@ 571 Projects
based in Stowe, VT
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I have gained experience from curating regular exhibitions at my New York City Gallery, 571 Projects, which was located in the heart of the Chelsea Gallery district (2009 - 2012), and further...
artist reception Friday March 16, 5 - 8 pm | on view March 16 - April 27, 2018
571 Projects is pleased to present Flow, an exhibition of new and recent non-objective ink drawings on paper and light sculptures by accomplished artist Matilde Alessandra. Known for her minimalist light sculptures, 571 Projects juxtaposes these luminous works with a selection of her dramatic monochromatic ink on paper drawings. Alessandra elegantly translates the sophistication of her luminous three-dimensional works into a two-dimensional medium. The exhibition will be on view from March 16 through April 27 at 571 Projects, 56 Park Street, Stowe, Vermont. An opening reception will take place on March 16, 5 -8pm. The artist will be present and will give an informal talk.
“Flow” implies movement - a stream, the blood in our veins, or light issuing from a source - and a sense of continuity and steady rhythm. Through her minimalist, non-objective drawings and light sculptures Matilde Alessandra explores light - both as medium and as subject. Employing a restrained visual vocabulary, she exercises masterly control of her chosen media. Reducing her palette to black pen on white paper, with an occasional pop of dramatic color, she uses the most basic element of drawing - line - to create elegant illusions of energy, light and space, as her marks coalesce and disperse. Each considered gesture builds texture, tension, creating a superficial web modulating gracefully between inky black to brilliant, incandescent white. Untitled #18 (2015, ink on Bristol card, 30 x 22 in.) reveals dense veils of crosshatching that push up against a strong, central vertical line of negative space. Negative space operates similarly to a source of light emanating in the light sculptures. Light remains the central theme in these two-dimensional works. In Love Kills/2, (2014, mirrored steel, matte plexiglas, LEDs, 12 x 24 x 1 in.) the play between light and dark is given a twist - a highly reflective mirrored square is juxtaposed with a glowing square of the same dimensions, made of thick, matte plexiglass with an invisible lighting element.
Alessandra states, “My drawings are a mix of tragedy and triumph (…), about light and energy as well as darkness and negation. (…) In them there’s a real struggle between the flaws of the human mark and a striving for perfection devoid of irregularity or conflict.” While the artist is careful to leave her work open for the interpretation of each viewer, it is rich with metaphorical possibility. The illusions she creates are seductive, and we are drawn in, mesmerized by their rhythm and flow.
Born in Venice, Italy, Alessandra studied at the Academy of Fine Arts (Venice, Italy). While she began her career in London working as interior and display designer, her artistic career took off in New York in the late 1990s. She started working with light, pairing fluorescent tubes with painted canvasses and plexiglas boxes. Since then she has built a reputation both as artist and designer, developing a distinctive and communicative style recognizable in all of her work. Her artistic output spans luminous sculptures, site specific installations and ink drawings. Her work has been exhibited across Europe and the United States. Notable recent exhibitions include the 55th Venice Biennale, and Leila Heller Gallery in New York City. She lives and works in New York City.
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571 Projects - 56 Park Street, Stowe VT - W- F 11-4 & by appointment
Contact Sophie Bréchu-West | cell: 917-608-6742 | firstname.lastname@example.org | www.571projects.com
571 Projects supports the work of dynamic emerging and mid-career artists by bringing conceptually strong, well-crafted work to the notice of an engaged art going and collecting public, via independent curatorial practice and an informed art consulting practice. In addition, we welcome and encourage the public to engage with art and special exhibitions at our boutique gallery, located at 56 Park Street, Stowe, Vermont.
