Shapeshifters - Morgan Blair, Caroline Larsen, Tessa Perutz, Alex Ebstein
Shapeshifters
Morgan Blair, Caroline Larsen, Tessa Perutz, Alex Ebstein
Curated by Green Point Terminal Gallery
Opening Reception: Saturday, March 3rd, 6-9 pm
Exhibition Dates: March 3rd - March 31st, 2018
Green Point Terminal is a gallery space run by New York-based artist Brian Willmont, nestled on the third floor of a weathered industrial complex situated at the northern tip of Brooklyn. Slightly removed from the more polished Chelsea and Lower East Side gallery scenes, for years Green Point Terminal has served as a vital space for showing a younger generation of emerging artists. Transposing the vision for Willmont’s gallery from the industrial northern reaches of Brooklyn to the similarly industrial southern sprawl of San Francisco, Guerrero Gallery is proud to present a satellite project with the Brooklyn gallery, featuring New York-based artists: Morgan Blair, Caroline Larsen, Tessa Perutz and Alex Ebstein.
The artists represented in Shapeshifters collectively repurpose formalist abstract language, interjecting personal narrative and emotion with a potent dose of humor and “bad taste”. Morgan Blair’s highly tactile paintings utilize a variety of techniques from airbrush to the application of sand–creating elegant and dizzyingly complex images that are reminiscent of early graphics softwares and feature titles that sound like one reading a string of email titles from their SPAM inbox. Caroline Larsen creates paintings that are literally weighed down by the artist’s cake-like application of strings of oil paint, creating sumptuous surfaces that contrast in interesting ways the naturalistic subject matter depicted. Tessa Perutz’s smoothed out landscapes, often originate as drawings made along the artist’s travels–translated back into paintings, they glow with lingering memories and a sentimental mood. Alex Ebstein creates modernist abstractions which from afar seem reminiscent of Matisse’s late works, yet up close reveal that they’re comprised almost entirely of carefully cut and composed sections of rubbery yoga mats– immediately creating a hilariously strange dialogue between the echoes of art history and contemporary fitness fetish.