3134 Eastern Ave, Baltimore, Maryland 21224
On View: JAN 27 – MAR 3
Reception: SAT JAN 27 | 6PM-8PM
Gallery Talk: SAT FEB 10 | 4PM
Mequitta Ahuja, Milana Braslavsky, and Sebastian Martorana
In Unveiled, each artist lifts the veil of history to reveal and update the machinations of portraiture, still lifes, and memorials, respectively. Connected to one another through their contemporary re-examination of traditional artistic languages, the artwork uniquely reveals captivating spins on the context of tradition.
This video was produced with the help of Alain Hain for Connections, the re-installation of the permanent collection of the Smithsonian American Art Museum’s Renwick Gallery. I was asked to select a work from the collections and speak about how I felt it connected to my own.
I chose Kathryn Clark’s Foreclosure Quilt.
Coincidentally, Kathryn Clark chose to speak about my work, Impressions, in her video:
“Unseen” began as a reflection on the amount of artwork that is produced but never seen.
How many people actually “see” artwork? Most people that “see” artwork actually haven’t. They have seen pixels. Fewer people have actually seen my artwork in person than have experienced it in the form of curated photos posted via the internet on screens no bigger than their fists.
Going further—how much of my “work” have people really seen? Do they see each hour spend spilling specks of marble on the shop floor? Do they see the chisels sharpened or unique files made? Do they see the years of training that allowed me to attempt each piece in the first place?
Further—apply that to all products. We see the result, but not the process. How much labor went into the design and fabrication of even just the protective cases that surround our cell phones? Do we think about the loom that wove our clothing? or its operator?
The texture of the cloth in Unseen is based on my examination of the simplest of fabrics—flour sack dish clothes (my wife and I use a collection in our kitchen, hand stitched and embroidered by her grandmother, from actual flour sacks). The sculpture has the peaks and valleys of the fine warp and weft threads. However, only with focused, directional light they are revealed. This is true of nearly anything in life—it can been seen clearly if one views it in the proper light.
photography: Geoff T. Graham
Often, the most exciting pieces I make happen when collectors say: “What do you really want to do next?”
This can be intimidating since you are being put on the spot and there is pressure to have an idea immediately. Luckily for me, my work takes so long that I will literally never catch up with the running and ever changing list of potential artworks in my head. Also, one of my favorite things about visual art is that it speaks without words, however sometimes you do need to be able to articulate an idea before actually making it. In this case I was very fortunate that they were interested in seeing my vision. Thanks, T & L.
photography: Geoff T. Graham
Fine Art Connoisseur: Deceits That Delight by Max Gillies
Marble sculpture, Yours, Mine & Ours featured in and article about troupe l’oeil by Max Gillies.
Yep! I & my stones are officially part of an in flight magazine. So if you find yourself traveling from Seattle to Juno with a dead iPhone– have look at Beyond, the Alaska Airlines Magazine!
Sebastian Martorana straddles the line between art and craft, utility and beauty. At age 21 he apprenticed with a company outside of in Washington, D.C., as an undergraduate student, under the lead of Tim Johnston. In addition to learning to carve, he polished stone, made granite counter tops, benches and bathtub surrounds . . . read more [see page 73].