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Argianas, Clay pressings #2  (swimmers' arms are oars, swimmers' arms are oars, your palms are oval, 2016

Athanasios Argianas
Clay pressings #2 (swimmers’ arms are oars, swimmers’ arms are oars, your palms are oval), 2016
Clay pressing, molded then electroformed in solid copper, matt grey cold patinatio
22-3/4 by 17-3/4 inches (58 by 45 cm)

‡ Preview Exhibition ‡

On Stellar Rays, Ryan Mrozowski, Zipora Fried, Athanasios Argianas, 2016

Installation view (Ryan Mrozowski, Zipora Fried, Athanasios Argianas)

Ryan Mrozowski, Untitled Pair, 2016

Ryan Mrozowski
Untitled (Pair), 2016
Acrylic on linen
60 by 40 inches each (152.4 by 101.6 cm)

Installation view, Zipora Fried, 2016

Zipora Fried
Night series, 2016
Colored pencil on paper
16-1/4 by 12-1/4 inches each (40 by 29.8 cm each)

Athanasios Argianas, >Clay Pressings # 1 (swimmers' arms are oars, your arms are oars, your palms are oval), 2016

Athanasios Argianas
Clay Pressings # 1 (swimmers’ arms are oars, your arms are oars, your palms are oval), 2016
Clay pressing, molded then electroformed in copper, clear varnish
29-3/4 by 21-1/2 inches (75.5 by 55 cm)

On Stellar Rays, Ryan Mrozowski, Zipora Fried, Athanasios Argianas, 2016

Installation view

Zipora Fried, Mural, 2016

Zipora Fried
Untitled, 2016
Acrylic mural
133 by 173 inches (337 by 439 cm)

On Stellar Rays, Ryan Mrozowski, Athanasios Argianas, 2016

Installation view (Ryan Mrozowski, Zipora Fried, Athanasios Argianas)

Athanasios Argainas, Silence Breakers, Silence Shapers (Assembly 5, grasshopper), 2014

Athanasios Argianas
Silence Breakers, Silence Shapers (Assembly 5, grasshopper), 2014
Chimes, electroformed cast of pebble as a gong, silver plated casts of bones, cold cast graphite, live patina on steel, various strings, steel chain
59 by 23-3/4 by 13 inches (150 by 60 by 33 cm)

Julia Bland, Seven Fires, 2016

Julia Bland
Seven Fires, 2016
Silk, wool, canvas, velvet, fabric dye, oil paint, and wax
104 by 84 inches (264.2 by 213.4 cm)

On Stellar Rays, Athanasios Argianas, Julia Bland, 2016

Installation view (Athanasios Argianas, Julia Bland)

Julia Bland, Midnight morning, 2016

Julia Bland
Midnight Morning, 2016
Canvas, wool, linen threads, wax, fabric dye, oil paint, and ink
96 by 82 inches (243.8 by 208.3 cm)

‡ Vanish Artworks ‡

More on
Athanasios Argianas
Julia Bland
Zipora Fried
Ryan Mrozowski

PERSUASIVE PERCUSSION
Athanasios Argianas, Julia Bland, Zipora Fried, Ryan Mrozowski

July 7 – August 12, 2016

On Stellar Rays is pleased to announce the opening of Persuasive Percussion, featuring new works by Athanasios Argianas, Julia Bland, Zipora Fried, and Ryan Mrozowski. This exhibition is the second in a series of exhibitions to inaugurate 213 Bowery with new works by gallery artists.

Persuasive Percussion explores the interplay of rhythm and repetition commonly attributed to sound, but in this case, transmutable to image. The exhibition title takes its name from the series of LP albums released in the late 1950’s and early 1960’s by Enoch Light (1905-1978), a classical violinist, bandleader, and recording engineer who pioneered use of a specific stereo effect that bounced sound between right and left channels to create a more immersive aural experience—a radical departure from the then-commonplace mono sound of AM radio. Light notably invited Josef Albers to design seven Persuasive Percussion covers, featuring rhythmic color-block patterns of circles and grids of circles.

Athanasios Argianas’s sculptures are often generated through composition and transcription of sound and language. The rhythms and frequencies of speech, and the pronunciation of consonants and vowels, determine pattern and form. Presented here in sequences of ropes and mussels cast in relief, the works can be read as script, poetry, or score. Argianas’s Silence Breakers series is based on percussion as an idea of objecthood; considering an object’s tactile and material properties, and ensuing potential for sound when struck—shifting between the aural, tactile, and visual.

In Ryan Mrozowski’s work, flowers, fruits, and dots sourced from stock imagery and graphic design are further altered with an acute sense of optical play. Binocular vision is split into diptych painting – possibly the visual analogue to Light’s experiments in bi-channel stereo recording – whereas in a new video, multiple vantage points are layered in one work, resulting in unexpected and deft renditions of imagery.

Zipora Fried presents new drawings from her Night series, consisting of colored pencil drawings in densely repeated gestures akin to script, however purposefully devoid of language. Fried is not interested in the specificity of language, but in capturing the essence of sensory experience or an obscure inner mood. A large-scale, site-specific mural with reappearing heads comparably combines a psychological space with a material one.

Meanwhile, Julia Bland’s paintings, made from dyed, stitched and painted fabrics, canvas and hand-woven supports, fuse structural elements and the rhythm of warp and weft with archetypal and familiar geometric forms. Bland’s interest in phenomenological and sensory experiences that transcend the optical permeates Persuasive Percussion, in favor of a more inspired sense of perception and shape-shifting sense of play.