Ryan Oskin, Subdivision
April 8th – May 11th, 2017
In the project Subdivision, Oskin utilizes architectural renderings – found posted in the public space enclosing worksites throughout New York – to create new blueprints for each site. These blueprints are made into vinyl prints that interrupt and create new spaces within the gallery. The translation of buildings from a two-dimensional surface to a physical entity by architects is mirrored in Oskin’s practice.
Ryan Oskin investigates natural and constructed spaces through photography, sculpture, and installation. He has had solo shows at the Java Project and The Eagle in Brooklyn, NY that featured work both inside and outdoors. His work has been shown throughout the United States at Aperture Foundation (NYC), Johalla Project (CHI), Press Street (NOLA), Newspace Center for Photography (PDX), and underneath the 6th Street Bridge with Cudahy (LA). He recently completed a year-long residency at ARTHA Project in 2016. He graduated from Pratt Institute with a BFA in Photography in 2012. He currently lives in Brooklyn, N.Y.
Find out more HERE
Alex Kwok, Land's End
May 13th – June 21st, 2017. Opening reception May 13, 6 to 9 pm.
Land’s End is the edge of the oceans, where the land and the sea collide. These are remnants of relentless conflicts between the two elements. With his feet in the ocean looking back towards the land, Alex photographs an earth under continuous erosion. Like lovers, water confronts the land, water caresses the land, and nevertheless water needs the land. The combination of a close up, rotated frame defines seemingly extraterrestrial landscapes, eliminating the tremendous weight and force of the depicted. Land’s End, thus, is as much landscapes of nature as it is portraits of a relationship between the two forces.
Printed on Japanese rice paper, each photograph is rinsed with the ocean water it is geographically taken in. The photographs are then crumbled by hand and sequently released by the material’s inherent tension. Not only does the crumbling references the subject matter, it simultaneously highlights the print’s tactility. The distorted dimensions of the photographic print speaks to the difficulty in the empiricist desire of measuring. The treatment of the photograph makes it dimensionally variable, the same way the land is in a sublime, permanent, and yet, malleable state.
Find out more HERE
PHOTO LONDON 2017
May 17 – 21, 2017, Somerset House, London
In our European Art Fair debut, Rubber Factory is pleased to present an exploration of singular photographic works challenging the notion of photograph as reproducible through Alex Kwok’s “Light Inflection” and Moira McDonald’s “Pacifica” at PHOTO LONDON 2017.
Moira McDonald places her darkroom trays out overnight to collect small puddles of the clouds to dip her silver papers in. They were then exposed on an overcast day until the fog was either absorbed by the paper or evaporated back into the atmosphere. These photographs are traces of automated nature, of collecting and letting go, of natural breath, of process and of intervention, participation and engagement within the landscape.
In “Light Inflection”, Alex Kwok mimics this cyclical, self referential exploration of the photographic medium except here the fluid, digital future is the counterpoint to Moira’s indexical, analog past. In the simplest sense, these elusive photographs by Alex Kwok explore the rendering of light within the photographic process and the way our brains process this visual information. Kwok begins by photographing a white backdrop with a number of lights equipped with specific color balancing filters, to create a gradient representing the human visible light spectrum in terms of color temperature. These photographs of light are also printed as if they are shadows, further accentuated by its sculptural element. The resulting overall effect blurs the line between image and object. Further, Kwok avoids describing works such as these as abstract since they render a complex and meticulous process concrete. The deferred process of recognition elicits creates uncertainty in our definition of what a photograph can be.
Find out more about Alex's work HERE
Find out more about Moira's work HERE
Kate Stone, As It Was (As It Were)
Opening Reception: June 24, 2017 6-8pm. On view: June 24th - August 1st, 2017.
RUBBER FACTORY is pleased to present a solo exhibition of new works by Kate Stone from her "As It Was" series.
You’re not remembering it as it was. You’re pretty sure the rooms were bigger. And the ceilings were lower. There was red carpet. Or were the walls red? No, no it was definitely the carpet. But maybe it was more burgundy. And there were so many windows and a strange buzz from the air conditioner. At least that’s how you remember it. But you’ll never know for sure. The place is different now. You can never go back because it will never be the same and it will only disappoint you. So all you have is your memory and maybe a few snapshots but they don’t do it justice because a place is more than its image. It’s more than walls and floors. It’s a collage. It’s the way the floorboards creak, the way it smells in summer, the way your muscles remember the layout of every room. Photographs don’t capture that. They’re too static. They’re frozen in time and don’t smell like anything. But you hold on to those snapshots anyway because memory is unreliable. Every time you remember something you have to reconstruct it piece by piece and inevitably there are parts missing so you fill in the gaps - you exaggerate, embellish and invent. Sometimes you get close to the real thing but it’s never exact and it’s never the same twice. Memory is fluid. It expands and contracts, explodes and collapses. But in the end maybe your exaggerations, embellishments and inventions are more interesting than the real thing so you grasp on to those instead and repeat them over and over until they become “true,” all the while telling yourself that the truth is relative anyway so what’s the difference?
