Exhibitions June 2010

JOSEPH JUSTUS

CONVERGENCE SERIES

In this new series I am using the technique of flipping to create areas of convergence. The paintings feel alive because of the passing and blurring that is occurring at these intersections. Smears, blurs, lines, smudges, drips, and scrapes begin to overlap and reveal. The works explore ideas of life and decay. The paintings get over worked which leads to the overlay of the new and revealing of old. I do not want to know what the end is going to be. This is the reason to paint. It is the anticipation of the end and trust in the process which captivates me to paint.

Joseph earned a Bachelor of Arts, Architecture from the University of California at Berkeley and is currently studying for a Master in Architecture at Columbia University in New York.
He has a 2 year working experience with Gehry Partners as a Jr. Architect.

Untitled Acrylic and pencil on canvas 68 x 68 inches 2008	Untitled Acrylic and pencil on canvas 68 x 68 inches 2009	Untitled Acrylic and pencil on canvas 40 x 66 inches 2008	Untitled Acrylic and pencil on canvas 40 x 66 inches 2008
Untitled Acrylic and pencil on canvas 36 x 60 inches 2009	Untitled Acrylic and pencil on canvas 36 x 60 inches 2008	Untitled Acrylic and pencil on canvas 40 x 66 inches 2008	Untitled Acrylic and pencil on canvas 40 x 66 inches 2008

CHRISTOPHER MERCIER

PAINTING TOWARDS FORM

A space between painting, sculpture and architecture.

These works are a continuation of my interest in contemporary abstraction, spatial imagination and the relationship of painting, sculpture and architecture. It is through their formation that I hope to engage in the unfolding of contemporary experience. The works focus on exploring & testing spatial & relational opportunities in form, space, color and texture.

The project situates itself somewhere in the boundaries between painting, sculpture and architecture. Through the formal relationships created within the works preconceptions that define and separate the various fields of study are loosened and eroded. Moving between the disciplines, picking up loose ends and leftovers, and allowing things to commingle in an unorthodox manner, a situation is created where new and/or engaging spatial relations can be stumbled upon, experienced and explored.

The process for creating these pieces is something that I have developed over the last 4 to 5 years. It involves a technique I call Paint Modeling. Paint Modeling is liken to a cross somewhere between painting, sculpting and the architectural model making process. Its both an additive as well as reductive process that allows one to play with the visual experience of color, texture and physical 3-dimensional form. Paint is applied (and sometimes later removed) using various tools standard to the trade of contemporary painting. The difference here is that the paint is applied in various states of solidity, from a watery liquid, to a buttery gel, all the way to a physical solid. To achieve this solidity, paint is pre-cast into sheets or other shapes in plastic wrapped boxes, from there, once dry, it is cut like fudge with a utility knife or with scissors and then adhered to the work using silicon and/or other paints. The uniqueness of this process is just one example of the overlapping of ideas from varying disciplines mixing together to create new opportunities. Here the material of paint takes on two roles, its traditional role as a color pigment and a new role where it is actually treated almost like a construction material used to build the 3-dimensionality of the surfaces.

Christopher Lawrence Mercier was born and raised just outside of Detroit Michigan. There he completed a bachelor of Science in Architecture at Lawrence University before going on to study in Milan Italy at Architecture Intermundium under Daniel Libeskind. From there he moved to southern California, completed a Masters degree in Architecture at SCI-ARC and worked for various architects in the Los Angeles area including Frank Gehry. In 2002 he left Gehry partners and started his own architectural practice, (fer) studio L.L.P. with Douglas Pierson, where he continues on today. His initial interests in architecture evolved out of his experiences as a young child interested in the arts. Throughout his entire life he has consistently pursued simultaneous careers in both the arts (painting, sculpture) and architecture, with numerous exhibits and shows to date. His work has always struggled to erase the separation imposed by society between Painting Sculpture and Architecture in favor of a more contemporary renaissance approach to spatial thinking.

Intersection Oil, ink, latex, enamel on wood panel 54 x 48 x 1.5 inches 2008	Indigenous Oil, ink, latex, enamel on wood panel 54 x 48 x 1.5 inches 2008	About to be Uttered (angeled view) Oil, ink, latex, enamel on canvas 14 x 12 x 4 inches 2007	Inertia Oil, ink, latex, enamel on wood panel 48 x 72 x 4 inches 2008
Willy Wonka (angeled view) Oil, ink, latex, enamel on wood panel 54 x 48 x 1.5 inches 2008	Woo Nelly Oil, ink, latex, enamel on canvas over wood panel 15 x 99 x 4 inches 2007	Studio View 2008