ZELENE JIANG SCHLOSBERG
dialogue performance with the oboist
24 June 2021, 7 pm opening night
London, Kensington and Chelsea Art Week
In this challenging period of recent history, air quality and air particles have taken on a grave importance. After one year's isolation, artist Zelene Jiang Schlosberg has created hybrid works that dangle precipitously between painting and sculpture, with attention to line and architecture always present. In this series of 12 works, Schlosberg highlights in a rather acute fashion some important themes from the Era of Covid: silhouettes of lungs, figures in an oxygen tank, lines of movement, extensive holes and indescribable patterns. In all, a general sense of anxiety pervades - the canvases have been harmed, after all, even if an optimistic colour palette is trying to maintain a brave face. An array of techniques (stitching, embroidery, script) are employed in the service of materials including beads, paper and wire. A multiplicity of textures, combined with three-dimensional tendencies, help make the role of natural light central to interpretation. Amorphous shapes emerge, rearrange, and suspend themselves, complicating the sense of dimensionality.
ZELENE JIANG SCHLOSBERG is a Chinese-born artist is living and working in Chicago. Recent solo exhibitions include North Central College (IL), East Central College (MO) and the University of Illinois at Chicago. Another upcoming solo exhibition will be at the Chinese American Arts Council Gallery (NYC) in late 2021. Participants of numerous groups shows include in CICA Art Museum Korea. Her painting "Directions #0" was featured on the cover of composer John Liberatore's 2018 debut CD album, "Line Drawings" (Albany Records). Her works can also be seen in Artist Talk Magazine (UK), Studio Visit (U.S.) and Art Market Magazine (Israel).
As in a dream, the emotional dimension of colour stimulates an intuitive response. Schlosberg has created labyrinthine narratives of abstract, figurative and mystical configurations, in a world that is familiar and unfamiliar at the same time. Andrew Nogal is internationally known for exploring the boundaries of the oboe. In a special event hosted during the exhibition, he will join Schlosberg for a spontaneous, collaborative intermedia performance on Thursday, 24 June, 2021.
Oboist Andrew Nogal
is an acclaimed orchestral performer, chamber musician, and interpreter of contemporary music. He is a longtime member of Ensemble Dal Niente, has performed with the Chicago Symphony Orchestra, Oregon Symphony, CSO MusicNOW, Talea Ensemble, and Alarm Will Sound. His festival appearances include June in Buffalo, Ravinia, and the NY Phil Biennial. He is a member of the Grossman Ensemble at the Chicago Center for Contemporary Composition. Recent international engagements include Japan, Australia, New Zealand, and the Beijing Modern Music Festival. An alumnus of the Lucerne Festival Academy, Nogal won first prize at the Fischoff Competition and the Kranichstein Music Prize at the Darmstadt Summer Courses.
Zelene Jiang Schlosberg, Testament, canvas, acrylic, thread, 24x24x2.5 inches/61x61x6.35 cm, 2021
since December 2020
in Conversation with Russell Jakubowski
Lockdown Toy No. 1, perspex and stainless steel, 41x24x12cm, 2020
For many years Russell has been interested in the connections and relationships between human processes on a psychological level, and interpersonal connections on a social level. There are structures in his artistic practice that physically visualize these connections in individuals and between people. Even the wall-mounted works made of PVC in 2012 underline precisely these aspects. Geometric forms and designs become representations of systems we are a part of. They appear as networks that are constantly being supplied with new content and information from perception, experience, and reflection.
Russell conducts his artistic investigation of the circumstances through a meticulous examination of the material and its technical possibilities. He chose PVC, perspex, and acrylic because here he can control and finish the material through targeted cuts and modeling. The artistic practice results in artworks characterized by exceptionally patient precision and attention to detail.
Russell provides more detailed explanations of these Toys, as he calls these sculptures, in the short videos, where some explanations of the artistic creation process are given by the artist himself.
Dr.phil. Isabella Woldt
Russell is an English artist, who lives and works in Surrey, near London. He has been joining the gallery since 2018. He works mainly as a sculptor, and his artistic practice encompasses artworks made in wood, steel, acrylic, perplex, and mixed-media incl. videos and digital.
Lockdown Toy No. 2, The Good Ship, perspex and stainless steel, 36x31,5x13cm, 2020
Here in Tracker and Resistance Is Not Futile Russell underlines the connecting elements in these relationships. The way they are organized together and where connections are created are made manifest by empty or missing spaces.
These forms are visualizations of thoughts that disappear at some point in the memory or the subconscious, or like people that suddenly appear in our life, whom we integrate into our system, finely or loosely, but who could also disappear again and again, and do so. Then there is a trace of memory that emerges as a moment on a connecting line in a network, where empty space locates the missing content and could refer to a struggle.