As It Was (as it were) is a mixed media installation that uses photography, drawing and construction materials to dissect the psychological space of memory - specifically the memory of home. It blends the familiar with the unfamiliar to challenge associations we have with common architectural structures. The installation celebrates memory’s inaccuracies, its narrative gaps and the way we put the pieces together.
Kate Stone is a Brooklyn-based interdisciplinary artist. She received a BA in Photography from Bard College and an MFA from Parsons the New School for Design. She was a recipient of the Tierney Fellowship in 2009 and has exhibited at The Center for Photography at Woodstock, Eleni Koroneou Gallery, bitforms gallery, FiveMyles, Cuchifritos Gallery + Project Space, among others.
Find out more HERE
WOMEN IN COLOUR
August – September 2017
RUBBER FACTORY is pleased to present a group exhibition exploring the pioneering role of women in the use of color in photography.
Women in Colour, the British spelling, advances fresh, new scholarship through a distinct and separate category; color, tracing its origins to gender-specificity. Color orbits an artist’s universe; color theory (RGB=YMC) is photography’s planet. The British Victorian, Anna Atkins (1799-1871) was the first woman photographer, albeit camera-less, and the first in color, through the cyanotype method (1842) taught to her by Sir John Herschel. Pioneering his method with Talbot’s photogram (non-color), Atkins created images in Prussian blue that included her handwriting, thus introducing text and image; she also made the first photo-book (1843). These seminal moments in photographic history suggest an innovative use of color by women within the medium which continues today.
Why do women choose color? Color is technically challenging and expensive, does this fact underscore female power, financial autonomy, breaking taboos of physical strength, visual intelligence and the “woman artist” stereotypes in art, science, and chemistry? What was photography’s role in this? With the recent discovery of tetrachromacy, stating that women with this gene can discern color better than men, who have a higher rate of color-blindness, the hypothesis gains ground. It states the singular recognition of women practitioners, whose historical and contemporary collective contributions in color photography remain under-exposed.
Artists included in the group exhibition:
Amanda Means, Carrie Mae Weems, Cindy Sherman, Ellen Carey, Elinor Carucci, Jan Groover, Liz Nielsen, Laurie Simmons, Patty Carroll, Meghann Riepenhoff, Merry Alpern, Marion Belanger, Moira McDonald, Penelope Umbrico, Renee Cox, Susan Derges, Whitney Hubbs
Find out more HERE
PHOTOFAIRS Shanghai with Jordan Sullivan
September 8 – 10th, 2017
RUBBER FACTORY is making its Asia debut at PHOTOFAIRS | Shanghai with a solo presentation of Jordan Sullivan's new hand treated photographic bases.
Jordan Sullivan’s installation, ”The California Sun Was All I Had For Breakfast, And It Burned My Eyes”, is composed of redemptive pieces; things made from failures through a process open to destruction and mistakes. Jordan prints each photograph on a basic office printer, the lo-fi nature of the prints is a decisive gesture against the image as a precious object. Each print is then saturated with chemicals, left in the rain, and manipulated by hand. This cumulative process results in the colors of the images seeping into the backs of the prints. The images are then flipped over, cut-up, and reassembled. From these photographs of physical landscapes, psychological spaces begin to emerge. Abstract fragments and scraps of opaque evidence recall open-ended moments from Jordan’s lived experience. All that is seen of the original photographic base is the hazy nebula of colors that have bled onto the backs of each print.
Drawing from a lost and destructive time in Los Angeles, Jordan reshapes traditional diaristic photographs and representational moments in a linear format into revisionist abstractions. The bleeding assemblages preserve Jordan’s personal experience within cities and landscapes, allowing for concrete moments and memories to become the origin points for the resulting abstractions. The highly performative, action-based process of destroying images to create new ones mirrors the failures of his own life. In a sense, the creation of each work is an attempt by Jordan to grant himself a second chance or to mine for meaning and clarity from a series of broken moments.
The landscape image has become a banal trope in contemporary visual culture, functioning as a backdrop for the performative self. Not unlike constructed studio sets, landscapes have taken on a malleable quality rendering them surreal and repetitive. Jordan explores the latent meanings, both historical and personal within his own archive of landscape photographs. The mythical Monet’s Garden is tempered by the modesty of Jordan’s backyard in Ohio, while the murky surface of the Detroit River with its storied history is presented alongside domestic and nocturnal scenes from LA. This fluid interchange and collaging of sites invites a spiritual examination of a landscape as a mediated space where one becomes a mental visitor not only to a place but to the fragmented moments of a life.
Pacifico Silano, John John
September – October 2017
RUBBER FACTORY is pleased to present a solo exhibition of works by Pacifico Silano centered around John F. Kennedy Jr and the obsessive coverage of his life and times. The series reflects on the modern obsession with political dynasties and the role of printed media in fetishizing public figures.