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"Extra! Extra!"

Online Exhibition

Matthew Craven, Melanie Daniel, Jasper de Beijer, Marjolijn de Wit, Ricardo Gonzalez, Angelina Gualdoni, Rebecca Morgan, Trish Tillman, and Shane Walsh

January 29 – March 31, 2021

Painting by Angelina Gualdoni

Angelina Gualdoni
"Leadlight", 2017
Oil and acrylic on canvas
50.50h x 47w in
128.27h x 119.38w cm
AG078
 

Painting detail by Angelina Gualdoni

Angelina Gualdoni
Detail: "Leadlight", 2017
Oil and acrylic on canvas
50.50h x 47w in
128.27h x 119.38w cm
​AG078

Sculpture by Trish Tillman

Trish Tillman
"Traveler", 2016
Vinyl, wood, chrome exhaust pipe, embellishments
50h x 16w x 4d in
127h x 40.64w x 10.16d cm
TT032
 

Sculpture by Trish Tillman

Trish Tillman
Detail: "Traveler", 2016
Vinyl, wood, chrome exhaust pipe, embellishments
50h x 16w x 4d in
127h x 40.64w x 10.16d cm
​TT032

Painting by Shane Walsh

Shane Walsh
"Untitled", 2019
Oil and acrylic on canvas
46h x 34w in
116.84h x 86.36w cm
Walsh-017

Painting detail by Shane Walsh

Shane Walsh
Detail: "Untitled", 2019
Oil and acrylic on canvas
46h x 34w in
116.84h x 86.36w cm
Walsh-017

Work on paper by Matthew Craven

Matthew Craven
"CLUSSTER", 2017
Found images on found poster
60h x 40w in
152.40h x 101.60w cm
MC059-wop

Work on paper detail by Matthew Craven

Matthew Craven
Detail: "CLUSSTER", 2017
Found images on found poster
60h x 40w in
152.40h x 101.60w cm
​MC059-wop

Painting by Marjolijn de Wit

Marjolijn de Wit
"More Than Just Another", 2018
Oil on canvas
62.99h x 51.18w in
160h x 130w cm
MDW087

Painting detail by Marjolijn de Wit

Marjolijn de Wit
Detail: "More Than Just Another", 2018
Oil on canvas
62.99h x 51.18w in
160h x 130w cm
MDW087

painting by Melanie Daniel

Melanie Daniel
"Two Shores Away and Still Sloshing", 2014
Oil on canvas
51h x 78.75w in
129.54h x 200.03w cm
MD056

painting detail by Melanie Daniel

Melanie Daniel
Detail: "Two Shores Away and Still Sloshing", 2014
Oil on canvas
51h x 78.75w in
129.54h x 200.03w cm
​MD056

painting detail by Melanie Daniel

Melanie Daniel
Detail: "Two Shores Away and Still Sloshing", 2014
Oil on canvas
51h x 78.75w in
129.54h x 200.03w cm
​MD056

painting detail by Melanie Daniel

Melanie Daniel
Detail: "Two Shores Away and Still Sloshing", 2014
Oil on canvas
51h x 78.75w in
129.54h x 200.03w cm
​MD056

Photograph by Jasper de Beijer

Jasper de Beijer
"The Brazilian Suitcase (Part 3) #1", 2017
C-Print
43h x 71w in
109.22h x 180.34w cm
Edition 3 of 7
JDB-BS3-01

Detail of a photograph by Jasper de Beijer

Jasper de Beijer
Detail: "The Brazilian Suitcase (Part 3) #1", 2017
C-Print
43h x 71w in
109.22h x 180.34w cm
Edition 3 of 7
JDB-BS3-01

Drawing by Rebecca Morgan

Rebecca Morgan
"Panty Stealers (After Diana and Actaeon)", 2019
Graphite on paper
73h x 67w in
185.42h x 170.18w cm
RM284-wop

Drawing detail by Rebecca Morgan

Rebecca Morgan
Detail: "Panty Stealers (After Diana and Actaeon)", 2019
Graphite on paper
73h x 67w in
185.42h x 170.18w cm
RM284-wop

Drawing detail by Rebecca Morgan

Rebecca Morgan
Detail: "Panty Stealers (After Diana and Actaeon)", 2019
Graphite on paper
73h x 67w in
185.42h x 170.18w cm
RM284-wop

Drawing detail by Rebecca Morgan

Rebecca Morgan
Detail: "Panty Stealers (After Diana and Actaeon)", 2019
Graphite on paper
73h x 67w in
185.42h x 170.18w cm
RM284-wop

Drawing detail by Rebecca Morgan

Rebecca Morgan
Detail: "Panty Stealers (After Diana and Actaeon)", 2019
Graphite on paper
73h x 67w in
185.42h x 170.18w cm
RM284-wop

