Layers of torn edges and severed forms distinguish Linda Cunningham’s large format drawing / constructions. The tactile sensibility the New York City- based Artist comes from her interest in the qualities of observed or found materials. The Artist transforms these materials, through a kind of “Urban Mining” process, while preserving their historical qualities. Even the bronze forms are cast from military surplus scrap.
Cunningham’s work is concerned with time, transience and contradictions, and she gravitates to architectural and structural remnants of current and previously existing cultures. She often poses the veracity of the photo-based transferred images against interpretive, fluid calligraphic drawing line and form. With sensually gripping form, she urges the viewer to experience the sometimes discomforting, underlying content.
Cunningham exhibits extensively both in New York and Germany, and most recently with ODETTA Gallery, Bushwick, Brooklyn, 2017 & 2015 and the Bronx Museum 2016/17 and 2010. Recent one person exhibitions include Abington Art Center, Philadelphia, the Fundacion Euroidiomas, Lima, Peru, StattMuseum, Cologne Germany, and the 2 x 13 Gallery, Chelsea, NYC. Her monumental public sculptural installations & alternative memorials are permanently sited in Cologne, Kassel, Bad Hersfeld & Cornberg, Germany, City of Sculpture, Hamilton, Ohio, Grounds for Sculpture, Hamilton, N.J. and Lancaster, Pa. Temporary installations were formerly at the at sited at UN Plaza, New York, Westchester Square, Bronx, NY, Wright State University, Dayton, Ohio, CUNY Graduate Center on 42nd St across from Bryant Park, and in Tribecca. She is the recipient of grants from the Bronx Council on the Arts, Pa Council on the Arts, Fulbright Senior Research fellowship, Berlin, Arts International Kade Collaborative Works, and the John Anson Kittredge Foundation.
2015, pastel, collage and photo transfer, 22’ x 30.5’
2015, pastel, collage and photo transfer, 39’ x 26’
2011, Acrylic, photo transfer and pastel, 28’ x 38’
Structural Transformations VII
2014, Plaster, pastel and ink, 28’ x 38’
Ta Prohm I
2009, pastel, ink, collage, 39 1/8' x 43'
Ta Prohm II
2009, pastel, ink, collage, 39 1/8' x 30 1/2'
Ta Prohm V
2010, pastel, ink, In sand-cast Bronze, 41' x 60'
Hudson River Structural Transformation
Installation with 'As Wind' twisted steel angle, 6ft x 8ft x 2ft, group of 3
Lilian Kreutzberger: Works from 2007-2012
As painter and sculptor, Lilian Kreutzberger aims to synthesize her research into the futility, dilemmas and challenges of modern utopias and the role that urban spaces play within them. Moments in which the reality does or does not match the previously imagined are both source and the condition of the work itself. Abstractions such as models and systems are explored in Kreutzberger’s work, both as an desire or objective of imposing a structure onto the world, while simultaneously exploring the limits of these forms to serve as point of reference in urban planning and so forth. Thematics such as location, site, dislocation, absence and reflection, both physical and psychological recur in her sculptures, paintings, drawings and installations.
Lilian Kreutzberger was born in the The Netherlands. She received her MFA from Parsons New School, New York, and graduated from the Royal Academy of Art, the Hague. Kreutzberger‘s work has been exhibited at the Gemeente Museum, The Netherlands; the Royal Palace, Amsterdam; World Expo 2010, Shanghai; The Last Brucennial, NY; The Kitchen, NY and her work is included in major collections. Kreutzberger was awarded a Fulbright Scholarship, Elizabeth Greenshields Foundation and Mondriaan Fund grants, the Buning Brongers Prize and nominated for the Royal Award for Modern Painting. She was selected for upcoming residencies at Socrates Sculpture Park, NY; Mana Contemporary, New Jersey; and Existentie, Ghent, Belgium.
Karin Waskiewicz aims to decode the physical and affective elements of a landscape into a complex color system, breaking down colors into swatches to capture the ways in which slight variations in hue and shade vibrate within the eye. She applies multiple layers of acrylic paint before carving back into the built-up surface with woodcarving tools. This process of sedimentation and erasure, covering and uncovering, transforms the layers of paint into three-dimensional woven textures. Waskiewicz views her paintings as having various facades, some existing longer than others, some never to be scene again through the carving process.
This work involves multiple layers of clandestine pattern and imagery to be later revealed through the artistic process. The Artist is currently focused on conceiving a large history of layers to later determine what resurfaces. Working in this process involves much planning, but it also leaves space for surprise, as she can never truly know what is beneath the surface. Waskiewicz feels as though she is embarking on new land, diving into the layers and bringing forward the many moments in time. She relates those layers of her paintings to moments her my life; some events in time stay with us and some remain as faint memories. Her goal is to capture not just the way a specific landscape looks and feels, but also the complex way it affects our body and resonates in our memory.
Karin Waskiewicz was born in Eerie, Pennsylvania. She received her Bachelor of Fine Art from Kent State University and her Master of Arts and Master of Fine Arts from University of Iowa. She has had solo shows at Darci Gallery, NY (2016), Levitt Gallery, Iowa City, IA (2014) and Margaret Thatcher Projects, NY (2013). She has received awards from the NARS Foundation (2015) and her work has been included in collections and exhibitions across the country. Her work was highlighted in many notable online publications, including Design Milk and Beautiful Decay. She currently lives and works in Brooklyn, NY.