Max Gimblett, Juggernaut, 2019, acrylic on canvas, 70 x 140 inches
Hosfelt Gallery is pleased to announce its representation of the esteemed painter, calligrapher and Rinzai Zen monk – Max Gimblett
. Born in Auckland, New Zealand in 1935, he studied at the San Francisco Art Institute in the 1960s and has since traveled, taught and exhibited extensively across the globe. Gimblett lives and works in New York and Auckland with the scholar, curator, writer and 2020 recipient of the prestigious Dan David Prize, Barbara Kirshenblatt-Gimblett – to whom he has been married for 56 years.
Gimblett’s first solo exhibition at Hosfelt Gallery, juggernaut
, will open 8 September 2020.
Max Gimblett, In Our Time, 2020, gesso, acrylic, resin, size, 23kt red gold leaf on canvas, 50 inches diameter
Gimblett’s paintings are a harmonious postmodern synthesis of American and Japanese art. Often working on shaped panels or canvases – tondos, ovals, and his signature four-lobed quatrefoil – he marries Abstract Expressionism, Modernism and Spiritual Abstraction with mysticism and traditions of Asian calligraphy. Masterful brushwork, an eccentric and sophisticated color sense and sensuously glossy surfaces are punctuated with gilding in precious metals – a nod to alchemy, the Presbyterian Church of Scotland (in which he was raised) and Japanese lacquerware, ceramics and temple art.
Shaped and gilded panels in the artist’s studio
Max Gimblett, Ember, 2019, acrylic, resin, Aquasize and variegated celestial Dawn leaf on canvas, 70 x 70 inches
With an oeuvre that encompasses a half-century practice of creating unique artist's books and ink paintings on paper, Gimblett is both a storyteller as well as a teacher who frequently guides Sumi ink workshops.
Max Gimblett, In This Zendo, 2002, sumi ink, acrylic and vinyl polmers on Kuzakizome Kuri Hakeme handmade paper, 25 x 19 inches
"I think of my larvae paintings as being made ‘in union with.’ They are neither controlled nor accidental… they are where traditional Sumi ink practice is in harmony with natural forces and the aesthetics of painting.”
Emil Lukas, surface event #1391, 2014, paint and ink on canvas over wood panel, 53 x 65 x 2 1/2 inches
Nicole Phungrasamee Fein, 18.08.04, 2018, watercolor on illustration board, 11 x 11 inches
"My practice is simple – I make one small mark at a time. The work strives to harmonize focus and repose, creating a space that is simultaneously tense and tranquil. When I draw, I make what feel like individual steps, marking the moments and maintaining a steady rhythm, as if I am walking. In doing so, I find a practice that centers on the extremely slow and focused pace – and the resulting sense of calm, for both myself and the viewer – of meticulous, methodical mark making. The drawings represent the search for a visually and emotionally grounded experience, composed slowly and cumulatively."
Nicole Phungrasamee Fein, 1101309, 2009, watercolor on paper, 15 x 15 inches
For two decades, Nicole Phungrasamee Fein
has been known for her agile handling of pigment on paper. As her work has evolved, delicacy and tranquility have been constant. Her earliest pieces were defined by multiple layers of earth tones in overlapping strokes —left/right, top/bottom — akin to weaving. Gradually her color choices broadened, but remained muted. The predominantly horizontal lines evoked luminous landscapes or seascapes.
Nicole Phungrasamee Fein,1073113, 2013, watercolor on paper, 12 x 12 inches
Her current work explores the properties of one of Fein’s two essential components — water. For the first time, water is the vehicle that carries the pigment, in this case iron oxide, as it moves. The reduced palette, no longer controlled by Fein's brush, reveals the ways water naturally behaves. Fein deftly guides the process, creating works of astonishing complexity. The outcomes are wide-ranging. Alluvial currents and splattered rain patterns are both inspiration and result. Radiating forms are evocative of nature on micro and macro scales — buzzing molecules, cellular life, exploding stars. While still falling under the general rubric of watercolor, the artist describes her current practice as ‘water drawing.’
Nicole Phungrasamee Fein,18.08.03, 2018, watercolor on illustration board, 11 x 11 inches
To make this image, Jim Campbell
hand-held a video camera at a sculpture of the Buddha for 93 minutes (the length of the video tape). He then digitally superimposed every still from that video to create the “average” of those still images. Unlike the other works in his Dynamism
series, the “blurriness” of the image doesn’t come from the action of the subject, but is caused by the movement of the camera when Campbell shifts or breathes — a reminder that any time we look at an artwork, we are looking at the world from the viewpoint of another.
Jim Campbell, Dynamism of an Observer (in the Weeds), 2002, lightbox with color transparency,
19 x 25 x 3 1/2 inches; from an edition of 3
A series of drawings made for Tim Hawkinson
’s upcoming show at the gallery —Tantric Drip Drawings
—20 July to 29 August.
Tim Hawkinson, Mermorli, 2020, India ink on Yupo paper, 84 x 56 inches
The word tantra, Sanskrit for “loom” or “weave,” is a metaphor for Hindu and Buddhist spiritual practices that bring together rituals, texts and teachings to guide understanding of the universe and a person’s place within it.
Tim Hawkinson, Uvli, 2020, India ink on Yupo paper, 60 x 40 inches
To create this group of large-scale drawings, Hawkinson constructed a contraption that functions in much the same way as a tattooist’s needle. Using it to squirt India ink, he makes straight lines upon sheets of paper mounted on a turntable that’s fixed flat to the wall. He drips his ink, spins the paper and repeats the process from different angles to construct complex geometric forms that bulge and bend across the picture plane —despite having been created without any curved lines.
Many are uncannily totemic — stylized and fetishistic representations of the human body. Others evoke the geometry and optical effects of Islamic tiling or American quilts. Each, constructed through the ritualistic buildup of lines, is a token of Hawkinson’s idiosyncratic practice.
From Left to Right (Clockwise): Tim Hawkinson, Ovex; Lofbon; Loflok; Pulsul, 2020, India ink on Yupo paper, 60 x 40 inches
Painting by Max Gimblett; Creeley's Mirror, 1998,
gesso, black clay and water gilded Swiss gold on wood panel, 20 x 12 inches
Detail from the altar in the studio of Max Gimblett
Beyond the Visible — Hilma af Klint
Directed by Halina Dryschka
A new documentary about the astonishing, art history-rewriting life and work of Swedish painter Hilma af Klint is now available to stream through the Berkeley Art Museum’s website
. Essentially ignored by the broader art world until her blockbuster retrospective at the Guggenheim Museum
last year, af Klint has up-ended the ingrained narrative of the development of Modernism and abstract painting through her revelatory series of huge, visionary paintings begun in secret in 1906. Dryschka’s evocative cinematography and soundtrack convincingly and poetically reveal the world as perceived through af Klint’s eyes and thoughts. Knowing how far ahead of her time she was, af Klint entrusted her entire archive of notebooks and artworks to her nephew upon her death in 1944, insisting they be kept hidden away for twenty years. But by 1964, the art world was enamored with American Pop, Minimalism, and Conceptualism, and Clement Greenberg’s art historical canon was firmly entrenched. It would take another five decades before we could fully grasp the magnitude of her talent and contribution.
is located at 260 Utah St, between 15th & 16th streets. Wheelchair accessible entrance at 255A Potrero Avenue. For more information call 415.495.5454 or visit hosfeltgallery.com
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