Pazo Fine Art

10/30/2024

𝗝𝗼𝗮𝗻𝗻𝗲 𝗞𝗲𝗻𝘁’𝘀 wall sculptures bring the tactile qualities of her materials to life, drawing us into themes of memory, experience, corporeality, and spatiality. Each piece, crafted from richly layered oil paint, invites a visceral connection to the natural world, where vibrant hues and textured surfaces stimulate the senses and emphasize a dynamic relationship with space.

Emerging through the act of creation itself, rather than strict planning, Kent’s work resists the polished precision that might dilute its raw energy. Instead, her layered and distressed surfaces evoke a primal resonance, inviting an immediate, bodily experience—bypassing narrative and engaging us beyond the bounds of interpretation.

Images: [1] Joanne Kent, Nonsequitur, 2002. [2] Detail. Photo by Kristofer Heng. © Joanne Kent

10/26/2024

On view at PFA–Kensington, 𝟭𝟬𝟬𝟭𝟮: 𝙏𝙝𝙚 𝘼𝙗𝙨𝙩𝙧𝙖𝙘𝙩 𝙑𝙖𝙣𝙜𝙪𝙖𝙧𝙙, showcasing works by Ross Bleckner, Alan Cote, Max Gimblett, and Kevin Teare.

The 10012 area code, known as SoHo (short for "south of Houston Street"), emerged as a vibrant creative hub for abstract painters in the late 60s due to large and affordable studio space. Over the course of three decades, the artists featured in this exhibition have reinterpreted and advanced the discourse of abstraction through their explorations of color, line, form, rhythm, and materiality. Unified by a shared fascination with the language of geometry—whether expressed through relief paintings, shaped canvases, or gestural lines—each artist crafts an aesthetic experience that invites viewers to immerse themselves in dynamic fields of shape and color. This exhibition not only celebrates the evolution of abstraction but also encourages a deeper engagement with the interplay of visual elements.

Installation View: 10012: The Abstract Vanguard, September 14 – November 23, 2024. Photo by Vivian Marie Doering ©️The Artists

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10/25/2024

𝗠𝗮𝘅 𝗚𝗶𝗺𝗯𝗹𝗲𝘁𝘁'𝘀 artistic journey began in the 1960s, and his works have since gained international acclaim for their masterful blend of geometric form, vibrant color, and spiritual depth. Best known for his unique use of geometrically shaped canvases, especially the quatrefoil, Gimblett’s compositions are striking for their bold palette and dynamic, yet meditative qualities. His works evoke both a sense of volume and an intentional flatness, reflecting his background as a ceramicist. The recurring quatrefoil motif, central to his practice, serves as a symbol of wholeness and unity, functioning as a contemporary mandala that invites contemplation and introspection. Through this symbolism, Gimblett’s work becomes a channel for individual and spiritual expression, resonating with viewers on a deeply personal level.

Born in Auckland, New Zealand in 1935, Gimblett’s academic career took him to Canada and the U.S., where he studied drawing at the Ontario College of Art and painting at the San Francisco Art Institute. His career spans over six decades and has seen his works exhibited across the globe. His work has been showcased at prestigious institutions such as the Guggenheim Museum in New York, the Warhol Museum in Pittsburgh, Auckland Art Gallery Toi o Tāmaki in New Zealand, and Pace Gallery in New York.

Gimblett’s art is housed in numerous public and private collections, including the Museum of Modern Art and the Whitney Museum of American Art in New York, the National Gallery of Art in Washington, D.C., the San Francisco Museum of Modern Art, the Museum of New Zealand Te Papa Tongarewa, and the Auckland Art Gallery Toi o Tāmaki, among others. His notable accolades include a National Endowment for the Arts Fellowship (1989), the Augusta Award (2009), and the Old Boy of the Year Award (2011) for his contributions as a benefactor of Auckland Art Gallery.

Images: [1] Max Gimblett at Artrite Screenprinting, Auckland, 2019 [2] Blunt, 1989. Photo by: Kristopher Heng Ⓒ Max Gimblett [3] Installation View: 10012: The Abstract Vanguard, September 14 – November 23, 2024. Photo by Vivian Marie Doering.

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10/19/2024

𝗥𝗼𝘀𝘀 𝗕𝗹𝗲𝗰𝗸𝗻𝗲𝗿’𝘀 work presents a captivating array of delightfully hazy canvases that cycle through a rich tapestry of ovular forms and soft colors, reinterpreting the traditional square canvas. Bleckner’s paintings evolved into poignant investigations of change, loss, and memory during the AIDs epidemic in the 80s, with his work often serving as a meditation on the body, health, and disease, while simultaneously inviting contemplation of the spiritual influences– prompting engagement with complex themes of mortality and existence. He and his contemporaries diverged from the dominant movements of Pop and Abstract Expressionism, rejecting visual excess and evolving into the sparse, austere visual language of Minimalism.

On view at PFA–Kensington, 𝟭𝟬𝟬𝟭𝟮: 𝙏𝙝𝙚 𝘼𝙗𝙨𝙩𝙧𝙖𝙘𝙩 𝙑𝙖𝙣𝙜𝙪𝙖𝙧𝙙, through November 23, 2024.

