel Remains: Consider this a blueprint, a series of blueprints., a solo exhibition and a new series of works by the multidisciplinary artist Eto Otitigbe. A creator best known for his public art installations and site-specific interventions, Otitigbe’s work revolves around the recovery of lost or repressed historical narratives and their visual possibilities within the public eye. In his first solo exhibition with Morton Fine Art, Otitigbe reflects on the recent history of public art and its institutional deployment. Materiel Remains will be on view from May 28 – June 28, 2022 in MFA’s Washington, D.C. gallery.
In his work as a painter, sculptor, curator and fabricator, Otitigbe distorts the materialist distinction between blueprint and artifact, as well as the functional and contextual differences between monuments for posterity and temporary obstructions. Assuming a temporal framework that unravels intent and disaggregates historical coherence, the artist recognizes history as a grand artifice formed from the selective privileging of facts. In this conceptual vision, the role of the monument becomes a manifestation of historical record, visualizing and physically implementing preconceived narratives into present public space while making room for echoes of the past to take shape. Otitigbe’s thoughtful, tactile inversions take on the parlance and pose of public art while tacitly alienating in their collective messaging, creating specific objects that are both recognizable and not, and which play around themes of race, imperialism and historical teleology to excavate forgotten pasts and evoke new futures.
Group installation of new works from 2022, 20″x16″, valchromat & acrylic paint mounted on panel

Materiel (sometimes, matériel) refers to equipment, apparatuses, or supplies which are strategically deployed by an institution or group. Primarily a military term, the artist’s co-option of the word in reference to his own work draws attention to the tactility and provenance of his gallery works, as well as the specific geographies of the sites they refer to. Through the incision of engravature, and in traces of paint which stipple each work like a remnant, Otitigbe explores hidden sides of the same artifacts – rummaging through the residue of the large-scale public sculpture projects he’s made over the past four years to rememorialize them from ambiguous perspectives. His fusion of mixed media drawings, sculptural objects, and plate engravings create a new form in turn, somewhere between an object’s schematic conception and its material realization.

Dr. Nova (diptych), 2022, 60″x72″, aluminum and acrylic paint mounted on wood panel
By placing in dialogue the conceptual frameworks, design blueprints, specific histories and local landscapes which led to the realization of each work of public art as a discrete interactive form, Otitigbe unearths a profoundly materialist study of modern signifiers in public space. In his current public projects – including his work as a member of the Design Team for the Memorial to Enslaved Laborers at the University of Virginia in Charlottesville – Otitigbe has been involved in what theorists of Afrofuturism might term “countermemory”: assemblages which contest the colonial archive to establish the historical character of Black culture. In this current exhibition, Otitigbe collects the remains of these projects for a study of the materiel in the imaginative inquest of a future archaeologist: attempting to both trace and fuse the phenomena of recent history into a blueprint for the previously unseen, as well as to posit new futurist perspectives from which to study and critique the recent past. 
Available artwork by ETO OTITIGBE

Eto Otitigbe is interested in recovering buried narratives and giving form to the unseen. He is a polymedia artist whose interdisciplinary practice includes sculpture, performance, installation, and public art. Otitigbe’s public works includes temporary installations in Socrates Sculpture Park (Queens, NY) and Randall’s Island Park (New York, NY). His current public commissions include: Peaceful Journey (Mt. Vernon, NY, 2022); Cascode (Philadelphia, PA); Emanativ (Harlem, NY); Passing Point (Alexandria, VA). He was a member of the Design Team for the Memorial to Enslaved Laborers at UVA (Charlottesville, VA) where he contributed to the creative expression on the memorial’s exterior surface.

Otitigbe’s work has been in solo and group exhibitions that include 2013 Bronx Calling: The Second AIM Biennial, organized by the Bronx Museum and Wave Hill; Abandoned Orchestra, Sound Sculpture installation and performance with Zane Rodulfo, Guggenheim Museum, New York, NY; The Golden Hour, Oakland Cemetery, Atlanta, GA, curated by Oshun D. Layne; and Bronx: Africa, Longwood Gallery, Bronx, NY, curated by Atim Oton and Leronn P. Brooks. 

Otitigbe’s fellowships and awards include the CEC Artslink Project Award for travel and cultural projects in Egypt and the Smithsonian Artist Research Fellowship at the National Museum of African Art where he explored the intersection of Urhobo language and historical objects. 

