Storms & Forms by Martin Cail January 2015

“You’ve got to just put down color and start chasing it.” Says Kansas City native Martin Cail. Forever identifying as a colorist Cail graduated with a BFA in sculpture from the University of Central Missouri and an MFA in sculpture from Ohio State, when color didn’t play a major role in that particular medium, in the 1990s. “Storms & Forms” at the Todd Weiner Gallery highlights his colorist background through the collection of ink on white board works.

The pieces showcase a chaotic background or halo around the center of the abstract composition. Each work’s center takes form with thin layers of color with a variety of textures. Fluidity is seen through the abstract shapes created through use of different solvents used to loosen up parts of the ink. Cail allows the piece to go it’s own direction. He describes that process as revealing itself to him and he chases it. He doesn’t have a compositional intention at the beginning of his process but the art will divulge itself eventually. The compositions have turned out to be landscapes, moments, memories, a place, an event, or a combination of all of that. Before this collection Cail moved from control and labor intensive sculpture to a process of two-dimensional watercolors and then to a collection of enamel on aluminum foil pieces. The natural undulation of the foil created unanticipated outcomes, which allowed freedom from his overly controlled processes he was used to working with. Cail believes “Storms & Forms” is a happy marriage of having control and letting go. The balance is one of Cail’s favorite challenges with his works.

The ink on white board pieces regular process involves a balance of control. Cail lays the white board horizontally on a surface; he stands above looking down on the white board. Not entirely unlike his labor-intensive sculpture. Although the all white surface stares blaringly at Cail, he reminds himself to just put down color and pigment in order to start moving it and chasing it until he see’s something. Once Cail has a multitude of colors down he can start understanding how the pigments are working together and how the piece wants to move.

Cail explains, “I think the best works of art reveal themselves to you over time and they change as you change because they’re open to experience and interpretations.” Colorist Cail takes a scientific approach to his artwork rather than the writer approach. He believes a writer’s approach to art is to share a message, or to teach, where as a scientist’s approach is to find answers or solutions and learn through the work. Coming from the scientist methodology Cail doesn’t always know what he’s chasing other than some truth that he understands but can’t put a face to it.

Starting his artistic career with sculpture and that process of physicality and control Cail has moved towards having less direct power over the outcome of the work and in finding that balance the ink on white board collection allows the viewer to identify and grow with each piece individually.

Duality by Alessandra Dzuba & Heinrich Toh December 2014

“Duality” a collaborative exhibition by Alessandra Dzuba and Heinrich Toh showcases a shared theme, seen regularly in both artists’ bodies of work. Dzuba and Toh not only work collaboratively for this exhibition, they are also studio partners in the Crossroads Arts District print studio, Fraction. Housed inside the fine curiosities shop ORACLE, Fraction is a printmaking studio and exhibition space. Dzuba and Toh curate two-month themed group shows of national and local artists of all varieties, not only prints. The duo also engages the community through workshops for printmaking and drawing. Along with running Fraction together the two printmakers have found the time to develop a collaborative collection. Dzuba and Toh illustrate a shared theme of dualities, while showcasing their individual styles between the several layers of each monoprint.

“We just kind of mesh our ideas together in a visual vocabulary,” explains Toh as he describes the differences in their shared themes. Toh explores past versus present, and East versus West in a lifetime of cultural experiences, while Dzuba likes to bring the theme to its core. Dzuba’s educational background involves psychology and her art reflects the fragments in some people’s personalities. She illustrates the struggle between human instincts and animal instincts through mirrored images, animal imagery, and inkblots. The commonly accepted societal version of normal opposed to what is usually viewed as abnormal is seen in societies all over the world. Dzuba explains that the cultural norm can be a non-natural aspect to a personality and that abnormality is not typically embraced.

Another influential element of pattern seen in the collection involves sacred geometry. Dzuba describes this element to be certain patterns that are universal, like the circle. She says, “circles make up everything, even down to molecules and from these circles life is created. So you can see the same patterns in every living being, which addresses how we’re all the same even though we’re different.” This sacred geometry connects to Toh’s concepts through his exploration of the relationship between East and West.

Their shared process includes an extensive plan for each print in the collection from its inception, beginning with Dzuba’s classic inkblots, which are random and organic. After the inkblot has developed, the two discuss images that would connect with and augment the work. Color decisions are made after the composition has been planned and executed. Toh’s patterns are also created through an organic process.