Image: Untitled, 2001. Photo by: Kristopher Heng Ⓒ Ross Bleckner

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10/16/2024

𝗥𝗼𝗰𝗸𝗻𝗲 𝗞𝗿𝗲𝗯𝘀 (𝟭𝟵𝟯𝟴–𝟮𝟬𝟭𝟭) had visualized the intersection of art and technology since the 1960s, transforming the act of sculpture-making through his integration of laser light. Krebs crafted large-scale light sculptures, where forms emerged purely from the ethereal dance of beams, creating a mesmerizing interplay of light and shadow. His triangular plexiglass pieces, drenched in vibrant acrylic paints, became radiant expressions of color and form. The mystical vision that Krebs articulated was both breathtaking and introspective—exalted yet hermetic, dazzling yet profoundly still. Grounded in their spatiotemporality, his works illuminated their surrounding environments, liberated from the confines of traditional material qualities. Through this innovative approach, Krebs’ large-scale creations evolved into expansive reflections on the essence of objecthood, inviting viewers to ponder the relationship between art, space, and perception. Each piece stands as a testament to his unique ability to blend the ephemeral with the tangible, challenging us to see beyond the ordinary into a realm where light itself becomes a medium of profound artistic expression.

Images: [1] Studio portrait. Photo by Steve Szabo for The Washington Post, 1969 [2] Untitled (Plexiglass Sculpture), 1968 [3] A Red Rainbow Tree, 1973. Photo by Gregory Staley [4] Laser Light Installation, Mr. Belloli’s Universe, 2001 Ⓒ Rockne Krebs Art Trust/Licensed by VAGA at ARS, New York, NY

10/14/2024

On view at PFA–Kensington, 𝟭𝟬𝟬𝟭𝟮: 𝙏𝙝𝙚 𝘼𝙗𝙨𝙩𝙧𝙖𝙘𝙩 𝙑𝙖𝙣𝙜𝙪𝙖𝙧𝙙 is a group exhibition showcasing works by Ross Bleckner, Alan Cote, Max Gimblett, and Kevin Teare.

From the late 1960s to the late ’70s, the 10012 area code (known as SoHo, “south of Houston Street”) was a creative mecca for abstract painters. Affordable studio space in the not-yet-desirable neighborhood was crucial to the alchemy of time, space, and resources which afforded artists the opportunity to take risks, and welcomed large-scale experimentation. In their expansive lofts, they embraced the minimalist language of abstraction, breaking away from the dominant Pop Art and Abstract Expressionism movements of the time.

Installation View: 10012: The Abstract Vanguard, September 14 – November 23, 2024.

Artworks: [1] Kevin Teare, Tiger’s Half Of The Second, 1979 (left). [2] Ross Bleckner, Untitled, 2003 (center). [3] Alan Cote, Untitled, 1972 (right). Photo by: Vivian Marie Doering Ⓒ The Artists

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10/12/2024

I consider the works exhibited in 𝙁𝙖𝙣𝙩𝙖𝙨𝙩𝙞𝙘𝙖𝙡 𝙇𝙖𝙣𝙙𝙨𝙘𝙖𝙥𝙚𝙨 to be some of my most radical paintings. When I first created them, they felt groundbreaking, and now, thirty years later, I am even more convinced of their radical nature as I revisit them. My earlier line paintings didn’t engage with the surreal, though they certainly explored the psychedelic—a realm I see as closely related to the surreal. While the surreal exists beyond the conscious mind, surfacing through visual representation, the psychedelic is an internal, conscious state—an immediate and vivid experience. My line paintings captured this through their intense opticality. —Michael Scott, September 2024

On view at PFA–Washington D.C., 𝗠𝗶𝗰𝗵𝗮𝗲𝗹 𝗦𝗰𝗼𝘁𝘁: 𝙁𝙖𝙣𝙩𝙖𝙨𝙩𝙞𝙘𝙖𝙡 𝙇𝙖𝙣𝙙𝙨𝙘𝙖𝙥𝙚𝙨 , through October 26, 2024.

Image: House, 1995. Photo by Kristopher Heng. © Michael Scott

10/05/2024

The concept sketches included in 𝗠𝗶𝗰𝗵𝗮𝗲𝗹 𝗦𝗰𝗼𝘁𝘁’𝘀 𝙁𝙖𝙣𝙩𝙖𝙨𝙩𝙞𝙘𝙖𝙡 𝙇𝙖𝙣𝙙𝙨𝙘𝙖𝙥𝙚𝙨 exhibit, on display at PFA-Washington D.C., provides a glimpse into the exploration and decision-making in this thematic concentration, and illuminates the journey that leads to the bold, larger painted pieces featured prominently throughout this body of work. In these illustrations, we witness Scott’s playful experimentation with whimsical ideas, such as a house that resembles an ice cream sundae, delectable candy lollipops, and a self-portrait teeming with a multitude of small objects and symbols that invite the observer to engage deeply with the canvas. This interactive quality prompts scrutiny of every detail, encouraging a personal connection with the artwork, and reveals the delicate interplay between concept and ex*****on in the creation of his extraordinary landscapes.

Installation View: Fantastical Landscapes. September 7–October 26, 2024.

Artworks: [1] Untitled, 1994. [2] Study for House of Tears, 1994. [3] Study for Glorious Day, 1994. [4] Study for An Ancient Song Sung Too Long, 1995. [5] Study for Self Portrait in Paradise. Photo by: Vivian Marie Doering Ⓒ Michael Scott

09/25/2024

09/21/2024