Wednesday, August 9, 2017
| V. Feature
571 Projects is pleased to present beyond all walking, an exhibition of new and recent mixed media paintings on canvas, linen and paper by accomplished artist Melora Griffis. This visually arresting selection of landscapes and portraits plumbs underlying psychological states, executed with the artist’s characteristic masterful gesture and vivid palette. The exhibition will be on view from August 18 through October 14 at 571 Projects, 56 Park Street, Stowe, Vermont. An opening reception will take place on August 18, 5 - 8pm at 571 Projects, 56 Park Street, Stowe VT. Griffis will give an artist talk at the gallery on October 6 at 6:30 pm.
Alive with immediacy, Melora Griffis’ paintings are mysterious, deploying confident brushstrokes, delicate veils of paint, and surprising areas of iridescence and glitter. The surreal, dream-like “cave” paintings, such as beyond all walking, imaginary cave, and pool of light luxuriate in rich palette and uncanny light effects. The cave is a recurring visual device for Griffis, laden with ideas of primordial shelter and symbolizing inner states. Invariably a portal of light or darkness acts as a prism conveying transition, movement, and reflection. In a world with walls that wrap and bundle, passages convey with luminosity, or an absorption of it, that which is not yet seen. In beyond all walking (2017, acrylic and glitter on canvas, 38 x 40 in.), we look from a low viewpoint inside a cave across a glittering pool reflecting the sun and sky, toward a remote tree line framed by the mouth of the cave. Delicate blue and pink float over this far landscape, a distant promise of evening. A kind of poignancy emanates from her work, resonating with the viewer. Memories and dreams, emerging from the unconscious, play a painterly role in her compositions. “I work intuitively, leaning toward an organic mark, celebrating a textured, uneven, layered surface where serendipitous action transpires,” Griffis states. Her painterly approach toward representation heightens a fluid ambiguity - painting the thing or the person which is disappearing and emerging at the same time, as in the elegantly complex portrait sister (2008, oil on canvas, 32.5 x 21.5 in.), or in the brushy immediacy of look away (2010, oil on canvas, 32 x 21.5 in.).
A native New Yorker, Griffis received her MFA from the Vermont College of Fine Arts (Montpelier, VT) and her BFA from The Rhode Island School of Design. She has had solo exhibitions at the Pamela Williams Gallery (Amagansett, NY), Lizan Tops Gallery and AE Gallery (both East Hampton, NY), Whitney Art Works (Greenport, NY), The Boylan Gallery (Rhinebeck, NY), Blue Heron Arts Center (New York, NY) and 571 Projects (New York, NY). Her work has been included in group shows at Edward Thorp Gallery (New York, NY), White Columns (New York, NY), Bowman/Bloom Gallery (New York, NY), Michael Steinberg (New York, NY), Silas Marder (Bridgehampton, NY), Ille Arts, (Amagansett, NY), Sara Nightingale Gallery, (Sag Harbor, NY) and Boltax Gallery (Shelter Island, NY) among others. Griffis has received fellowships from Oberpfälzer Künstlerhaus (Schwandorf, Germany), the Constance Saltonstall Foundation for the Arts, (Ithaca, NY), Schloss Pluschow (Mecklenberg-Vorpommern, Germany), The Edward F. Albee Foundation (Montauk, NY) and the Virginia Center for the Creative Arts (Amherst, VA).
571 Projects - 56 Park Street, Stowe VT - W- F 11-4 & by appointment
571 Projects supports the work of dynamic emerging and mid-career artists by bringing conceptually strong, well-crafted work to the notice of an engaged art going and collecting public, via independent curatorial practice and an informed art consulting practice.In addition, we welcome and encourage the public to engage with art and special exhibitions at our boutique gallery, located at 56 Park Street, Stowe, Vermont.
