I am a person who walks down the street looking at the brick and mortar, the markings on the wall, the trash on the ground wondering about its story. My practice starts with the world around me; guided by the happenstance moments that you would miss if you blink just once.
- Nasir Young
Elizabeth Johnson: Faces of London #2 and Beauty Salon play with the pattern of the bricks by eliminating some dividing lines, softening the frontal, flatter, squarer quality of those two paintings. Smudgy areas summon a tactile response that balances the use of line for both rendering and texture. You seem to really love drawing lines. Do you use a ruler, or do you have a super-steady hand?
Nasir Young: I’m going to be honest. It’s a cruel addiction: it’s all done freehand, with the occasional drawn line over the painting. Anytime I’ve tried using tape or rulers, I end up redoing the section. I can see the imperfections, so I wouldn’t call my own hands super steady. But it matches the believable space I’m building out. If the lines were perfect, it would highlight the areas that aren’t technically accurate or exaggerated. Ultimately, I’m chasing my own satisfaction in my work...
“When I choose a subject for plein air, I am responding to an immediate connection with a certain landscape at a certain time of day at a certain season. And by some mysterious alchemy my heart leaps. This stab of joy includes an element of longing and eventual loss that makes it more poignant: a realization of the universal truth ‘This too shall pass’...”
- Ann Lofquist
Gross McCleaf is delighted to present a new series of landscape paintings by Ann Lofquist in Passing Observations. Lofquist’s remarkable skill and eye for detail, beauty and serenity are on full display in this new collection of both small-scale plein air paintings, and larger studio works.
“My work seeks to find throughlines from the ancient past to present to future. I want to know how things change through time and how they stay the same.”
- Morgan Hobbs
Gross McCleaf Gallery is pleased to present Chronolith, Morgan Hobbs’ first solo exhibition in Philadelphia and with the gallery.
Guest writer Lauren Whearty says: “Hobbs’ body of work focuses on the slow and methodical process of building a language - a new form of communication through paint, papier-mâché, and image. Each symbolic form is a building block for a wide array of possibilities with the potential to make new meaning through different combinations, or to break down the strength of an individual symbol into a more democratic piece of a larger whole.
Gross McCleaf Gallery is pleased to present Stuart Netsky’s rich digital paintings and colorful sculptural assemblages in Walking Backward into the Future. Here, Netsky continues his innovative exploration of materials and themes well known from his seminal 1992 ICA exhibition, Time Flies. This earlier work, created during the height of the HIV/AIDS epidemic, courageously explored the intersections of the HIV/AIDS epidemic with contemporary domestic life, popular culture, and Western art history. During Netsky’s retrospective in 2006, Rosenwald Wolf Gallery Curator Sid Sachs described Netsky as having a practice that, “operates at the nexus of social representation and sculpture, sexual cliché, and self-presentation. Echoing a variety of historical styles such as Pop Art, Pattern and Decoration, and color field, Netsky retains a crisp classical sense of craft and sense of humor that is deadly serious.” His latest work is no exception as Netsky continues with a clear-eyed honesty and queer sensibility.
Spontaneous bursts of gestural expression meet carefully planned and executed drafting in Val Rossman’s new body of abstract works. Unexpected Interference features two varieties of exploration from Rossman’s multi-faceted painting practice of layered geometric compositions and energetically marked, achromatic configurations. Each variation of Rossman’s approach combines elements of chance and moments of orchestration, both of which are fundamental to her pursuits. Rossman finds her works to be analogous to life’s common challenges, and it is in the tension created by these opposing strategies where Rossman’s work flourishes and meaning is found...