His curatorial projects include directing the es ORO Gallery in Jersey City, NJ (2007-09) and co-curating, alongside Amanda Kerdahi, the Topophilia Exhibition in Nees, Denmark (2017) as part of the ET4U Meetings Festival in Denmark.

He is an Assistant Professor of Sculpture in the Art Department at Brooklyn College. He received a B.S. in Mechanical Engineering from MIT, an M.S. in Product Design from Stanford University (M.S.) and an MFA in Creative Practice from the University of Plymouth. 

He has been represented by Morton Fine Art since 2022.

Eto Otitigbe is interested in recovering buried narratives and giving form to the unseen. He is a polymedia artist whose interdisciplinary practice includes sculpture, performance, installation, and public art. Otitigbe’s public works includes temporary installations in Socrates Sculpture Park (Queens, NY) and Randall’s Island Park (New York, NY). His current public commissions include: Peaceful Journey (Mt. Vernon, NY, 2022); Cascode (Philadelphia, PA); Emanativ (Harlem, NY); Passing Point (Alexandria, VA). He was a member of the Design Team for the Memorial to Enslaved Laborers at UVA (Charlottesville, VA) where he contributed to the creative expression on the memorial’s exterior surface.

Otitigbe’s work has been in solo and group exhibitions that include 2013 Bronx Calling: The Second AIM Biennial, organized by the Bronx Museum and Wave Hill; Abandoned Orchestra, Sound Sculpture installation and performance with Zane Rodulfo, Guggenheim Museum, New York, NY; The Golden Hour, Oakland Cemetery, Atlanta, GA, curated by Oshun D. Layne; and Bronx: Africa, Longwood Gallery, Bronx, NY, curated by Atim Oton and Leronn P. Brooks. 

Otitigbe’s fellowships and awards include the CEC Artslink Project Award for travel and cultural projects in Egypt and the Smithsonian Artist Research Fellowship at the National Museum of African Art where he explored the intersection of Urhobo language and historical objects. 

His curatorial projects include directing the es ORO Gallery in Jersey City, NJ (2007-09) and co-curating, alongside Amanda Kerdahi, the Topophilia Exhibition in Nees, Denmark (2017) as part of the ET4U Meetings Festival in Denmark.

He is an Assistant Professor of Sculpture in the Art Department at Brooklyn College. He received a B.S. in Mechanical Engineering from MIT, an M.S. in Product Design from Stanford University (M.S.) and an MFA in Creative Practice from the University of Plymouth. 

He has been represented by Morton Fine Art since 2022.

About Morton Fine Art
Founded in 2010 in Washington, DC by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora.

Morton Fine Art founded the trademark *a pop-up project in 2010. *a pop-up project is MFA’s mobile gallery component which hosts temporary curated exhibitions nationally.

Gallery hours:
By appointment only. Mask still required.

Morton Fine Art
52 O St NW #302
Washington, DC 20001
(202) 628-2787
info@mortonfineart.com
www.mortonfineart.com

New Arrivals | Sculpted Paintings by JENNY WU

16 Apr

Jenny Wu transforms liquid paint into sculpture built from layers of latex paint poured on glass, color over color, to form a thick cake-like aggregate. Once dried, the material is cut into small brick-like forms and assembled in vibrant patterns on a flat surface, revealing in cross-section the varied strata of paint from the pouring and layering process. Like geological formations, Wu’s method of building up paint is dependent on time, repetition and chance with her resulting objects uniting chaos and order into a systematic imagery that blurs the boundaries between painting and sculpture.

Jenny Wu
2+ Year Long Middle School Dodgeball Game, 2022
latex paint and resin on wood panel
20 x 10 x 2.50 in
Jenny Wu
Adults Were Not Okay, 2021
latex paint and resin on wood panel
20 x 16 x 2.50 in

Jenny Wu
Meaningful Access, 2020
latex paint and resin on wood panel
20 x 16 x 2.50 in

Jenny Wu
Carefully Editing An Email Response, 2021
latex paint and resin on wood panel
24 x 18 x 2.50 in

Jenny Wu
Hardly A Mandate, 2021
latex paint and resin on wood panel
20 x 16 x 2.50 in

Jenny Wu
Have Always Existed and Will Always Exist, 2022
latex paint and resin on wood panel
36 x 24 x 2.50 in

Jenny Wu
Letting Referees Openly Bet On Games, 2021
latex paint and resin on wood panel
36 x 24 x 2.50 in

Jenny Wu
Live In #DontLookUp, 2022
latex paint and resin on wood panel
18 x 18 x 2.50 in