571 Projects is pleased to present Golden Days, an exhibition of landscapes: mixed media pigment and emulsion transfers, and lenticular prints by accomplished artist Dorothy Simpson Krause. Krause’ work is exhibited widely in galleries and museums both in the United States and abroad, and featured in numerous current periodicals and magazines. Golden Days marks the first exhibit of her work in the state of Vermont, and will be on view by appointment, from December 7, 2016 through January 14, 2017 at 571 Projects, 56 Park Street, Stowe, VT. A painter, collage artist and print maker, Krause incorporates digital mixed media into her art. A recurring concern in her work is global climate change, and her layered landscapes memorialize the ephemeral beauty of the natural world. The opening reception will be held on December 7, 5-8 pm at 56 Park Street, Stowe Vermont.
Krause’ luminous landscapes range in size from 14 x 14 inches to 36 x 36 inches, and draw the viewer into a world defined by sky, water, luxuriant vegetation and reflections. Where the Hudson River painters of the 1800s saw the sublime in the American wilderness, under threat even then, Krause draws out a powerful, all-encompassing spirituality as she at once captures a fragile beauty and underlines its inevitable vulnerability. Suffused with a soft, nuanced palette, works like Misty River (2012, pigment transfer with mixed media on aluminum, 36 x 36 in.) seem to hearken more to historical documents, its golden tones heightening a sense of nostalgia for a disappearing landscape.
Masterfully executed, these works lie at the crossroads between cutting edge digital processes and traditional art making methods. Professor Emeritus at Massachusetts College of Art where she founded the Computer Arts Center, Krause has a made a career of pushing the boundaries of art making with available technological advances.
In addition to being Professor Emeritus at Massachusetts College of Art, Krause is also a member of Digital Atelier, an artists’ collaborative. Her work has won many awards including the Smithsonian/ComputerWorld Technology in the Arts Award (1997), and the Kodak Innovator Award (2000). Her work has been the subject of numerous solo exhibitions, including The Landing Gallery (Rockland, ME); Evos Art Institute (Lowell, MA); the Attleboro Museum of Art (Attleboro, MA); The Judi Rotenberg Gallery (Boston, MA); 571 Projects (New York City). Her work is in many museum collections including The Museum of Fine Arts, Boston; Dalarna Museum (Dalarna, Sweden); The Smithsonian Museum of American Art (Washington, DC); Art Complex Museum (Duxbury, MA); State Museum (Novosibirsk, Russia); and The DeCordova Sculpture Park and Museum (Framingham, MA). Krause was selected as the inaugural Helen M. Salzburg Artist-in-Residence at the Jaffe Center for Book Arts at Florida Atlantic University (2012).
In our first collaboration with The Helen Day Art Center, 571 Projects is pleased to announce Intergalactic Current, an exhibition of collaged paintings by visual artist Sally Gil, opening on September 16, and on view through November 13 at The Helen Day Art Center, 92 Pond Street, Stowe, Vermont. While Gil works in a variety of formats, from small to immersive, this exhibition focuses mainly on the artist’s large works. In addition, she will create a site-specific installation. Collage and paint applied directly onto the gallery wall, the installation will last only for the duration of the exhibition.
Sally Gil’s technicolor utopias draw the viewer into complex worlds where iconic images form unexpected poetic passages and nonlinear story lines. Sourced from a variety of print media, she explores visual and word associations, puns, reversed images, changes in scale and in perspective. Seen from afar, there is a sense of the cosmos, the Big Bang, star dust. Up close, thoughtfully juxtaposed elements engage us with detail and intimacy. Choosing to paint over, embellish, or riff off of these elements, she fully appropriates and transforms the found imagery. Gil’s process is both intuitive and meticulous. She employs happenstance and fortuitous accidents as a means to reveal truths; at the heart of her art making lies trust in the process and the materials at hand.
