Michele Dragonetti: Under the Surface

MICHELE DRAGONETTI: UNDER THE SURFACE AT ROMAN FINE ART
September 29 – October 29, 2017
OPENING RECEPTION: Saturday, October 7, 6 – 8pm

Roman Fine Art is pleased to announce our upcoming solo exhibition of photographs by Michele Dragonetti, titled Under the Surface. This exhibition of Dragonetti’s Boat Hull series marks her first solo exhibit at Roman Fine Art. The exhibit will open with a reception for the artist Saturday, October 7, 6-8pm.

Michele Dragonetti’s Boat Hull series began in the marinas of Montauk where she was drawn to boats in need of repair and refurbishing. In this series Dragonetti focuses her compositions on the triangular patterns of the hulls in a square format, allowing her to highlight the essential geometry of the images. The work emphasizes the contrast between the abstract patterns of the painted lines and colors of the hulls, and the interplay of textures. The boats photographed in this series take on the quality of beautiful abstract, sometimes minimalist paintings. Photos in this ongoing series transform often humble vessels into striking portraits, celebrating their imperfect appeal.

Since Dragonetti began this series locally in 2013, the series has expanded beyond its East End origins to include images taken in Connecticut, Florida, California, Vermont, Argentina, Cuba, London, Lisbon, Barcelona and the southern coast of Portugal. Dragonetti continues to travel and document boat hulls for this ongoing series, expanding upon an incredibly large and diverse collection of compositions and colors.

About Michele Dragonetti:

Michele Dragonetti lives and works in Amagansett, NY and New York City. In addition to numerous gallery shows, Dragonetti’s photographs have been exhibited at relevant International art fairs including Art New York, Market Art + Design and Aqua Art Miami. The East Hampton Marine Museum featured a solo exhibition of Dragonetti’s photographs this summer. Her recent work has been focused primarily on her Boat Hull series.

Tim Conlon: Between the Lines

TIM CONLON DEBUTS BETWEEN THE LINES AT ROMAN FINE ART

Roman Fine Art is pleased to present, Between the Lines, an exhibition of new paintings and train sculptures by Tim Conlon. This exhibit marks Conlon’s first solo show with Roman Fine Art.

Between the Lines showcases the latest work in Conlon’s ongoing Blank Canvas series, a collection of freight train paintings that combine typography, abstraction and trompe-l’oeil. Using spray paint as the medium, the paintings are scale studies that bring railroad logos, weathered metal and paint and the art of graffiti into close focus. Conlon has spent almost twenty-five years walking train lines and documenting the plethora of rail company cars that have since consolidated or given way to time and decay. With the advent of intermodal freight transport, the once prevalent boxcars inch closer to extinction as shipping containers take their place.

Between the Lines presents the findings of a rail archaeologist. This survey features snapshots of these shipping behemoths preserved on canvas, as well as a study of G scale model trains. The train paintings feature the clean lines of manufactured steel and the organic beauty of oxidation with an overlay of modern day graffiti. Conlon’s work involves many layers and color transitions in a mixed media fashion. About this style, Conlon says, “Certain pieces that I’ve created depend on acrylics for effect and detail, but I try to work within the parameters or ‘rules’ of a graffiti artist: your work must show your ability to produce strictly from a can of spray paint or marker. A writer’s ‘can control’ is the most important painting skill to learn, so it has been important to me to continue evolving this technique on to canvas.”

Conlon is straddling the world of urban art and the traditional gallery space to bridge ideas from work in the studio to pieces on the street. Conlon’s goal is to build on the traditional letterform techniques he has learned through spray painting while pushing the boundaries of art using the basic tools of graffiti to create themes that appeal to a wider audience.

