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Liminal Worlds


Image: Anne Polashenski, Polish Birds, 2016, C-prints,  gouache & collage on paper, 30 x 22

Opening Reception Friday, April 27 7-9p
On view through June 6, 2018

Panel discussion 7pm May 8th, 2018
Additional Weekend Gallery hours: 
Saturday & Sunday May 19-20, 1:30-6:30pm - Book Release "3 Essays on Imagereality" and Weekend Residency by Author and Imagetheorist Scott Navicky.

Saturday June 2nd, 1:30-6:30pm - "Crimson Crow Paintings" Pop-Up Shop by exhibiting artist Anne Polashenski.

Featuring artwork by:
Ashley Hope
Elizabeth Insogna
Anne Polashenski
Greg Thielker

Curated by Katerina Lanfranco

Liminal Worlds features the work of four artists who examine the thin and tenuous line dividing the many realities that we experience as part of the human condition. Anne Polashenski and Greg Thielker consider notions of self and other through ethnography, immigrant experiences, and national borders. Ashley Hope and Elizabeth Insogna delve into the interconnectedness and elusiveness of the spirit realms and afterlife. Collectively these artists become guides for us to venture through their artworks into territories that are filled with contemplation, politics, and deeper capacity for self-awareness.

Ashley Hope uses laser-etched CCTV images burned into maple wood to capture and immortalize the last traces of missing human figures. The reductive process of burning the wood away reinforces the theme of presence and absence, ultimately creating a tangible marker of loss. Her decorative hand additions to the sometimes glitched camera images draw from the early Christian/Byzantine artistic tradition of using geometric patterns to represent an unknowable higher power, and materials like gold leaf to indicate a spiritual or otherworldly presence. 

Elizabeth Insogna works through iconography of Goddess reverence and ideas of the Divine Feminine to highlight a Queer perspective in the dialogue of female power. Her work straddles the world of ancient spirituality and contemporary body politics. Insogna’s devotional ceramic cauldrons reference scrying - an ancient form of divination, are paired with colorful abstract and symbolic figurative paintings to evoke a history of ritual practice.

Anne Polashenski mines her family’s Polish immigrant history to uncover an autobiographical connection that comprises both feelings of American identity and otherness. Through a range of media including gouache and C-printing, her artwork collages traditional patterns - a sort of camouflage - with domestic, grotesque, and alien imagery with an emphasis on blending in and survival. In these works, Polashenski attempts to understand and recreate historical connections that were not present in her childhood as her grandparents strove towards American assimilation.

Gregory Thielker’s work is shaped by the arbitrary nature of territory and memory. In these paintings from his series Unmeasured, his hyper-realistic transcription of physical sites centers on the border between Mexico and the US, offering a critical and contemplative glance at border politics. His use of actual dirt from the sites he visits as paint pigment enforces the solidity and permanence of these places and connection to the images he makes. The nation state border is defined by a wall built in various parts, protruding like a sculptural artifact from the landscape, and that continues to be an object of political division.

Coinciding with the exhibition, Trestle is pleased to host the panel discussion “Liminality in Art: Art as Ritual” with the curator and artists in the exhibition on Tuesday, May 8th, at 7pm.

In a ritual setting, liminality is a state of ambiguity and/or disorientation that occurs in the middle stage of a ritual. It is the state between pre-ritual status, but before the post-ritual status is conferred. For many artists making artwork is a form of ritual, Hope, Insogna, Polashenski, and Thielker, perform various rituals in the making of the artworks in Liminal Worlds. Join us for an interesting and lively discussion on the creative practice, art as ritual, and the fine lines that are divisive, dangerous, and crossed with fluctuating ease and difficulty.


Katerina-3.jpg

About the Curator:
Katerina Lanfranco earned her BA in Art (Painting) and in Visual Theory and Museum Studies from UC Santa Cruz, and her MFA in Studio Art (Painting) from Hunter College, City University of New York. Her work has been represented by the Nancy Hoffman Gallery since 2006. Her work is in the permanent collections of the Museum of Modern Art, the Kupferstichkabinett (Museum of Prints and Drawings) in Berlin, and the Corning Museum of Glass.

She currently teaches studio art at Parsons The New School, Pratt Institute, Fordham University and Hunter College, CUNY. She created and taught "Experimenting with Collage," an online studio course for the Museum of Modern Art. Lanfranco has taught studio workshops at the American Folk Art Museum, MoMA, and Brooklyn Botanic Garden. She has been awarded several artists residencies including a six-month creative artist residency in Kyoto, Japan through the Japan/US Friendship Commission to study Japanese arts and crafts. Lanfranco’s work has been exhibited throughout the United States, and internationally in Toronto, Canada; Berlin, Germany; Milan, Italy; and Kyoto, Japan.

Lanfranco founded of Rhombus Space in 2013 and was Chief Curator at Trestle Gallery (2015-2018), where she continues as a member of the advisory board. Her recent shows include a solo show "Mystic Geometry" at the Nancy Hoffman Gallery, and "Efflorescence" at the SCPS Gallery at Pratt Manhattan. Upcoming projects include "Human Nature" a group exhibition through Arts Brookfield (with a sculpture commission) April 2018, finalist for NYC's Percent for Art project April 2018, and curating "Liminal Worlds" exhibition at Trestle Gallery April-June 2018. She documents her studio practice and experiences in the NYC art world through her Vlog project on YouTube. Her work has been reviewed in ARTnews, ARTinfo, and the NY Times.

Earlier Event: April 17
Dissolving Borders in the Art World
Later Event: May 1
Open Critique