First Friday – Art Crawl features Social Justice Posters Exhibition by Luba Lukova
Internationally renowned, New York-based Luba Lukova is regarded as one of the most original image-makers working today. Whether by using an economy of line, color and text to pinpoint essential themes of humanity or to succinctly visualize social commentary, her work is undeniably powerful and thought-provoking.
In Lukova’s art, less is more. More effect, more message, more expression; all while doing it with less. The graphic elements are bold with few fine details but the intent is clear. Her messages reflect the human condition, fundamental fairness, and justice. Yet while it is easy to focus solely on the messages of her provocative works, it is important to take a step back to appreciate the artistic merit in her simplicity. Her use of striking, metaphoric images gives the viewers art to not only appreciate visually but intellectually.
Gideon Bok – I paint from perception only. I don’t work from photographs or drawings. I enjoy the process of active looking and responding to what I see using oil paint. Working on paintings over a long period of time, I usually have several paintings I’m actively painting in the studio. I painted King of Nails over the course of about seven to ten years, focusing on a specific time of day (the hour in the late afternoon/evening when the waning light hit the brick building across the street and filled the studio with a beautiful glow.) When friends or family come to hang out in the studio, I don’t ask them to sit still, but paint them as I see them, and often (but not always) paint them out after they leave. As a result of this process, figures come and go in the painting space.
Meghan Brady – My studio work has recently taken a shift away from oil painting on stretched canvas towards
large scale site-specific paintings on paper and unstretched canvas. These paintings came
about as a response to my restlessness and desire to see my paintings on shaped surfaces, as
well as the technical freedom to change the piece at nearly any given point (something that
painting on stretched canvas makes difficult). Within these boundaries, I find a space where I
can use direct, saturated colors to generate loose compositions that reference ceramic vessels,
clothing, and gesture — in other words, I am indirectly referencing the human body through an
everyday kind of abstraction. My aim is to make paintings that are generous in spirit but also
find a way to occupy their space and time in a frenetic, irregular, and ultimately surprising way.