About Tim Conlon:

Tim Conlon (b. 1974, Alexandria, Virginia) lives and works in Los Angeles, California. He is a painter best known for his large-scale paintings, murals, and sculptures. His photorealistic works often depict weathered freight trains adorned with graffiti. Conlon received national attention when he was featured in the Smithsonian National Portrait Gallery’s 2008 exhibition, RECOGNIZE! Hip Hop and Contemporary Portraiture. In 2011, he was a featured artist and curated the G scale train exhibit in the Los Angeles Museum of Contemporary Art’s, Art in The Streets survey of graffiti and street art. His Blank Canvas train paintings are in multiple collections including the Norfolk Southern Railway Corporation’s headquarters in Norfolk, Virginia. His work has been featured in museums and galleries in New York, Los Angeles, Miami, Washington DC, Chicago, San Francisco, Montréal, Paris, Bordeaux and Berlin.

Art on the Edge 2017

2012

Roman Fine Art is pleased to announce the return of Art on the EdgeArt on the Edge is an annual survey of New Contemporary Art featuring the most provocative new painters, sculptors and photographers working in their respective mediums today. Art on the Edge 2017 opens with a cocktail reception for the artists at Roman Fine Art Saturday, July 1st, 7-9pm. The exhibit continues through Sunday, July 23rd.

 

Celebrating its seventh year, Art on the Edge embodies Roman Fine Art’s mission to provide an environment in the Hamptons dedicated to recognizing and supporting New Contemporary Art by showcasing the cutting-edge talent increasingly pervading mainstream culture. As always, Art on the Edge strives to further advance the dialogue of New Contemporary art movements from around the country with a national roster of relevant new artists. Each year, the eclectic nature and quality of work featured in this special exhibition have made it the “must-see” summer event for savvy Hamptons contemporary art collectors.

 

As with last year’s edition, Art on the Edge expands beyond the gallery walls and into Market Art & Design, celebrating its 7th year as well. This continued partnership with the premier Hamptons art fair allows Roman Fine Art to expand the scope and depth of the Art on the Edge brand. Market Art & Design opens Thursday, July 6th at 6pm at the Bridgehampton Historical Society in Bridgehampton, NY and continues through Sunday, July 13th.

 

PARTICIPATING ARTISTS: 

 

Ivan Alifan is a Russian-Canadian artist working in New York City. Alifan presents large scale oil paintings which aim to naturalize the modern gaze and decriminalizes sex in art, his ambiguous figurative paintings are revealed and transformed within the act of the individual view.

 

Ray Caesar is an English artist living and working in Toronto, Canada. Describing his work as “digital surreal”, Caesar merges elements of the decorative and architectural, Art Deco and Victorian visual codes. His portraits of childlike creatures portray elements of the grotesque, however are offset by their fairytale surroundings. His painterly haunting imagery is digitally created using 3D modelling software.

 

Tim Conlon an American artist lives and works between Los Angeles and Washington. Conlon is best known for large-scale murals, graffiti, particularly freight train graffiti. Conlon takes inspiration from the logos, typography, and color schemes of old freight trains.

 

Colin Christian is an English artist based in Florida. Christian takes inspiration from materials used for special effects makeup, creating larger-than-life fiberglass figures which are then coated with silicone to produce a “cartoon realism” finish. Christian finds inspiration in old sci-fi movies, anime, and ambient electronic music.

 

Michael Dweck is a photographer from Long Island, New York. Known for his photographs of the body situated in the local environments of the Hamptons area, his is an American version of the Arcadian vision. Blending nostalgia, fantasy, and documentation the photographs present a compelling portrait of a place in time and a way of life at once fading and being reinvented with each new season.

 

Maya Hayuk is a painter and muralist based in Brooklyn New York. Her symmetrical compositions, intricate patterns, and lush colors recall views and documentation of outer space, traditional Ukrainian crafts, airbrushed manicures, and mandalas. Engaging a mix of referents from popular culture and advanced painting practices she is constantly in pursuit of psychedelic experience in visual form.

 

Jessica Lichtenstein is a New York based artist using the female body as a mechanism to explore deeper themes of power, female representation, fetishism and objectification. Fascinated by the mass-production and fetishization of hyper-sexualized Japanese figurines, Lichtenstein’s first series manipulated the presentation and context of mass-produced anime dolls in order to imbue them with new associations and richer meaning.