These artworks concern the struggle to organize or contain something. The void spaces represent a missing part of the structure that may have acted as a restraint. As these elements are indeed 'missing' the flowing mass might be seen to be free to flow on. Resistance is Not Futile was exhibited with a brief narrative:
"If your efforts come to nothing, you will at least leave a space where you were".
Resistance is Not Futile, PVC, cut by hand, wall-mounted, 110x71x0,5cm, 2012
The red orbital trace-shapes in Red Orbits oscillate around a hard core, a spin, where they are anchored. They revolve around the core, as the thought revolves around an idea, as we humans revolve around our networks, around our task, or within structurally organized systems. The position of the 'leaves' can always be put in a new position, which veins through the entire composition. You could potentially also add more sheets and let them circle with the existing ones. But they remain in orderly systems.
Red Orbits, acrylic and stainless steel - 25 x 19cm (approximately) - December 2018, Edition of 4
A way of looking at this is like an axis of time extending from top to bottom through the assembled layers with effort described on a lateral plane extending away from it. Like a three-dimensional graph. Viewed as a whole this can be seen as a snapshot of efforts through time, with everything else stripped away so that only a skeleton of activity remains.
Red Orbits, Angel 1, acrylic and stainless steel, 12x10x9cm, 2019
Made from numerous individual acrylic components – some of these compositions consist of more than 100, and held in place by stainless steel rods. – Imagined profiles of energetic orbital paths are arranged from one end to the other. Each one is asymmetrical, varies in distance from the centre, and returns to a tight curve around the core.
Red Orbits, Angel 2, acrylic and stainless seel, 12x10x9cm, 2019
The core gathers up and anchors these red trajectory forms into a column of imaginary traces of effort and activity.
And then, in Russell's Lockdown Toys - produced during the pandemic (2020 / 2021) we see a completely different system and interconnections. Made from strongly coloured opaque acrylic he presents fundamentally changed structures that result from the experiences and perceptions of the pandemic time. The colorful parts stick closely together, they could move, but the movements and shifts are suddenly no longer as ordered as they were. The systems must come to a standstill or they break.
Lockdown Toy No. 3, Voices On The Airwaves, perspex and stainless steel, 26x22,5x16,5cm, 2020
"In March 2020 we entered into a state of Lockdown. The multifarious components of this sculpture are a mechanical representation of us as individuals and organisations and the connection we have with one another as part of society. In this work, each component is unable to advance independently. Bound together, increasingly aware of the need for financial lubrication, and trapped aboard our lifeboat we are stationary but moving through time. The Good Ship shepherds us towards vaccination and the promise of a more gregarious future."
Lockdown Toy No. 4, The Cavalry, perspex and stainless steel, 28x17,5x11,5cm, 2021
for all sculptures POA, please Contact the gallery
Self portrait I, oil, wax, charcoal on board, 50,8 x 40,64cm, 2017
Resilience I, plaster, yarn, glass beads, acrylic, 213,36x243,84x12,7cm, 2020
Shield I, plaster, yarn, resin, enamel, 121,92x60,96x2,54cm, 2020
My engagement with specific materials has a long family lineage beginning with my great grandfather, Julius Schubert, who emigrated from Denmark in 1870. Schubert was one of a few fresco painters who helped to rebuild Chicago and vicinity after the Chicago fire. A recent trip to the earliest frescoes found in the ancient cave paintings at Grotte de Niaux, France, showed records of daily rituals and interaction with the natural world and internal well-being. The makers of these early frescoes also employed walking, ritual and repetition to speak of their connection to nature. My recent modular figurative sculptures and mixed media objects employ some of this the ancient fresco technique bringing historically grounded materials into contemporary sculptural and painting discourse. It is through a continual process of constructing, deconstructing and reconstructing that I reach outside of the familiar and invite the viewer to engage in the shared nuances of the human condition.
Self portrait II, oil, charcoal, wax on board, 45,72 x60,96cm, 2018
is US American artist, living and working in Chicago. She studied painting and drawing at the School of the Art Institute of Chicago II and obtained there her BFA and MFA. During her artistic career, she exhibited in numerous solo, group exhibitions, and curatorial projects. Her studio practice over the last several years evolved from traditional painting to a more sculptural practice using a handmade plaster and yarn-based material that she developed as seen in Resilience I and Mask IV, and Shield I. Judith explains that she usually does not produce pre-sketches or drawings for artworks. They are rather results of her artistic practice processes in handling direct materials, which she uses for creations.
The current exhibition, which takes place in virtual space, refers to Judith's artistic processes during her walks in the landscape, especially the wood, where she explores the structures of nature and their impact on our senses and cognitive perception.
