Jun 9, 2015
<-- Born 1957 in Nagoya, Japan. After graduating the Sculpture course at the Aichi University of the Arts in 1982, he moved on to a postgraduate course, graduating in 1984. Since then he has been sculpting in wood mainly, using aluminium for outdoor works. He held solo exhibitions at Gallery Muramatsu (1996, 1998/Tokyo), Art Gallery C. SQUARE (2006/Nagoya), Andersen Park Children's Museum (2009/Chiba, Japan) and many others. As for group exhibitions, he took part in shows such as Kobe Figurative Sculpture Grand Prize Exhibition (1996/Kobe, Japan), Vogtland International Sculpture Symposium (2000/Germany), Fugaku Biennale (2001/Shizuoka Prefectural Museum of Art, Japan) and 16th Taro Okamoto Modern Art Prize Exhibition (2013/ Taro Okamoto Museum of Art, Japan). His works are on display at Nisshinnishi High School (Aichi, Japan), Haruno Fureai Park (Shizuoka, Japan), Ijiramura Sports Park (Gifu, Japan), Nishiharu High School (Aichi, Japan), Saya Primary School (Aichi, Japan), Nagakute North Primary School (Aichi, Japan).
Jun 5, 2015
has been an active contributor to the discourse in conceptual figuration in the New York area for the past 15 years. He operates the JJHS Press where his wordless book “More Than Human” was published in 2010 and the portfolio “Safety First” was published for the Shanghai Metro in 2013. Jacobsmeyer earned his BFA from the University of New Hampshire and an MFA in painting and printmaking from Yale University. He teaches printmaking, painting, and art theory at the New York Academy of Art’s Graduate School. He has taught or given lectures at over 40 Colleges and Universities around the world including RISD, Central Academy of Fine Arts Beijing, Shanghai University, Vanderbilt University, and the Pratt Institute. He received artist residencies at the Ragdale Foundation, MacDowell Colony, Roswell Artist-in-Residence Program, Anchor Graphics, Cill Rialig Ireland, Shanghai University and Mimar Sinan University, Istanbul. Awards include two fellowships from the New Hampshire State Council on the Arts, the Basil Alkazzi Award, a Fulbright Fellowship to Italy, a Pollack-Krasner Grant and a New York Foundation for the Arts Artist Fellowship. His work is housed in the permanent collections of the Anderson Museum of Contemporary Art, New Mexico, the Springfield Museum of Art, Ohio, the States of New Hampshire and South Carolina, and the Cities of Seattle and Shanghai, China as well as numerous colleges, universities and private collections. His work is available at Art Labor Gallery, Shanghai; Davidson Galleries, Seattle; Kentler International Drawing Space, Brooklyn.
Jun 3, 2015
" My work explores the beautiful, painful, and ultimately puzzling, human condition of having memories. What are they? Can we retain them as an experience? Are they individual or shared? Once gone, could your neighbor's be your own? How important is happening versus happened? Through this body of work, I engage with mostly found photographs. Already, these objects have a history unknown to me and speak of another’s memory, removed in both time and space. In these photographs, I cover the people with paint, subtracting the specific identity of each person and transforming them into anonymous ghosts for the viewer to project upon. In this way, a private and specific experience becomes an open and shared one through the material addition of paint on photograph. Through this haunting of the material, the ghosts become us and we become the ghosts. We become the ghosts of our everyday. -Angela Deane
Jun 2, 2015
In these last years Joseba Eskubi
(Bibao 1967) has worked a gestural painting, combining techniques and processes that try to accentuate the material qualities of the image. He is interested in organic forms in decomposition, soft and amorphous that accentuate the tactile sense of vision. His work usually presents a kind of stage where there is a single figure, silhouetted against the background., trying to maintain a certain ambiguity that allows the suggestion and evocation. The pictorial gesture builds a credible figure, but at the same time it is decoded as an abstract, and purely material. The idea is that each image has a temperature, a character like a portrait of an unknown thing until you create it. Joseba Eskubi´s process is quite intuitive and fast, acting directly on the canvas. He works with a serial device that causes an obsessive effect, a necessity absurd and indomitable. This repetitive structure, projects itself over time like a big body beating and breathing, the strange body of painting.