JULIA MAE BANCROFT’s “Through Glass Lace”

We are pleased to share new mixed media artworks by JULIA MAE BANCROFT currently featured in her solo exhibition, “Through Glass Lace”, currently on view at the gallery until May 22, 2019.  Each artwork takes a minimum of 40-60 hours to create.

 

Jellyfish Heart, 2019, 29.5”x 17”, ink, gouache, and collage on paper

 

 

Violet’s Window, 2018, 20”x 20”, ink, gouache, pencil and oil pastel on paper

 

In my latest body of work Through Glass Lace I continue to evolve the idea of piecing together a fragmented narrative by way of layering medium and texture.  Imagining a glass lace screen through which we can blur the lines between  strength and fragility, imagination and reality, macro and micro.

I chose to focus on creating emotion within the atmospheric spaces, allowing the reflective figures to float across the layers.  In this series we are free to explore the boundlessness of intimacy and how our internal conversations parallel and reflect the spaces we trace.

-JULIA MAE BANCROFT, 2019

 

Thinking of Falling, 2019, 22”x 11.5”, ink, gouache, and collage on paper

 

Alone in My Backyard, 2018, 22”x 23”, ink, gouache, and collage on paper

 

Lace Moon, 2019, 22.5”x 12”, ink and gouache on hand textured paper

Bancroft intricately and thoughtfully applies layers of imagery onto paper using oil pastel, gouache, watercolor, various fibers and ink transfers. Many of the pieces also incorporate embroidery hand stitched directly into the altered surface, complementing the figurative drawings. The intentional absence of color allows the viewer to focus on the obscured perspectives and depth of texture throughout the narrative. Bancroft’s unique and intensive layering process produces developed artworks that take up to 40-60 hours to complete.

 

Murmur, 2019, 14”x 38” (triptych), ink and gouache on hand textured paper

 

Infinite Pools, 2018, 22.5”x 12”, ink, gouache, and collage on paper

 

After the Rabbit’s Bride, 2019, 22”x 33” (diptych) oil, ink, gouache, and collage on paper

A few images of “Through Glass Lace” on view at Morton Fine Art. Hours are Wednesday – Saturday 12pm-5pm and Sunday – Tuesday by appointment.

 

“Through Glass Lace” at Morton Fine Art

photo credit: Alex Mcnaughton

 

“Through Glass Lace”

photo credit: Alex Mcnaughton

 

Enjoy! Please be in touch with any inquiries or requests for pricing.

Morton Fine Art

52 O St NW #302

Washington, DC 20001

(202) 628-2787

mortonfineart@gmail.com

http://www.mortonfineart.com

NATE LEWIS in Hyperallergic

Artist NATE LEWIS was featured in a recent review on Hyperallergic.

The Body as a Field for Graphic Experiments

A show in Harlem takes on the human form with some surprising results.

Seph Rodney

Nate Lewis, “Uninhibited Movements” (2016), hand sculpted paper photo print, 40 x 26 inches (all images courtesy Art in Flux Harlem)

It’s difficult to surprise art audiences with figurative work these days. But at a new exhibition at Art in Flux Harlem, Terrestrial Resonance, I see work that genuinely astonishes me. Nate Lewis’s “Uninhibited Movements” (2016) and “Conductor II” (2017) both are hand sculpted paper photo prints that meld the material of the photographic paper and the body depicted on that paper to work together as a field of graphic and textural exploration. Lewis, delicately and with a staggering degree of detail, makes cuts into the underlying image of a nude black male body in “Uninhibited Movements” to create a landscape that is tattooed with patterns like waves, a flock of birds wheeling in the night sky, or tribal beadwork incised into the skin. The picking done to create these vistas is so fine that I bounce back and forth between admiring the metaphor of the body as canvas for the decorative impulse and admiring the facture of the work.

To see the rest of the article, click HERE.

To see more of NATE LEWIS’ works, visit his page on our website HERE

“Written all over your face” by Martina Dodd examines six basic human emotions depicted in figurative artwork

Written all over your face

by Martina Dodd

I am fascinated by the way people communicate their feelings, ideas and thoughts.  Through written word, visual art and spoken language information can be shared by one person and interrupted by another.  Our emotional state can also be expressed in a variety of ways but the most universality recognized form is through our facial expressions.   Our body language speaks volumes even when we choose not to vocalize our feelings; from facial expressions to hand gestures, the body is consistently talking.

According to American psychologist, Dr. Paul Ekman, the six most basic emotions which can be easily understood regardless of culture and language are: happiness, sadness, fear, anger, surprise and disgust. With help from some of the artists represented by Morton Fine Art, let’s see what these emotions look like off the flesh and on the canvas.

Happiness:

Kesha Bruce. That they might be lovely, archival pigment print, 7/15. 12″x9″

Sadness:

 

Rosemary Feit Covey. Self Conscious 141103_1, mixed media 33″x28″

Fear:

 

Laurel Hausler. Blue Beards Place, 2009 oil on canvas with xrays. 40”x30”

 

Anger:

 

Billy Colbert. King County, 2009 mixed media on paper. 29”x22”

 

 

Surprise:

 

Ethan Diehl. Vigilance, oil on canvas. 36”x60”

 

 

Disgust: 

 

Rosemary Feit Covey, Red Handed, dimensions variable

 

Although these emotions are seen as universal, cultural practices and norms can play a role in how emotions are revealed and concealed between different members of the community. For example, the indigenous West African system of writing known as nsibidi employs graphic signs to code and convey concepts. The meaning of these symbols are traditionally restricted to members of all male associations but in Victor Ekpuks’ Asian Ubaoikpa (Hip Sista) series the artist not only creates his own symbols in the same style of  the ancient script, but also situated women in the center of the conversation.  The color and texture evoke a visceral reaction within the viewer rather than illustrating a singular emotion or revealing the meaning of his symbols.

 

 

Victor Ekpuk. Asian Ubaoikpa (Hip Sista) #11. Acrylic on canvas, 60”x48”