By working together Dzuba believes they have been able to connect and go beyond their usual visual elements. Toh has pushed her to work more with colors in this exhibition while her regular body of work remains monochromatic. The pre-planned compositions are also different for Dzuba as she typically lets her work evolve more organically.

Aleesandra Dzuba and Heinrich Toh’s collaborative collection “Duality” provides thought provoking elements in a variety of ways. The layered compositions showcase whimsy and playfulness through the use of bright color, pattern, and animal imagery.

David Gant Creates A Melody Out of The Sense Of Impending Doom This October

Contemporary artist David Gant’s exhibition at The Todd Weiner Gallery plans to urge the audience’s thoughts further into the realm of abstraction. Without pushing an opinion, Gant’s developed a mixture of three-dimensional pieces positioned to “create a melody out of the sense of impending doom” the world has felt looming over head for decades. Self proclaimed participant in the news, Gant puts forth stimulus representing, hard to verbalize, big picture world issues, that he feels affected by personally. In this exhibition he is striving for an overall sensation by combining imagery for the audience to come to their own conclusions. These images include famous cultural or political figures such as: Russian President Vladimir Putin, the iconic Bozo The Clown, a representation of Isis, Hilary Clinton and more. Gant’s work speaks to the echo effect of the tension the world becomes affected by politically.

Gant explains: “Finding the human condition or the story that we cling to through all of time, the life raft of turmoil keeps us connected to people of any time and place.” Fear, used as a connecting element, has been witnessed and felt throughout centuries and cultures. The pieces here illustrate those feelings visually by the artist’s mastery of many mediums. Abstract theories and beliefs are interwoven and recognizable throughout each piece he creates from two-dimensional to three-dimensional work. The artist charges the pieces with color and playful humor to lighten the dark nature and subject they represent.

An example of this bright comical component can be found in the piece entitled “Bozo”. The iconic clown’s head sits on the wall with the bright red hair and make up along with a gaping mouth. Inside the mouth sits small baseball sized globes. Gant’s work contains a suggestively, though not actually, interactive carnival game. The freeze frame game illustrates how one would hypothetically toss the small globes into the clown’s mouth, which would fall into a strategically placed trashcan.

The whole game is representative of the “gee wiz” approach to issues being dealt with in society today, which in reality could be apocalyptic when considering the gravity of our situation. Gant does not make a joke of the real world problems, but he does effectively draw our attention to the levity of serious global crises through a unique use of humor. His choice of a game as a vehicle to do this gives an extra layer of commentary and interest.

Stylistically, Gant provides a number of visuals that confront the viewer with intense stimulus, sparking the connection of his ongoing themes. This work is an extension of paintings he developed previously that progressed into three-dimensional pieces. Here, he has applied elements of painting to his sculptures by forcing implied three-dimensionality through shape, space, and light. He highlights contradiction by overlaying two-dimensional elements onto an object that lends itself to further dimensionality, both conceptually and physically. Gant applied a forced ¾ perspective on “Putin” that drives the viewer to find the perfect viewing perspective, rather than gazing straight forward on to the head to provide a representational view of the subject. Gant describes a constant drive to get better and progress; he reveals the exploration of making art as “basically trying to capture magic.” This is merely one of the ways Gant demonstrates innovation physically and visually, creating his own magic.

Many components will provide “shock and awe” for the audience during Gant’s exhibition full of meaningful yet humorous conversation pieces, such as a large pile of “roaches” or a sizable plastic coca-cola bottle filled with a white textile. Gant refers to an artistic melody, explained as a way to “provide a sing along that the audience can connect to people throughout time, realizing the same song has been sung forever; and maybe that will change consciousness.”

Inner and Outer Limits By Michael and Ian Young

Inner and Outer Limits

Michael and Ian Young at Todd Weiner Gallery

The Young family’s creative blood spans generations. Michael Young, father, and Ian Young, son, are not the first in their family to have a knack for art.

Great Grandfather Young’s work still hangs in Michael’s home, while Michael’s father continues to paint to this day. Ian has decided to follow in the family legacy with his collection of board game paintings, and his father Michael couldn’t be more proud. He says:

 “I’m so proud my son Ian has chosen to carry on this tradition, watching him progress and evolve is highly rewarding. Each time one of us raises the bar, the other wants to raise it higher, and our enthusiasm and motivation continues as we are feeding off of each other.”