Painting by Ricardo Gonzalez

Ricardo Gonzalez
"Phone Was Ringin', This Foot Came Through the Line", 2017
Acrylic on canvas
48h x 38w in
121.92h x 96.52w cm
RG042

Painting detail by Ricardo Gonzalez

Ricardo Gonzalez
Detail: "Phone Was Ringin', This Foot Came Through the Line", 2017
Acrylic on canvas
48h x 38w in
121.92h x 96.52w cm
​RG042

Press Release

Asya Geisberg Gallery is pleased to present "Extra! Extra!", a virtual exhibition of large-scale works by AGG artists. With detailed views and a figure to show the scale of each work, the exhibition places the largest works by each artist to converse with one another, showing the symmetries within the gallery programme.

Entirely collage, Matthew Craven's "Clusster" is comprised of images cut from old textbooks, on the back of a vintage movie poster. The tiny cut pieces on first glance look like chunks of rock, but are actually selective cutouts of large landscapes mixed with black and white images of Modern sculpture. The warm sepia cast of the books and aged poster amplifies the millennia-old rock formations. The overall textile-patterning suggests a riff on scientific classification, as Craven finds a parallel in the artistry of Nature and Modernists such as Henry Moore. 

Melanie Daniel's painting "Two Shores Away and Still Sloshing" is a mixture of her signature acid colors, frenetic mark making, and preoccupation with the human relationship to nature and our planet. The lone figure slogging through a raucously painted swamp, a possible survivor of an apocalypse or off-the-grid Florida Man, melts into the background as he tugs a patched raft carrying a precious plant through water stretching to a curved horizon.

Jasper de Beijer's "The Brazilian Suitcase (Part 3) #1" is part of a larger series based on three fictional expeditions in search of a lost civilization in the Amazon. A mixture of photographs taken on De Beijer's trip to the Amazon, digital imagery, and sets built in the studio, this image represents the final expedition, where former religious sites have been submerged under a lake, and jungle has taken over all that remained of the former tribe. The resulting work is a moody and mysterious reminder of human endeavors and foibles, equally mythical and real.

Marjolijn de Wit's painting "More Than Just Another" is based on her small ceramic collages, and shows enigmatic sharply fragmented shapes sitting atop a creamily-painted abstracted background. The space seems both a vast landscape and a magnified view of small mysterious artifacts, a nod to her interest in future archeology and the interpretation of history. The delicate shimmering colors suggest snow, refracted light, and a reality just beyond our grasp.

Ricardo Gonzalez's paintings ricochet between the sublime and the nihilistic, creating a tacit dialogue between satirical cartoon and evocative painterly gesture. In "Phone Was Ringin', This Foot Came Through the Line," a figure fragments into grimaces and smirks, invoking a sort of savage full of uninhibited energy that could easily be found in early rock n' roll or the tales of early outlaw blues songs. Gonzalez echoes a history of Expressionistic painters, and adds a sense of humor and his former life as a musician to embed personal histories within.

Angelina Gualdoni's "Leadlight" incorporates overlapping pours and variegated pattern caused by paint pushing through from the back of the canvas. The shimmering, metaphoric interior subsumes the decorative and utilitarian items that build our everyday lives, while fragmented geometric patterns add structure and reference wallpaper, textiles, and early-20th century women artists such as Sonia Delaunay and Barbara Stepanova. The title "Leadlight" refers to stained glass framing, which is mimicked in the lightness and heaviness of different parts of the painting.

The largest work of the bunch, Rebecca Morgan's 9-foot hyper-detailed pencil drawing "Panty Stealers (After Diana and Actaeon)" updates the Greek myth of the hunter Actaeon, who encounters Diana and her handmaidens bathing nude. Angered at being observed, Diana turns him into a stag, who is then torn apart by his own hunting dogs. Morgan updates the innocence of Norman Rockwell's "No Swimming" with a classical bathing scene, but twists the gaze, narrative power, and subjectivity on its head. Instead of a romanticized illustration of courtship or innocent hi-jinks, we see an act of violation, met with anger and disgust. Morgan's exquisite rendering and the drawing's confrontational scale both engages and repels the viewer.

Trish Tillman's "Traveler" wall sculpture juxtaposes diverse materials, transcending function to reflect material fetishism and idiosyncratic cultural references. Leather, chains, hardware, and a motorcycle tailpipe coexist on a totemic upholstered shape. Horsehair comes out of the oval exhaust pipe orifice, suggesting an uncanny mixture of body, machine, and furniture decor.

Shane Walsh's "Untitled" uses impeccable technique to mimic collage, photocopy, and silkscreen prints. Walsh's vibrant palette and cut-and-paste aesthetic lends itself to 80's and 90's pop-culture references such as MTV, Garbage Pail Kids and skateboard graphics.