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Tamar Halpern, Untitled, 2014

Tamar Halpern, Studio View (2014)

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Tamar Halpern, installation view

Installation view

Tamar Halpern, installation view

Installation view

Tamar Halpern, Installation view

Installation view

Halpern, How The Thing Sings, 2014

How The Thing Sings, 2014
UltraChrome ink on linen
70 by 60 inches
(177.8 by 152.4 cm)

Tamar Halpern, Broken Toys, 2015

Broken Toys, 2014
UltraChrome ink and archival paper on linen
68 by 58 inches
(172.7 by 147.3 cm)

Tamar Halpern, Dark Heart, 2014

DARK HEART (Ugly <3), 2014
UltraChrome ink and archival paper on linen
68 by 58 inches
(172.7 by 147.3 cm)

Tamar Halpern, No Tears, 2014

No Tears, 2014
UltraChrome ink and archival paper on linen
68 by 58 inches
(172.7 by 147.3 cm)

Tamar Halpern, Double Take. 2014

Double Take, 2014
UltraChrome ink and archival paper on linen
70 by 60 inches
(177.8 by 152.4 cm)

Tamar Halpern, More Salt, 2014

More Salt, 2014
UltraChrome ink and archival paper on linen
68 by 58 inches
(172.7 by 147.3 cm)

Tamar Halpern, On Tuesday, 2014

On Tuesday, 2014 UltraChrome ink and archival paper on linen
68 by 58 inches
(172.7 by 147.3 cm)

Tamar Halpern, Agony and Desire, 2014

Agony and Desire, 2014
UltraChrome ink on linen
68 by 58 inches
(172.7 by 147.3 cm)

Tamar Halpern, Sacred Obsession, 2014

Sacred Obsession, 2014
UltraChrome ink and archival paper on linen
74 by 54 inches
(188 by 137.2 cm)

Tamar Halpern, Installation view

Installation view

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Tamar Halpern
My Voice at the Pace of Drifting Clouds

February 22 – March 29, 2015

Press
Interview Magazine
ArtInfo

On Stellar Rays is pleased to announce the opening — on Sunday, February 22 — of Tamar Halpern’s first solo exhibition with the gallery, My Voice at the Pace of Drifting Clouds.

Halpern presents new paintings on linen, using photography, collage, and ink-jet printing to build layered surfaces combining graphic elements and more atmospheric imagery.

As with previous work, photography plays an essential role in Halpern’s studio, capturing simple visual information available in her immediate environment — walls, floors, water, textiles, a cat, a screen, the work itself — in an improvisational and nondiscriminatory manner that acknowledges the subjective nature of photography, while further actuating the fragmentary and non-specific nature of circulated images.

Halpern’s new work also embraces an additive process that is decidedly painterly. Her signature techniques — especially those working on photo paper — are present, albeit as collage, along with numerous other printing processes and more physical gestures, generating a palpable tension between the flatness of digital images and the plasticity of painting. The process of layering defies conventional use of representational space; Halpern’s personal experiences, her temporal and visual point of view, collapse into a single, ever-present, and shifting surface, a record of the acts and moments that took place in its making.

Halpern frequently makes allusions to music, evoking an acoustic space that depends on a continuous present moment, like improvisational jazz. The title of the exhibition, My Voice at the Pace of Drifting Clouds, is appropriated from a song by Merzbow, the stage name of Japanese noise musician Masami Akita. Merzbow is known for his complex recording and fusion of analog and digital sound samples, described as compositions of residue, waste, or feedback noise. Although Halpern is working with a visual language, the process is similar, surmounting the divide between the digital and analog — the mechanical and the natural — opening the possibility that perhaps amid the dense and often overwhelming chatter of day-to-day information, an impartial attentiveness may offer patterns, beauty, ideas, new potential.

Tamar Halpern’s recent solo exhibitions include Office Baroque, Antwerp, Belgium (2013/2012); Triple V, Paris, France (2013); Galeria Pedro Cera, Lisbon, Portugal (2012); Egeran Gallery, Istanbul, Turkey (2012); D’Amelio Terras, New York, NY (2011). Group exhibition include Koenig & Clinton, New York, NY (2014); Elizabeth Dee, New York, NY (2013); Callicoon Fine Arts, New York, NY (2013); White Columns, New York, NY (2013/2010/2009/2008); Braverman Gallery, Tel Aviv, Israel (2010); Greater New York, MoMA/PS1, Queens, NY (2010); The Knight’s Move, curated by Fionn Meade, Sculpture Center, Queens, NY (2010); Which Witch is Which?, curated by Ajay Kurian, White Flag, St. Louis, MO (2010); This-Has-Been, On Stellar Rays, New York, NY (2009).