Date(s) - 02/01/2020
5:00 pm-7:00 pm
Green Kill is very excited to announce the 2020 Green Kill Art Exhibition Program February Exhibition. A selection of works by Al Desetta, Olivia Hunter, Nina Kossman and John McGiff will be on exhibition from Saturday, February 1 to Saturday, February 29 with an opening celebration on Saturday, February 1 from 5 pm – 7 pm. Best viewing hours are 3 pm to 5 pm, Tuesday – Saturday. Green Kill hours are 3 pm – 9 pm Tuesday – Saturday.
More information: greenkill.org/events
About Al Desetta
I paint from photographs, many of them family photos dating back as far as the 1950s. My work is not a literal representation of the photos but an interpretation of them and of memory itself. My paintings focus on nuances in expressions and undertones of emotion conveyed by people alone or in groups.
It’s important to me that my paintings prompt a sense of questioning in the viewer, that they disrupt in some way the viewer’s expectations or preconceptions. My work has been called “psychologically taut,” falling somewhere closer on the spectrum to provoking than comforting.
I initially began painting my late sister, who suffered from developmental impairments, in an attempt to explore my relationship with her. I was struck by the open and undisguised expressions and attitudes of people who suffer from disabilities, which prompted my exploration of this subject matter. This led me to consider pushing the boundaries of what we define as “normal,” as my work goes beyond any category of people to explore those moments in our lives when the unstated and the unguarded rise to the surface in our interactions.
The scenes are lively, the people are engaged. The paint handling reflects the subject matter; the boundaries that define what is real and normal are not challenged by literal, descriptive realism. The openness of both the narrative and the paint handling leads the viewer to question what is being depicted, both figuratively and emotionally.
All my paintings are oil on canvas.
About Olivia Hunter
Books were my refuge as a child, until Obsessive-Compulsive Disorder began to creep into the pages. Words like death, murder, and suicide sent my body into patterns of ritualistic blinking, holding my breath, or tapping, to pacify the intrusive thought that I would cause harm to myself or someone else. Because of this, I spent my time piecing together stories that I could never finish. My mind became filled with fragmented characters repeating the same actions, with no hope of moving forward. As a child, I never read a story about a hero with Obsessive-Compulsive Disorder and as an adult I have found very few photographic projects that represent this disorder.
Fragmented Fables is loosely based on one of the lesser known works of the Grimm Brothers titled “The Handless Maiden”. In this story, a miller accidentally sells his daughter to the devil. When the devil comes to collect her, she protects herself by drawing a circle of chalk around herself and washing her body. The devil tries three different times to retrieve her. Before the third time, he tells the miller to cut off his daughter’s hands so that she cannot wash herself and protect her body from him. The miller does so. In this project, I focus on the idea of becoming trapped within a page of a novel due to fear; as was the case in much of my childhood. The dramatic and horrific event of hands being severed from the body repeats throughout the project representing an intrusive thought that won’t go away.
Through this project, I’m exploring the idea of a broken narrative within the visual world based on my past and on-going struggle with Obsessive-Compulsive Disorder. The project consists of photographs dependent on narrative tropes that are also found within this disorder; such as fragmentation, duality, and repetition. The images do not show specific actions grounded in reality but instead act as metaphorical representations of the obsessions and compulsions of this disorder. Unlike a real story, there is no plot, only mystery; there are no characters, only traces and pieces left behind. The hero is never fully visible, the action is left incomplete, and the subject is obscured. The full narrative is purposely withheld from the viewer to create a photographic story about the desire and need for narrative within life. The viewer is left with the task of piecing together the fragments.
About Nina Kossman
Ideas for paintings come to me when I when I’m in a forest. When I’m one on one with nature, I become a participant in and a spectator of nature’s cycle of life and death. My paintings are inspired by traces of what’s visible to us of life begun long ago. My art is about participation: participation in nature and in nature’s creativity. Many of my paintings evoke images of creatures whose outlines were “there”–in the world of nature– long before I came along. Nature knows more about art than man; its art is more urgent, and in nature the dividing line between art and life is absent. The first step of my work, in painting as well as in root sculptures, is to find the eye of the creature: eyes give soul to these pieces and convey to the viewer that they’re observing us even as we’re watching them.
About John McGiff
The painting series entitled “Rag Houses” is influenced by Indian Miniature paintings, where flat bright colors and intricately patterned surfaces create a heightened, sacred space for a narrative to play itself out in. The house is first a dwelling, but no less powerfully a metaphor for both the individual body and the achievements of culture that all civilizations have left as the mark of their passage. Think of the Egyptian tomb paintings, Minoan frescos, the stained glass windows of Christiandom. The story I am interested in exploring in these paintings entwines time, nature and the human presence. We embrace the beautiful and seek empowerment and, although we are mortal, the door to a spiritual consciousness opens in unpredictable places. So there is the potential promise of deeper connection to the spirit everywhere, but we are also willfully blind to seeking balance with nature and our place in the whole. In this regard the paintings are an eyebrow raised to our complicity in destroying both ourselves and the life around us, while holding high the hope that the beautiful engenders.
About Green Kill
Green Kill is a multi-use performance space dedicated to a diverse and growing creative community. Green Kill’s mission is to create artistic opportunities through peer to peer organization of talented and dedicated visual, performing and literary artists.
Find out how you can support green kill here: https://greenkill.org/2019/07/12/please-support-green-kill/
Green Kill is a handicapped accessible exhibition performance Space located at 229 Greenkill Avenue, Kingston, New York, 12401, email@example.com, open Tuesday to Saturday from 3 pm to 9 pm, with a selection of events on Sundays. Green Kill is closed on national holidays. The phone number is 1(347)689-2323. For the event schedule please visit http://greenkill.org/events. Exhibition viewing hours are Tuesday-Saturday, 3-5 PM or you may make a special appointment by contacting firstname.lastname@example.org or phoning 347-689-2323.