 

Justin Mays an American designer and animator based in Los Angeles, who mixes digital collages and glitch art to create visually explosive and colorful compositions. His work is often described as with psychedelic pop.

 

Reisha Perlmutter is a Brooklyn-based painter interested in how water and light blur the separation between body and nature in her imagery. Drawn to the organic nature of oil paint, Perlmutter explores the way it bleeds, glows, moves, and transforms over time.

 

POSE is a Brooklyn-based artist using graffiti and oil on canvas, blending illustration, lettering and comic book aesthetics to explore the range of human emotion, presented in color compositions.

 

Leah Schrager is an artist based in New York, interested in digital personas, representations of the female body and the male gaze. Known for her exploration of “selfie” culture Schrager, explores ownership, and body positivity.

 

Sarah Slappey is a painter based in New York. Slappey explores Southern Gothic aesthetic, an amalgamation of Bible Belt superstition, ghost stories, swamp lore and mysticism. Her paintings explore pleasure and pain as experienced through evolving narratives, haunted places, seductive color, and dark humor.

 

SWOON is a mixed-media artist based in Brooklyn, NY. Originally known for her graffiti and activist work, she specializes in life-size wheat-paste prints and paper cutouts of human figures.

 

Dean West is an Australian Photographer who lives in New York. His complex imagery blends several ideas seamlessly into one image, often leaving the viewer with an unsettling feeling. He is best known for his intricate and highly staged photographs that take everyday occurrences beyond the realm of natural reality.

 

Zevs is a French street artist, best known for his trademark “liquidation” technique, where the artist takes popular logos and iconography and “dissolves” them, commenting on their omnipresence and yet instability of their existence in today’s world

Reisha Perlmutter: Immerse

Roman Fine Art is pleased to announce the first solo exhibition from New York-based artist, Reisha Perlmutter. Titled Immerse , the show will include over 15 new paintings from her water series, exploring the body, its relationship to water and the science of color. The exhibit will be open Friday, August 28 through Sunday, August 27 , 2017 with a reception for the artist Saturday, July 29, 2-5pm . Light refreshments will be served.

For just over a year, Perlmutter has been working on a series of oil paintings depicting women in water, in many of these she is also the subject. She aims to place emphasis on the biological connection between body and water, while finding correlations between her painting philosophy and understanding of color. Color and light move across the skin through the water, in energetic brushwork, blurring the edges between the figure and it’s surrounding environment. Through this connection, we sense that the body and the water are one.

Perlmutter’s imagery allows the viewer to relive and experience this universal and very humanizing connection to water, where one becomes hyper-aware of the body, where it begins and ends, how it moves in nature. Her weightless figures seem to be at complete ease and calm, the dappled light melting into the larger image, inviting our senses to participate in the painting.

Perlmutter draws parallels between the physical relationship with nature and Albers color theory, where color exists purely in its relationship to its surroundings. She explains this relationship as almost linear, “the flesh ends and the water begins, the flesh feels and looks like flesh because of the water,” just as one color will project that which it is relative to. She also aims to depict bodies that are not overly posed or sexualized. Her work often evokes comparisons to Photo-realism, however the artist associates photography as data and documentation, which is not part of her objective in practice.

Emphasis is directed away from individualized anatomy, and onto the body as a whole. The artist finds poetry within the recurring shapes, naturally occurring throughout individual bodies. Capturing natural patterns, she considers DNA, physiology and biology; and particularly in relationship to women and their bodies. Her recent work aims to empower women to appreciate their differences, find a comfortability with their sizes, shapes, and colors.

Grant Haffner: Mohawk Trail

Roman Fine Art is pleased to announce an upcoming solo exhibition of new paintings by Grant Haffner. Mohawk Trail, marks Haffner’s first solo exhibit in eleven years and his first show at Roman Fine Art. Mohawk Trail will open with a reception for the artist Saturday, May 27, 7-9pm.

