The White Columns Curated Artist Registry
is an online platform for emerging and under-recognized artists to share images and information about their respective practices. The Registry seeks to create a context for artists who have yet to benefit from wider critical, curatorial or commercial support. To be eligible, artists cannot be affiliated with a commercial gallery in New York City.
To apply to the Registry, click here. Join our mailing list here to receive our open call announcement and other programming updates. For any further questions about the Registry, please contact us at firstname.lastname@example.org.
STATEMENT OF WORK
In my art practice, I deconstruct the ideological public space via accumulations of lines and marks which represent, in various degrees of abstraction, contemporary urbanism and social life.
As a practicing architect and urban planner I mainly deal with the improvement of public spaces and innovation in public housing. Fascinated by cities and societal production, my artwork takes a critical view of social and political issues in the urban environment.
Intensely researching public spaces and its importance for socializing and practicing democracy, I have become obsessed with what public spaces might be: Public dissent, politics and power, among other things unfolds in physical public space, however governments often control their usage. Free and open public spaces are essential for a healthy democratic society, but paradoxically, due to rampant privatization, mallization, social divides, or fear, public spaces for such activities, may be inaccessible, avoided, and/or diminishing. I am interested in investigating what happens to those public spaces and how that might be influencing the lives of the people in the ever-expanding cities.
My work translates this obsession, reproduces familiar visual signs, and arranges them into new conceptually layered arrangements across a range of media—from works on paper and canvas to photography. There are two essential parts to my art practice— drawing, often technical, as something rational, and mark-making as something irrational, intuitive or emotional. Mark-making becomes a tool then for deconstructing and understanding particular problems that cannot be solved otherwise. My art practice is in essential dialogue with my practice as an urban planner and is informed by the real conditions of architecture and politics, which is often highly regulated and rigid. Through drawing and mark-making, new possibilities and vocabularies from unregulated expressions are possible.