Jenny Wu
Too Heavy to Carry to the British Museum, 2022
latex paint and resin on wood panel
20 x 16 x 2.50 in

Jenny Wu
Got Scared & Bought It, 2021
latex paint and resin on wood panel
20 x 20 x 2.50 in

About the Artist:

Jenny Wu was born in Nanjing, China. She holds a B.A. from William Smith College in Studio Art as well as in Architectural Studies, and an M.F.A. in Studio Art from American University. Her work has been exhibited in galleries and museums including Denise Bibro Fine Art, Katzen Museum, Huntington Museum of Art, Reece Museum, Vilnius Academy of Arts in Lithuania, and CICA Museum in South Korea. Wu has participated in numerous Artist-In-Residence programs across the country; and has been awarded fellowships from Vermont Studio Center and the Pollock Krasner Foundation. She has been represented by Morton Fine Art since 2021.

Available artwork by JENNY WU.

LIZETTE CHIRRIME | Rituals for Soul Search | in ArtPlugged

13 Apr

Lizette Chirrime: Rituals for Soul Search

Exhibitions

Lizette Chirrime: Rituals for Soul Search
April 23 to May 22, 2022
Morton Fine Art
52 O Street NW #302
Washington, DC

Morton Fine Art (52 O Street NW #302 Washington, DC) is pleased to present Rituals for Soul Search, a solo exhibition of multimedia textile works by Mozambican artist, Lizette Chirrime; on view from April 23 to May 22, 2022. Presenting an array of collaged pieces that foreground her relationship to self and home, this body of work blends abstract, symbolic and figurative imagery as a means to analyze the largely unseen forces that guide and determine our realities.

Lizette Chirrime
Portrait of the artist
Courtesy of the artist and Morton Fine Art

Working primarily with recycled materials, Lizette Chirrime’s practice has a marked foundation in personal and traditional spirituality. Chirrime describes her creative process as “a prayer to the Universe”–an intention to heal the earth from overconsumption, pollution and greed. Sourcing scrap materials from her environment and immediate communities, Chirrime uses fabric, burlap, rope, paint, beads, leather and more to produce dynamic collages that speak to African womanhood, and more broadly, the human condition.

Lizette Chirrime– The Boy Who Stopped the Snake, 2014
Fabric collage 58 x 50″
Courtesy of the artist and Morton Fine Art

Finding inspiration in the natural world–the vastness of the ocean, the hues of the sunrise, the evolution of a storm–Chirrime’s pieces are layered with a poetic consideration for what she calls “the essence of life.”

Foregrounding her relationship to heritage and presence, Chirrime uses shades of amber, blue and red to produce works that evoke sentiments of love, loss, dissolution and connection. In the piece titled African Single Mother, a woman’s form stitched from black cloth stands alone, as an aged portrait of a maternal figure watches closely in the background.

Lizette Chirrime
As Minhas Percorridas, 2022 37 x 59.5″
Fabric and mixed media stitched on canvasCourtesy of the artist and Morton Fine Art

Speaking to ancestry and guidance, the single mother’s aloneness is made complicated by the ephemeral eye of a woman who has been here before. In another piece, The Boy Who Stopped the Snake, a multicolored masculine figure, constructed from hundreds of pieces of African fabric, holds a colossal serpent stitched of patterned brown cloth–the boy is dynamic, having achieved mastery over that which would have otherwise caused destruction.

Lizette Chirrime
African Single Mother, 2021
Fabric collage and machine sewing 44 x 34.50″
Courtesy of the artist and Morton Fine Art

In newer works, Chirrime foregrounds stitching techniques as a means to create complex landscapes and figurative imagery. Primarily selecting strips of fabric in shades of blue and red, the resultant pieces evoke sentiments of territorial exploration, as the colors of the lived environment are saturated and made alive.

In a piece titled As Minhas Percorridas–which translates to My Travels–Chirrime creates a layered and multi-directional mosaic of her life’s journey, situating the home as a space of respite. Similarly, in Connexão Ancestral, the artist weaves together 24 distinct stitched works as a representation of the largely unseen familial forces, which collectively, form the tapestry of life.

In all works presented in Rituals for Soul Search, Chirrime is in direct conversation with soul and spirit, consistently seeking purpose within the Universe and always led by an intuitive understanding of materiality. In her own words: “I let my soul decide which way to go… I never know where I’m going. Only what I need to narrate and express.”

Learn more about Rituals for Soul Search

©2022 Lizette Chirrime, Morton Fine Art

Available Artwork by LIZETTE CHIRRIME