Judith points out that in walking, interpretation frequently lags behind the actual temporal experience. When walking we transgress and re-establish new boundaries by continually redefining a new frame for our field of experience. Walking itself does not make art in the traditional sense excerpt for perhaps a trail as in seen in Richard Long's A Line Made by Walking. The physical act of putting one foot in front of the other is repetitive and tied to rhythms of organic processes. Wandering, the deliberate moving off a set course is about non-conforming and remaining open to a new way of facing everyday challenges. With this type of ambulation, the role of gesture and habit are the foreground and suggest opportunities for ritual as material and conceptual connection with nature. It is and an invitation to linger, to slowly immerse yourself in an environment like a cave or a forest that allows for transformation.
Judith's performative approach to the regulation of her artistic practice in a dialog of her body with the processes of natural surroundings results in a daily ritual.
Mask IV, plaster, yarn, glass beards, 45,72x30,48x17,78cm, 2020
Walking or wandering in a forested area is a daily part of my studio practice. Here the tree-forms act as metaphor, respite, teacher and model for my overall art practice where I combine many mediums and textures. While walking I meditate on the ever present awareness of the impact on the human body and mind as a result of cultural pressures, communication overload and isolation. I am curious about the psychic and intellectual effects experienced in this ritual of walking in the forest and how these manifests in processing concerns related to a range of emotions such as joy, loneliness, uncertainty and fear. The resilience of the tree and its adaptability to changes in the landscape is a model I use to express our shared human desire for strength and courage. Reflecting on a quote from Janet Laurence from her work found in After Nature, Laurence states, "Trees for me are the great signals of change. They become a register of what's happening through climate change, pollution and poisoned waters." In my sculptures the tree is represented by references to bark using skin like materials such as resin, handmade tree bark, chicken wire, cheesecloth and Ace bandages. The bark of the tree is made up of living cells and acts as a skin which shields the tree from disease, animals and insects much like our own human skin. Following in the footsteps of Ana Mendieta I gather found, up-cycled and recycled materials which can be woven and cast into figurative wall and free-standing sculptures and nest like assemblages. My mode of combining materials mimics the ritual and repetition of walking in the forest. Interweaving or layering of materials speaks to a balance between strength and fragility.
Resilience I, plaster, yarn, glass beads, acrylic, 213,36x234,84x12,7cm, 2020
Head I, backside, chicken wire, ace bandages, plaster, yarn, resin, pigment, 60,96x40,64x40,64 cm, 2020
Mask I with stick, side view, plaster, yarn, found stick, 152,4x60,96x91,44cm, 2020
Mask II, plaster, yarn, pigment, acrylic, 60,96x45,72x25,4cm, 2020
Mask III, plaster, yarn, pigment, acrylic, 60,96x45,72x22,86cm, 2020
Mask IV, plaster, yarn, glass beads, 45,72x30,48x17,78cm, 2020
Mask V, plaster, yarn, acrylic, 30,48x22,86x7,62cm, 2020
Mask VI, plaster, yarn, acrylic, pigment, 20,32x30,48x7,62cm, 2020
Mask VII, plaster, yarn, 60,96x45,72x12,07cm, 2020
Mask VIII, plaster, yarn, pigment, acrylic, 60,96x45,72x12,7cm, 2020
Mask X, plaster, yarn, glass beards, pigment, acrylic, 60,96x45,72x12,7cm, 2020
Resilience II, plaster, yarn, cheesecloth, 213,36x121,92x12,7cm
Shield I, plaster, yarn, enamel, 121,92x60,96x2,54cm, 2020
Shield II, plaster, yarn, resin, pigment, cheesecloth, sawdust, 91,5x61x6cm, 2020
Shield III, plaster, yarn, resin, ace bandages, glass beads, 60,96x 121,92x5,08cm, 2020
Shield V, plaster, yarn, pigment, 91,44x121,92x10,16cm, 2020
Shield VI, plaster, yarn, pigment, 91,44x121,96x10,16cm, 2020
Figure 1, front view, plaster, yarn, resin, ace bandages, chicken wire, 137,16x91,44x60,96cm, 2020
Figure 2, backside, plaster, yarn, resin, ace bandages, pigment, chicken wire, 137,16x91,44x60,96cm, 2020
Tondo 1, fresco, resin on styrofoam, 30,48x30,48cm, 2019
Artwork in Focus
plaster, yarn, acrylic, pigment, 20,32x30,48x7.62cm, 2020
This mask becomes tangled. This rust-red work evokes an impression of the symbol of infinity, and therefore its shape is reminiscent of the constant natural course of things. And yet it is not freely exposed to the forces of impermanence. The surface is structured like a crust, a protective crust, a protection against the influences of transience.
plaster, yarn, pigment, acrylic
60,96 x 45,72 x 25,4cm, 2020
It's a form that writhes in itself. The green pigment refers to the natural polles that float in the air. And yet it has found its constancy in a form.
The artwork is part of a series that Judith titled Masks. As the artist explains, the title refers to the journeys, which she undertakes between the urban space of the city and the forest.
The mask is protection, it protects our emotions and makes us appear strong.
For all requests regarding the artist and artworks presented please Contact the gallery