PAPERCUT

Curated by Vaughn Massey and Jenny Mushkin Goldman
Presented at The National Arts Club at 15 Gramercy Park South, New York, NY
October 15 - 26, 2014
 

Papercut, featuring recent work by Tony Ingrisano and Adam Fowler, explores the use of paper as principle medium.  Coming from the differing approaches of abstract representation and non-objective gesture, their styles converge through remarkably complex compositions that are simultaneously linear and sculptural. 

Ingrisano is informed by a variety of systems: aerial city views, power grids, and variations in river circuits, his drawings start with a simple mark and then grow into larger, more complex configurations, layering ink, graphite, watercolor, and collaged elements to create the final composition.                                   

“I am in love with nature's part to whole relationships, where masses of identical elementary particles arrange themselves into wholes that are greater than the sum of their parts. The heart of my work has always been to latch on to singular forms, a pen stroke or manageable shape, and build it into a community.”  T.I.

Ingrisano often reverses the additive process by cutting his drawings into slivers and re-arranging them to form new relationships and spaces. The spaces expand and intrude on one another creating tension which adds energy to the work. Pushing repetition to a point of excess, he forces a breaking point where something new and unexpected begins.

 When not drawing, Tony teaches art to elementary school children through Free Arts NYC and to college students at Briarcliffe College.  He has completed residences at I-Park and CAC Troy.  Tony graduated from Pratt in 2008, where he was nominated for the Joan Mitchell Award. He lives in Brooklyn NY and is represented by Lesley Heller Workspace on the Lower East Side.

Fowler shows gestural drawings made with graphite pencil, each finished drawing consists of a number of drawn sheets stacked together. Fowler works on Rives Lightweight paper, the paper size being 26 x 40 inches. After he maps out and draws all of the layers he then excises the negative spaces of each gestural drawing with an X-acto knife, allowing only the drawn line remaining, creating a delicate lace like sheet. Fowler layers the sheets together in some of his work, simply one on top another, in others he staggers the sheets in order to build larger compositions. Fowler lives in works in Pennsylvania and is represented by Margaret Thatcher Projects in Chelsea.