Along with exhibiting a family dynasty, the connection between the two artists continues with the theme of the exhibition, which explores inner and outer limits. Michael and Ian’s works are relational through this thematic connection, even as they remain entirely individualistic in both surrounding subject matter and style.

The duo describes this approach as an exploration of the boundaries of what an artist can paint from the naked eye. They explain inner limits as compositional elements that are easily recognizable: a hometown, a local business, or a well-known landmark. The outer limits, according to both artists, are places very few people get to see such as: outer space, the darkest depths of the ocean, sunken cities, or places of undiscovered paradise. Both artists will exhibit a painting illustrating the familiar inner limit, and the unfamiliar outer limit.

Son Ian Young’s subject matter for this dual show is board games. Each board game painting mirrors the physical flat game with a painting style that showcases the bold colors independently. Many of his pieces, although playful at first glance, provide a deeper meaning reflecting social and cultural commentary. The board games challenge the viewer’s perception of society by illustrating the cynical side of life through humorous depictions and bright color.

 Ian describes his art as “starting as a blueprint.” He explains: “Basically, the ‘blueprint’ becomes more complex, and I take each painting one step further than the last in terms of angle, layout, perspective, and design.” The premeditated compositions maintain a compound “blueprint” layout resembling the real game. Ian’s work evolves from this compositional design into a burst of layers illustrating his creative intentions to bring the game to life.

An example of this can be seen in one of Ian’s newest works, Jumanji, a game that originated from a 1995 American fantasy adventure film. The top layer consists of a winding board game with a start, finish, and many stops in between. The lower layer illustrates the fantastical world of Jumanji with lakes, grass, and all the animal obstacles one would have to overcome if they chose to play.

 Overgrown foliage and enlivened animals overlap the top of the game, giving the piece a richly layered and imaginative feel. Young creates a physical game that becomes a real place. Ian describes Jumanji as a past inner limit, because our ancestors regularly saw primal animals and landscapes. Young’s brightly colored, fantastical game world consumes the viewer, making the audience want to jump right in and play the game.

Father Michael Young’s subjects contain an element of humor, while his stylistic approach reveals both surrealism and regionalism as influences. His work contains layers of hidden meaning created by futuristic imagery, punctuated with a nostalgic feel. This can be clearly seen in Saucer City, where a futuristic UFO fuel station has become deserted and desolated. Young combines this image with wistful retro influences, giving the work a considered connection with times past. Years gone by can be seen in the Saucer City sign, where a reference to a 50s diner is realized through a vintage pick-up truck, and cars from the same time period that line the bottom of the composition.

Michael explains his idea: “Spacecraft and rubble become one in the same after light years of neglect.” This painting represents the outer limit of space with a welcoming and nostalgic twist, inviting the viewer into this imaginative realm.

 The painting The Wizard is a playful approach to the classic film The Wizard of Oz. Michael starts with a real place, Kansas, and transforms it into a watering hole full of character and imagination. Each personality from the film is illustrated, whether they are skinny-dipping in the water, like Dorothy, or riding a bike across an illuminated yellow brick road. Each character remains individually busy, and thoughtfully portrayed, through Young’s regional and reflective style.

Both Michael and Ian Young provide inventive worlds that pique the viewer’s curiosity to discover themes and commentary spoken through their paintbrushes. Both father and son are exceptional colorists, and both use humorous elements to illustrate cultural connections through theme, ultimately providing the viewers with a whimsical and harmonious experience in the exhibition, Inner and Outer Limits.

Bruce Burstert Buffalo Dance At Todd Weiner Gallery

“The issues are really about trust and being more connected to a message and a larger circle. The conversation is always there if you listen.”- Bruce Burstert

Kansas City mostly knows Bruce Burstert as an Oriental Rug Dealer and Interior Designer through his 20-year operation, Smith and Burstert Antiques that closed in 2007. More than that, he is an artist, singer, performance artist, and much more. Born in Marceline Missouri, growing up in the 1960’s, Burstert observed major historical events: including President Kennedy’s assassination, the Beatles coming to America, and Martin Luther King’s “I have a dream” speech. Because of those historical happenings, Burstert believes he “caught the resurgence of that time and people fighting for civil rights,” along with growing up in Missouri and seeing all the visual elements that the Midwest has to offer. Burstert embodies the passionate components of America and a region that he identifies strongly with.

