Untitled Miami 2017: Carl D'Alvia, Jim Drain, Amir Nikravan, Gamaliel Rodriguez, Seth Cameron, Joe Fyfe, Jesse Mockrin, Rannva Kunoy and Jessica Craig Martin

Nathalie Karg Gallery proposes a booth featuring paintings by Rannva Kunoy, Jesse Mockrin and Nathlie Provosty complemented by Carl D'Alvia sculptures.  

 

Rannva Kunoy’s performative and interactive paintings consist of ghostly marks on fields of highly processed layers of color and industrial pigments. The marks themselves are traced from real objects, thus delving into ideas of realism in painting. The surfaces appear to be textureless, refusing to reveal their process to the viewer. Instead, the viewer’s encounter with Kunoy’s recent artwork is one of constant change and disorientation. The paintings’ colors change with the light as well as the viewer’s movement within the space, contributing to a phenomenon and pushes the boundaries of painting into the domain of the moving image.

 

Nathlie Provosty’s work explores paradox with a particular attention to formal nuance. Known for highly sensual, abstract oil paintings that appear to be word forms, body fragments, or unidentifiable shapes, their ambiguities are grounded by an involved relationship to the materiality of paint and an investigation of color. Over time these works have opened into an expanded vocabulary of images and ideas.

 

Jesse Mockrin's paintings could, at first glance, appear to be 18th century works. Yet, upon closer examination, it is clear that they are not. The artist creates cropped oil paintings inspired by both rococo works and current men’s fashion magazines. Mockrin explains that her interests lie in looking at a historical period, as well as contemporary culture, and then drawing connections between the two. Her current series of paintings explores the truncation of the body, the slippery nature of gender categories and the construction of space. By cropping the scenes, the artist gives the viewer a tiny window through which to try and interpret the action taking place, thus making what’s left out of the painting as important as what’s included.

 

Carl D'Alvia's post-pop resin, bronze, aluminum, clay and marble sculptures range from the abstract and geometric to the figurative and anthropomorphic. The work explores both the absurd and the nature of contradiction; often delving into the meaning of different dichotomies— minimal/ornate, industrial /handmade, and comic/tragic. The artist's most recent work exists within the language of Minimalism while retaining the humor that is emblematic of D'Alvia's sculptures.