'You Should Be Here' Group Exhibition

From the gallery:
Madison Gallery announces You Should Be Here, a group exhibition that delves into the visual exploration of abstract form in movement and materials. The showcase features four artists who examine the ways in which shapes and physical configurations occupy space, focusing on two distinct categories of abstract forms: Organic and Geometric.

About the artists:
Santiago Parra, a celebrated Colombian painter, is widely recognized for his striking black-and-white artworks that evoke expansiveness and raw emotion. He ventures into the realm of organic forms by integrating marble dust, allowing him to explore the depths of darkness and the myriad shades it holds. Parra’s artistic journey involves the creation of a single brushstroke that emerges from the depths of his subconscious. This technique is rooted in automatism, where the artwork springs forth from the unconscious mind. The forms that Parra creates are explosive and boundless, brimming with complexity that invites viewers to unravel the countless possibilities concealed within them.

Max Frintrop, from Germany, utilizes ink as a medium for his artistic expressions. With a unique blowing technique, he disperses pigment across the canvas, engaging in a collaborative process with the medium itself. For Frintrop, painting transcends mere creation; it becomes a channel for contemplation, an extension of his conscious self. The outcome manifests as a collection of delicate organic shapes that bleed and intertwine, capturing intricate thoughts and emotions on the canvas. Through this artistic process, Frintrop delves into the interplay between arrangement and spaces, unraveling the complexities of their relationships.

Elliott Routledge, hailing from Australia and known by the pseudonym “FUNSKULL,” skillfully combines organic and geometric elements, resulting in captivating, free-flowing shapes. Routledge’s work exists in a delicate equilibrium between expressive mark-making, abstract form, and often incorporates word-based art. His implementation of color theory and compositions seamlessly integrates subtle geometric hints through repetition and symmetry.

On the other hand, Lori Cozen-Geller from the United States, employs deliberately geometric and intentional forms in her artwork. Marked by meticulous precision, Cozen-Geller’s pieces feature rigid structures enveloped in a high gloss, mirror-like finish that accentuates their surface luster. This contrast between structure and surface challenges viewers’ perception of the object, prompting a reevaluation of what is seen and how it is comprehended, as aptly noted by art critic Peter Frank.

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