Mar 29, 2015
installation view of Jaime Gecker's show pleasure principle.
Feb 26, 2015
SARDINE is pleased to present pleasure principle, a solo exhibition of recent work by Jaime Gecker. It opens on Saturday, March 7 with an opening reception from 6-9 pm and will be on view through Sunday, March 29.
In pleasure principle, Jaime Gecker, referencing both Janet Jackson and Sigmund Freud, lays out an imperfect, but personal plan for seeking pleasure in making things that don’t exist. Lush, textured paintings with ground up minerals and gemstones are collections; remembered experiences and fantasies at the same time. The paintings may be a detail view or an aerial one. A precise collection of books of history and geography are collaged with minimal interventions but pivotal touches. Her distinctive experiences and memories have left an indelible fingerprint. In the ambiguous landscapes of the paintings and books, there is an underlying preoccupation with escaping a city with the same fantastical vigor that draws many of us to it in the first place. Born directly out of Gecker’s diverse studio practice, pleasure principle is a delicate arrangement of these competing and layered parts.
Jaime Gecker lives and works in Brooklyn. This is her first solo show with Sardine. Her work has been exhibited at Gavin Brown’s enterprise, Monya Rowe Gallery and Daily Operation in New York, and Don’t Projects in Paris.
Feb 22, 2015
This is the last weekend to see Matthew F Fisher's "Black Water Don't Shine Like the Moon". Please join us during our open hours (1-6 Sat. and Sun.) or for a Night Cap with the artist this Sunday, February 22nd from 6 to 8 pm.
Sardine is pleased to present Black Water Don’t Shine Like the Moon, a solo exhibition of drawings by Matthew F Fisher. It opens Saturday, Jan. 31st, with an opening reception from 6 to 9 pm. It will be open through Sunday, February 22nd.
This show brings together a group of drawings that are the soul of Fisher’s artistic process. Completed over the past few years, they reveal a time when Fisher finds his voice amidst the elements of land, sea, and sky. Combining ink and collage on book pages with hand-made or found frames, the simplest forms become timeless deliberations on existence. With all the beauty and heart one can muster, real, ideal and everything in-between, exist simultaneously.
From the artist, Jan. 6, 2015:
Drawings happen and are forgotten. Only to be remembered later. A nod before the wink. These forgotten moments, documents of a day's past, often act like bridges to the paintings. With the paintings, every action, decision, is over-thought. Drawing is truly the shortest distance from artist's hand to artist's mind. Even though my drawing process can be slow – they can easily linger for weeks, months, years, in various states -the idea is translated through movement, a record of that exact moment. Drawings often feel like a road map to my thoughts. This comfort of being in an unfinished state allows the drawings to be a marker of where I have been and a guidance of where I might want to go.
Matthew F. Fisher lives and works in Brooklyn and completed his MFA at Virginia Commonwealth University in 2000. He has showed widely in NYC and across the country. This includes solo exhibitions at Ampersand Gallery, ADA Gallery, Mulherin + Pollard Projects, University of the Arts, and RARE Gallery. He has been in group shows at Novella Gallery, Brian Morris Gallery, and Sarah Lawrence College. His work was selected for inclusion in New American Paintings Northeast Issue #116 - 2015. His show, The World Outside, also featuring Ryan Schneider, opens on Jan. 24 at Old Dominion University in Norfolk, VA.
Feb 12, 2015
Review in Time Out New York February 12-18, 2015 edition reads:
Even at first glance, Matthew F Fisher's show of ink drawings is long on charm and quirk. Hung in a single row in this modest space aptly named Sardine, the 30 works on paper feature meticulously limned scenes of nature.
Fisher's renderings limit the natural world to only a few motifs, stylized to the point of eccentricity. Bent grasses assume calligraphic forms. Crashing waves, striated like tresses of hair and made effervescent by tiny collaged bubbles, break in several directions at once, often framing a celestial orb. As in the Surrealist Andre Breton's notion of "convulsive beauty" the world in Fisher's images shapes itself into a kind of writing.
Fisher's often humorously literal line recalls cartoons, and his ornamental treatment of natural phenomena brings to mind certain strains of folk art. But these drawings also evoke the abstracting love for nature's vitality shared by Arthur Dove and Georgia O'Keeffe, as well as an oddball mysticism. Quietly cultivating an idiosyncratic vision, Fisher's work becomes nothing short of visionary.
- Joseph R. Wolin
THE BOTTOM LINE: Views of nature that aren't natural.