Moss enjoys emojis as much as anyone does and has “fun” with them. He gets their charm, humor and efficacy. And on the upside, emojis and emoticons add nuance to overly stark statements by signifying tones of voice and body language that are missing from text messages, emails and other digital communication platforms, warming them up in the one-picture-is-worth-a thousand-word mode. And he acknowledges that they are a boon for those who can’t easily express themselves emotionally—or otherwise. But be that as it may, Moss, a millennial who resists putative millennial trends, reminds us that, in the end, emojis are no substitute for words of our own choosing, expressed with warmth, love, humor, joy, grief, grace, with the whole extraordinary range of human feelings. That’s what makes what we say “memorable.”
@_nick_moss_ @leilahellergallery #steelartist #emojiart #contemporartartist #newyorkartist #welding
“Art enables us to find ourselves and lose ourselves at the same time.” - Thomas Merton. For Leila Heller Gallery Dubai, Hashimoto presented, as the central work of the exhibition, The Eclipse (2017), a monumental installation composed of an overwhelming cloud of black bamboo and rice paper billowing forms, first presented at the Palazzo Flangini for the 57th Venice Biennale and currently on view at Governors Island at the Chapel of St. Cornelius, featured in the New York Times. Contrasting gravity and levity, the work has been called by Luca Massimo Barbero, a ‘threshold’, “an opening, as access to another place, probably to another possible condition.” #repost #mydubai #alserkalavenue
#leilahellergallery #jacobhashimoto #contemporaryart #dubaigallery #installationart @jacobhashimoto @leilahellergallery @mydubai @emirates
“My practice was also shaped by Abstract Expressionism,” she explains. “There’s a divergence there. There’s abstraction. But on the other hand, the way I arrange space is influenced by things I saw in Japan. In Rock Garden Room (2004) you can see my whole vocabulary—a bamboo garden, rock garden, how the concentric circles imply sand. It is just years of looking at and referencing Japanese elements.” Read more on Nancy Lorenz first solo show in the UAE in Katrina Kufer’s article, “A Modern History”: http://alserkalavenue.ae/en/folio/a-modern-history.php
Pictured: Nancy Lorenz, Rock Garden Room, 2004
Silver leaf, mother of pearl inlay, pigment, gesso, lacquer, on twelve wood panels
274.3 x 1097.2 x 3.8 cm (9 x 36 ft x 1.5 in) @nancylorenzstudio @leilahellergallery @alserkalavenue @mydubai #nancylorenz #leilahellergallery #dubaigallery #leilahellergallery
Thank you @gulfnews for the article “Blurring the boundaries“ by Jyoti Kalsi about “Silver Moon” the First Solo Exhibition in the Middle East by Nancy Lorenz at Leila Heller Gallery Dubai. Link in bio for full Article. @nancylorenzstudio ——————————————
Artworks Credits: Nancy Lorenz. Chanel Studies, 2012, 2013, 2014. Moon gold leaf, mother of pearl inlay, lacquer, on wood panel 61 x 61 x 1.9 cm. #leilahellergallerydubai #nancylorenz #silvermoon
“I’ve always had one foot in the fine art world and the other in the fine craft world, shaped very much by my years in Japan. I continue to explore new materials, and perfect my craftsmanship while keeping things painterly” @nancylorenzstudio . “Silver Moon” by Nancy Lorenz is still up until January 07, 2019. Leila Heller Gallery Dubai is open from Saturday to Thursday - Timings: 10am to 7pm #leilahellergallerydubai #nancylorenz
@_nick_moss_ Written by #lillywei The nudes are sexily posed provocateurs, a tribute to a motif/subject that has dominated Western art since prehistoric times. It is also an unapologetic paean to a certain construct of feminine beauty, notable in the full-breasted, curvaceous bodies made dimensional by strategically placed staccato lines that also made me think of forms of ritual markings such as tattoos or scarification. The tilt toward glamour is most apparent, however, in the tangles of luxuriant hair that wrap the women’s nakedness like a gift.
While painters use paint, @_nick_moss_ uses #patina to achieve an elegant structural solution. They posses their own splendours, among which are unexpected painterly richness and pictorial depth
His abstractions, unlike the deliberate execution of the nudes, are much more spontaneous. Creates purely through process and dependent upon accidents, the clouded differs of muted but luminous colours and incidents are spun off the interactions of various gasses and materials with steel. .
Image: Untitled, 2018
Mixed patina on steel . On view at our #nyc gallery in #Chelsea
Bettina Zilkha, from Forbes magazine wrote, “Moss has a thorough understanding of, and respect for, steel, and this is reflected in each one of his pieces on display – they are made entirely of this metal, a daunting, dangerous process that completely eliminates the canvas and the paintbrush.
The nudes particularly are done with a MIG welder,” said Moss. ”I do everything myself, all in steel. I build the frame, I build the canvas, and I draw or paint the image with the welder, with temperatures from 5,000 to 36,000 degrees melting the image onto steel, making it co-exist into one piece, creating this image of beauty and the female form. Putting it together takes time, but once I have the image done in watercolor, I can build it and weld it in a matter of days.” @_nick_moss_ Solo Exhibition, ‘Rigorous Perception’ will be on view through Thursday, December 20th, 2018!
Happy Thanksgiving from all of us at Leila Heller Gallery! 🥰 Handshake, 2017
Mild steel by @_nick_moss_
Swipe to see the magic ☺️ •
‘Happy’ before the camo - & after
‘Happy’ (Camo), 2016
Mixed patina on mild steel
😍 Heart, (2016) High gloss finish on mild steel @_nick_moss_ 😍