History has been a continual element in his life, Burstert says, “I’m a researcher about material. I like understanding who influenced who, what effects artists, their circumstances and what drives them…that informs me about traditions.” Tradition, is an important constituent in Burstert’s research and art. He describes his interests to involve culture, sacrifice, ceremony and how all of those have affected and driven artists and cultures. These interests can be seen in the series, Buffalo Dance, at The Todd Weiner Gallery.

Always loving the American Southwest, particularly because of its convergent cultures, Burstert has painted this area for 25 years. Two years ago he started to do cultural and Native American studies, along with studying cultural icons that came to the west years ago such as Georgia O’Keeffe, and many other painters and musicians that felt the Southwest was the true American culture. Taos Pueblo New Mexico has been painted many times, and Burstert believes this informed his education, by knowing who was affected by going to that place. Burstert states, “The environment helped the reduction of the work and development. Those who toured the Southwest are the best artists in America”. Though his passion for the Southwest is evident he also believes the Midwest is the birthplace of the American genre, and that there are a lot of Midwestern artists that are unsung heroes.

“Local heroes include many. If there was no George Caleb Bingham, we wouldn’t have Thomas Hart Benton, without Benton, we wouldn’t have Pollock, and without Pollock we wouldn’t have Jim Leedy, our great unexplored treasure, and of course Nick Cave.”

With Bruce Burstert’s foundation in the Midwest and admiration for the Southwest, he creates the series, Buffalo Dance. This series reflects an authentic buffalo dance he witnessed in January of 2012. He describes the dance to contain about 50-75 dancers performing in the bitter cold and snow, while wearing buffalo skins and furs. The teaching and keeping of the traditions influenced him greatly along with, “the powerful sense of place, how many times this has been captured previously by all the American artists before me. Earlier artists such as George Catlin painted the buffalo dance to document Native American culture and its demise.” Two hundred years ago the buffalo dance was originally danced as a prayer to call the buffalo closer for the hunt, and now the dance is a call and prayer for their return.

Stylistically the series captures the intensity of the ceremony described by Burstert, through the grand size of the canvases, bold color palette, and the piercing gaze of the subjects. The materials are made up of crayon, oil stick, natural oil pigments, spray paint, and collage elements such as feathers, hide, and beads. The use of yellows, reds, and browns provide the viewer with a connection to the bestial, animalistic, and savage aspects of the work. The monumentality of the pieces confronts the onlooker with an eye level gaze into the subjects’, the buffalo. Although a spectator, one senses a connection, and feels among the herd, sensing and mirroring the strength and power, in these subjects faces. The panic of the extermination of these beasts registers powerfully across each work. The series also emanates the feeling of joy and camaraderie in sacrifice through the dance’s tradition of honoring the spirits of animals and ancestors. Burstert effectively communicates the spiritual transcendence of this ceremony with his expressionist brushstrokes of bold color and use of collage elements. In the series, Buffalo Dance, Bruce Burstert brings back their spirits to gaze into the soul and mirror the universal fear of extinction.

Tom Sciacca’s Sideshow Serenade at the Todd Weiner Gallery

Tom Sciacca, 2013

Sweet Marie

Colored Pencil on Colored Paper

The show at the Todd Weiner Gallery in Kansas City Crossroads Art District, Sideshow Serenade portrays a series of images that tap into the underbelly of American History, Circus and Sideshow acts.

Tom Sciacca explains, ”While the sideshows never came to my neighborhood in Brooklyn, their original purpose was to, however briefly, bring things fantastic, unusual, and exciting to countless people living ordinary if not mundane lives. Sideshows, in ways, were the television of their day. As sideshow banner artists revealed, many of the attractions were disappointing- and didn’t live up to the advertisements. In ways, sideshow banners WERE the main attraction, not something that didn’t become clear until later on.”

Although sideshows are no longer in existence Tom Sciacca brings humor and warmth to the circus charactershe depicts in his images through his use of bright color and affectionate names.  The nostalgic tone of the series highlights the historical exercise of outshining reality of the characters through artwork. The exhibition Sideshow Serenade plays a humorous and affectionate role in reliving the controversial pastime.

This show should be a stop on any art lover’s First Friday tour February 7th, 2014!