For over a decade Haffner has captivated art enthusiasts and collectors with his paintings of Hamptons’ roadways. His renditions of familiar roads and local landmarks, often set ablaze in dayglow, sunset colors, have made him one of the most sought after artists on the East End. Whether it’s a cool gray winter scene on Bay Point or a night sky overlooking Gardiner’s Bay, those that are familiar with the highways and byways of the Hamptons, can easily recognize their favorite routes and lots depicted in Haffner’s works. In Mohawk Trail, Haffner’s first solo exhibit in eleven years, the artist begins to explore an entirely new landscape. The low-lying bays and farmlands of the South Fork are traded for the mountain ridges and deep gorges of Western Massachusetts. This seminal exhibition for Haffner marks an entirely new chapter in his career as a painter.

Arguably, no local artist captures the South Fork locales we love, like Haffner. This detail becomes a bit surprising when one realizes that Haffner is no longer a local artist. He lives and works in Massachusetts. Haffner had lived in the Hamptons for most of his life and he has been a fixture in the art scene here for at least a dozen years, but most fans of his work do not realize that he moved to Massachusetts in the Spring of 2016. For almost a year now, Haffner has continued to paint scenes of the Hamptons, works that have earned him an international following, but the impetus to create an entirely new body of work had already taken root, even before he left Sag Harbor. For years, Haffner longed to explore a new set of roads and locations and fortuitously, his relocation to Western MA allowed him intimate access to the Mohawk Trail region. True to Haffner’s process, these paintings are often created from photographs collected during his travels through the area. Capturing the roads, trails and colors of hills and mountains have infused Haffner’s newest works with something fresh. We see this new landscape through familiar eyes with a fresh perspective.

Grant Haffner has over a hundred works in private collections around the US, Europe and Asia. Actress Rose McGowan and Internationally renowned collector Yusaku Maezawa are among his notable patrons. His work has been exhibited in numerous galleries, museums and art fairs including Visions West Gallery, Denver, CO; Vered Gallery, East Hampton, NY; One Art Space, NY, NY; Dorsch Gallery, Miami, FL; Sebastian Foster Gallery, Austin, TX; Islip Art Museum, East Islip, NY; Scope Basel, Basel Switzerland; Scope New York, NY, NY; Texas Contemporary, Houston, TX. Damien Roman has represented Haffner since 2009, but this is their first solo exhibit together at Roman Fine Art.

Sarah Slappey: Deceptive Spaces

Roman Fine Art is pleased to announce the opening of Deceptive Spaces, a solo exhibition of new paintings by Sarah Slappey. Deceptive Spaces, marks Slappey’s first major solo exhibit and her first show at Roman Fine Art.

Deceptive Spaces features a collection of new oil paintings from recent Hunter College MFA graduate, Sarah Slappey. Slappey has described her painting style as having roots in the Southern Gothic aesthetic, an amalgamation of Bible Belt superstition, ghost stories, swamp lore and mysticism. Her paintings explore pleasure and pain as experienced through evolving narratives, haunted places, seductive color, and dark humor.

In Slappey’s previous body of work, she was largely focused on the body within nature. Figures would appear in forests, shady groves, and among ominous brush. The simultaneous beauty and terror of nature spoke to the fear expressed in the paintings. In each scene, figures hovered between perpetrator and victim, and the natural surroundings were simultaneously cold and protective. In her most recent paintings, Slappey explores the same kind of pleasure/fear emotional response but within interior spaces. Mother nature’s relationship with fear and the sublime is evident; Slappey wanted to explore the challenge of recreating this emotional tenor within an interior, man-made space.

In this series Slappey was also interested in the idea of framing and illusion, both literally and figuratively. Each of the paintings reference themselves as imaginary and illusory spaces, and framing within the scenes points to this self-awareness. In the natural settings, the images are both highly rendered, but also speckled with abstract pieces that take the viewer out of the illusion of the painting. Many of the interior paintings contain paintings-within-paintings, referencing works by Boucher, Fragonard, and other master painters. Both the new interior and previous exterior spaces aim to explore qualities of shifting reality and visual destabilization.