At times a kind of nostalgia bubbles to the surface, and while the works are not intended as autobiographical documents, each holds the indelible marks of the maker and the things that have meaning for her. One of Gil’s exhibited works, Two Stellar Women (2013-2015, collage, acrylic, casein, and house paint on canvas, 58 x 60 in.), takes its title from the images of Shirley Chisholm and Mary Leakey who appear in the piece. Both women, notable for their exceptional pioneering achievements, are historically significant. In Gil’s painting they play concurrent personal and compositional roles, as iconic figures and as integral structural elements. Many of the images that Gil uses are archetypal: examples of flora, fauna, places, and architecture, are dotted throughout, merged by the artist’s careful painting. Discrete fragments are linked, holding a wealth of signifiers, and each work rewards time spent with it. The more you look, the more you see. Personal and universal, Sally Gil’s work is generous: it allows each viewer a way in.
Brooklyn-based visual artist Sally Gil was born and raised in Bennington, VT. She received her Bachelor of Arts at UC San Diego and her Masters of Fine Arts at Hunter College, CUNY. She has had solo exhibitions at The Bennington Museum, Bennington, VT; Geary Contemporary, NYC; 571 Projects, NYC; University of North Carolina, Charlotte; and Dean Bergen Gallery, Brooklyn. Her work has been featured in group exhibitions at The Brooklyn Museum; The Rotunda Gallery. Brooklyn; and White Columns, NYC, among other venues. The artist was a Fellow at Apexart (2013) to São Paolo, Brazil and a Visiting Artist at The University of North Carolina, Charlotte (2010) and the University of Tennessee at Knoxville (2001). Her work is included in the US State Department’s Arts in Embassies program, in Brazzaville, Congo (2014-2016).
In our first collaboration with The Bennington Museum, 571 Projects is pleased to announce, Out of This World, an exhibition curated by Sophie Bréchu-West, of new and recent work by visual artist Sally Gil. Though her work has been widely exhibited, this show marks Gil’s first exhibition in her native Vermont. In addition to a traditional hang of her work, the gallery space at The Bennington Museum lent itself to a site specific installation, created by the artist directly on the walls with her signature blend of collage and painted elements, creating a horizon line and playfully incorporating the architectural quirks and characteristics.
Sally Gil’s technicolor utopias draw the viewer into complex worlds where iconic fragments taken from a variety of found print materials (discarded encyclopedias, seed catalogues, post cards) form new narratives with ephemera from daily life (tea wrappers, paper from florists, doilies). Her stream of consciousness sweeps us up with effervescent energy. Seen from afar, there is a sense of the cosmos, the Big Bang, star dust. Close up, thoughtfully juxtaposed elements create alternate stories. Choosing to paint over, embellish, or riff off these elements, she fully appropriates and transforms the found imagery.
Gil’s process is meticulous, using visual and word association to construct possible alternate worlds. At times a kind of nostalgia bubbles to the surface, and while the works are not intended as autobiographical documents, each holds the indelible marks of the maker and the those things that hold meaning for her. In Indigenous Mass (2012-2014, collage, acrylic, casein, and house paint on paper, 42 x 48 in.), the image of a Morgan horse, at the center of the work, stands under a blueberry sky - the state animal of Vermont and a berry which many will associate with New England summers. Each fragment holds a wealth of signifiers. Personal and universal, Sally Gil’s work is generous: it allows each viewer a way in.
Brooklyn-based visual artist Sally Gil was born and raised in Bennington, Vermont. She received her Bachelor of Arts at UC San Diego and her Masters of Fine Arts at Hunter College, CUNY. She has had solo exhibitions at Geary Contemporary, NYC; 571 Projects, NYC; University of North Carolina, Charlotte; and Dean Bergen Gallery, Brooklyn. Her work has been featured in group exhibitions at The Brooklyn Museum; The Rotunda Gallery. Brooklyn; and White Columns, NYC, among other venues. The artist was a Fellow at Apexart (2013) to São Paolo, Brazil and a Visiting Artist at The University of North Carolina, Charlotte (2010) and the University of Tennessee at Knoxville (2001). Her work is included in the US State Department’s Arts in Embassies program, in Brazzaville, Congo (2014-2016).
For more information email: Sophie@571Projects.com, www.571Projects.com