‘Humanity in Pixels and Stone’: Marble, Digital Imbued with Life
West Side Art Crowd Packs Brownstone Gallery In Early Freeze
Two artistic responses to the form and fantasy of the female torso, that eternal preoccupation of humanity, share space this month at the well established brownstone gallery of Susan Eley in her new show, Humanity in Pixels and Stone. Both displays are richly rewarding in classical ways.
The intriguing show kicked off with a packed reception on Thursday January 8th, and will run through Thursday February 19 (open to the public Tuesday, Wednesday and Thursday 11am-5pm or by appointment, at 46 West 90th Street, 2nd floor, New York, NY 10024, between Central Park West and Columbus Avenue, as well as on the Web at Susan Eley Fine Art and 1stdibs; tel 917.952.7641 or email: firstname.lastname@example.org.)
Mingling with one of the art world’s more interesting crowds – thoughtfully talkative Upper West Siders armed with funky coats and hats against the freezing weather outside, many long rooted in the fertile soil of New York City intellectual creativity – we admired the exquisite balance and softness of proportion of the abstract forms shaped in smoothed white, pink and black marble by Lilian R. Engel. Her works seemed to have an almost Zen-like repose, evoking respect for as well as appreciation of the female forms which inspired them. Engel is on the staff of the Art Students League as a graphic designer, and sculpts there as well as her own Long Island City studio.
Marble meets digital in mankind’s oldest fascination
Torsos of the female variety were also the current preoccupation of lanky digital artist Gary Kaleda, present in Pee Wee spiked hair and a red track suit, with his equally tall partner, communications director Susannah Maurer at his side in a very upbeat foliage patterned dress.
Was Susannah the model he had in mind for his not-so-much pixilated as brush-like photoportraits of divinely fleshy female forms in mostly active, speeding poses? “Oh yes, all of them ” he assured us. Though in a burst of artistic honesty immediately following this diplomatic statement he added, “Well, I do have some other subjects of fantasy too!”
Kaleda is that exceptional, perhaps unique digital artist that has expanded his attention to include the flesh and blood of real life. “What I liked about his work is it retains a warmth and humanity,” said Susan Eley, the gallery owner, “which a lot of digital work doesn’t.”
Kaleda starts with a virtual model, which he develops with digital tools and techniques, but he doesn’t stop there.
“My figures are not from real people,” Kaleda explained. ” I have a virtual photoshoot, as it were, rendering a 3d model, but then I’m interested in imparting my feelings onto it. I’m part of this world and I try to grasp our connection with it, and get beyond the cold, hard, mechanical aspect.” Susannah is fully supportive, because, as she says, ” A lot of digital work is empty for me. Inaccessible – it doesn’t move me!”
One thing digital with which Gary Kaleda has enhanced his works recently, however, is the addition of a tiny mark, a QR Code, which allows smart phones to display text and potentially go to text and images on the Web, even video, and offer all the curatorial information about the image they might be interested in.
A quieter side of woman’s form
In hand-in-hand harmony with Kaleda’s high energy, even red hot variations on the parallel topic of the human body the smaller scale but still Henry Moore-like abstract statuary by Lilian Engel on pedestals around the gallery matched his emotional dynamism with some boldly assertive standing pieces. But most of her seven polished tactile temptations lay in calm repose, their smoothly varied contours making for a quiet aesthetic that suggested some of these in fact very heavy objects were light enough to float off their stands.
Engel, who works as graphic designer director at the Art Students League while not carving and polishing marble (and more lately wood, under her mentor Seiji Saito, a Noguchi disciple) in one of its studios or her own, said that she had pursued figurative clay sculpture so long in her early career that if her focus is now on the torso, “I guess I was a student so long it’s just in me.” Torsos, she added, “are the most exciting part of the figure, because there is so much motion in them. I think of bodies in motion, and I want to get the stone into movement, out of its confined space. Often, it becomes a back and forth play.”
Explaining to a small group gathered round one of her works in creamy white marble, she said she sometimes skipped making a model in clay first, but “if it’s a big piece of marble I don’t like to take chances. My process is usually an intuitive one.” With her was her man Brad Whitermore, a wood craftsman and also a sculptor, who she met in the corridors of the Art Student League in a cloud of marble dust from a teaching studio there, when he was working next door in wood. They went to the Whitney Biennial, then for walks in the park, and ended up living together, though with separate studios now in Long Island City.
Images on his iPhone Brad showed us confirmed how much they had in common, since two were of torsos in exceptionally fine classical style. “I like torsos, yes” he said. “The classical department of the Met is one of my favorite spots, a point of departure for lines I am interested in.”
Also present were:
Carole Eisner, the artist (and mother of the gallery owner) whose giant sculptures are seen outdoors in Connecticut, Massachusetts and New York, including a monumental one below the tramway to Roosevelt Island at 59St and 2nd Avenue last year.
Allison Chernow, director of external affairs at the Bronx Museum, with her daughter Dorothea Trufelman, still a Skidmore student, who is planning to visit Cuba in May to photograph life there for an NYU Tisch program project.
Next up at Susan Eley:Poetry, Wine, Art, and Conversation:Vica Miller Poetry Salon: Saeed Jones, reading from ; Susana H. Case, reading from 4 Rms w Vu, new book of poems (Mayapple Press, 2014); Jayson Smith, reading new poetry; Adam Falkner, reading new poetry. Thursday, January 22, 2015, from 6:30 to 8:30 PM (reading 7 PM sharp). Free. RSVP essential by Jan 15. @vica_miller
Digital Collection Talk by Michael Spalter, Chairman of the Board of the Rhode Island School of Design, on his large collection of early digital art amassed with his wife, artist, author, educator Anne Morgan Spalter. Thursday Jan 29 6.30pm Talk 7pm prompt, then Q & A, refreshments. Seating limited RSVP email@example.com 917=952-7641 )
More pictures at Photocalendar, currently 94 before adding and weeding.
Note: All images here on Talk can be expanded colossally if clicked.