Slappey remains interested in beauty, color, and luscious painting. She sees these as an important counterpoint to a scene that would otherwise be uncomfortable. The bright color and delicate paint handling keep a viewer engaged. Things might appear real, but reveal themselves to be illusions. Like a dream, each painting’s reality constantly shifts and resists explanation.

Sarah Slappey (b. 1984, Columbia, South Carolina) live and works in Brooklyn, NY. Slappey graduated from Wake Forest University in 2006 and completed her MFA from Hunter College in 2016. In 2015, she was awarded a Kossak Painting Grant and a Hunter MFA award in Painting. Slappey has exhibited in both solo and group shows in South Carolina, North Carolina, New York, and Italy. In 2016, her paintings were exhibited in Hamptons’ Market Art + Design and in 2017, she was represented by Damien Roman Gallery at Scope New York. Her work has appeared in such publications as Social Life, Long Island Pulse, and Hamptons Art Hub. Damien Roman has represented this artist since 2016, and this is her first solo exhibition with Roman Fine Art.

Safe Houses

Friend and Griffin, collectively working as Gentleman’s Game since 2011, explore recurring themes of mythology, technology, history and mortality as viewed through the murky waters of their mythological realm, The Atlantic.  The Atlantic is the vast ocean that covers nearly the entire surface of Gentleman’s Game’s Fantastic Planet, a vision of our own possible dystopian future. Safe Houses boasts the most complete selection of paintings from their Atlantic storyline displayed to date. In this show, Gentleman’s Game will debut a new collection of previously un-exhibited works, their latest addition to this epic saga.

In this striking world imagined by Gentleman’s Game, tenacious survival instinct and ingenuity give rise to incredible, fragmented and towering cities referencing shanty towns cobbled together with raw materials and strange alchemy. Cities built to exist upon the trees, upon the skeletons of long decaying oil rigs and the very few mountaintops able to break the surface of the great, never-ending ocean. The constant struggle for resources and land lead to a proliferation of fantastical modes of transport. Alchemists, utilizing technologies and magics both old and new, create vessels to fill the sea and air, allowing their clans to fight and maybe survive as new Gods watch over their subjects with cool disregard. Among the chaos and despair, the artists still manage to create images of hope. Glimmers of this world’s fragile beauty can be spotted throughout the relentless turmoil.

In their latest works, Safe Houses, Friend and Griffin depict a refuge in larger than life trees, lending themselves to colonization for those with the means and perseverance seeking higher ground. Tree houses are often whimsical and magical in their creation, a makeshift adaptation of their site-specific nature, and these works feel just the same. Set in the context of an implied undying struggle for survival, the nostalgic and lightheartedness of tree houses turn to a more serious and cerebral tone.

Scope New York

Roman Fine Art is pleased to announce our participation in the 17th edition of SCOPE New York as it returns to a new Chelsea location at Metropolitan Pavilion. Featuring a critically-acclaimed exhibition design, SCOPE New York’s convenient and well-appointed venue will host 60 international galleries and a focused schedule of special events, performances and talks to complement its daily VIP program.

The first fair to run concurrent with The Armory Show, SCOPE New York’s spirit of innovation has consistently forged the way for emerging artists and galleries. Attuned to nuances in the market and itself an influential force in the cultural sphere, SCOPE continues to usher in a new vision of the contemporary art fair.

Long-established as the original incubator for emerging work, SCOPE’s Breeder Program celebrates its 16th year of introducing new galleries to the contemporary market. A remarkable opportunity for exposure, Breeder Program alumni include: Peres Projects, John Connelly Presents, Galeria Enrique Guerrero, Daniel Reich Gallery, Bischoff/ Weiss, Spinello Projects, INVISIBLE-EXPORTS, SEVENTEEN, ROKEBY, Taxter Spengemann, and Magical Artroom, among other notable galleries.

Knowledge Bennett: Repeat Offender

Roman Fine Art is pleased to present Repeat Offender, the collected works of LA-based artist Knowledge Bennett. This will be his first solo show with the gallery.

Known for his unique aesthetic, employing hand-pulled printmaking techniques to explore contemporary and historical subject matter, Bennett delves into a commentary of social and political issues using pop cultural references. Playing upon the repetitive nature of the silkscreen painting process, Bennett references the echo of modern production, repetition as a psychological branding tool, and the impact of intent. Repeat Offender showcases his process by first deconstructing, then reconstructing his subjects, appropriating recognizable imagery to educate and reveal often hidden histories behind the subjects themselves.

Elektra KB, Deconstructing Borders: The Flux of Dissent

Roman Fine Art is pleased to present “Deconstructing Borders: The Flux of Dissent,” its first solo exhibition with Elektra KB, opening Friday, January 27th, 6-8 pm, and running through February 19th.

Elektra KB, born in Odessa, Ukraine, is a Colombian artist living and working in Berlin and New York. KB’s body of work is of a performative nature in the thread of the post-colonial discourse and uses the platform of the personal mythology: The Theocratic Republic of Gaia, a Utopian-Dystopian world.

“Deconstructing Borders: The Flux of Dissent” speaks to issues about migration, mobility, transculturality, and a sense of place. The discourse is informed by the current experience of migrant women. This year is seeing a refugee and migrant crisis all over the world. Our current President Elect– aided by the media– is a symbolic figure who plays a key role in constructing the fear of immigration which is fed to the American public. Plans of building a wall to separate the USA and Mexico are being considered. Over 35,000 refugees and migrants died in their attempt to reach or stay in Europe since 2000, with 2016 being the deadliest by far. Money is being lavishly spent on detention centers, on walls being erected and even artificial sniffers that can smell refugees and migrants trying to hide at border crossing points are being developed in Europe. The post-modern hybridization of culture is fueled with violence and power games.

Many of the works included in “Deconstructing Borders” have culminated from a year-long fellowship in Berlin. During this time, KB traveled to what she perceived as a mutant city, where east meets west driven by the interest of unpacking her own conflicted feelings of sense-of-place and home of an Odessa born Latin-American living in New York and her interest in the issue of migration. She researched the experiences of migrant women from post-colonial societies focusing specifically on Latin-America, in the context of a city that is a post-soviet hybrid. KB undertook the task of interviewing several women who left their countries for a variety of reasons, existential, economic, psychological and political persecution. KB created works as a result of this research. Each work is inspired and/or performed based on an individual story, or a collective story. KB uses textile, photography and video as her main mediums.

“Deconstructing Borders: The Flux of Dissent” features six new GIFs highlighting Elektra KB’s fantastical world, The Theocratic Republic of Gaia, or T.R.O.G. for short. The T.R.O.G., plays with critical humor and the aesthetics of colonial art tropes and the insurgent struggle KB grew up with. The Papess, the veiled women, the guerrilla fighter are represented here as well as pre-Hispanic imagery and the cross– an autobiographical nod to her upbringing in a rural hospital in Colombia. The T.R.O.G. serves as an allegorical homeland created from a sense of necessity—the artist has spent most of her life as a migrant. Anxieties over oppression—from religious authority to gender/racial inequality—are battled out in KB’s fictional country. KB has perhaps best summarized the urgency of her militant aesthetic by quoting Frantz Fanon from his 1961 book The Wretched of the Earth: “Either one must remain terrified or become terrifying.”

Elektra KB received a DAAD award to pursue a visual arts fellowship with professor Hito Steyerl at Berlin Univeristy of the Arts.  In 2016 She received her MFA from Hunter college.  Her work has been written about in ARTnews and she was named an artist to watch by British art critic Zoe Pilger, in the Independent Newspaper in 2015.  Her animated GIFs have been featured in Art F City’s acclaimed, Geographically Indeterminate Fantasies: The Animated GIF as Place curated by Paddy Johnson and Rea McNarama and at Moving Image Istanbul.  KB has shown at Gaia Gallery in Istanbul, Bravin Lee Programs in NY and the Istanbul Contemporary Art fair.  Her work will be included in El Museo Biennial in New York in 2017. Eight works by KB were just acquired by the Yinchuan Museum of Contemporary Art in China.