The Bright Side
The Bright Side
Gregory Moncada and Kate Hush
Sep 9 - Sep 29 2017
Opening Reception: Thursday, Sep 21 2017 6-8pm
Born, raised, living and working in New York, Gregory Moncada is a multi-disciplined visual artist and art industry professional working at Christie’s as lead art handler. Classically trained in Fine Arts in Florence, Italy and a work ethic learned from the streets and the fast paced work environments of New York City, Moncada has had constant involvement in creating and exhibiting art, as well as a hand in behind the scenes art world operations.
Works of art begin with curious exploration and a trust in intuition. Gathered from the streets, antique stores and flea markets, paper ephemera is acquired as a result of keen observation and good luck. The found materials are stored away to exist as a tangible reflection of history and culture. Selected content is cataloged and scanned, stripped of their initial intention and prepared for an intervention. Paint is applied with experimental and gestural movements. Fluid and active mark making is balanced by rigid directional lines that restore order and focus on the subject. Obscured but complemented by colorful abstract expressions, reclaimed images transport the viewer to a surreal setting. By establishing links between beauty and anonymity, passion and intention, Italian heritage and American identity, the finished artwork offers a unique human signal and honest response to society.
Moncada is both patient and truthful with his work. The evolution and progression of the artist remain constant and consistent. The goal is to provide visually satisfying works of art that consider contemporary society and art history and empathy towards the viewer and their visual needs.
Kate Hush speared in New York City via train, has held an interest in wicked women from birth, and first touched neon lighting the year Karen Black was taken from us. She is a quiet woman, and doesn’t wish for you to know any more.
Triboluminescence is the creation of light through the breaking of bonds. There’s pulling, ripping, scratching, crushing, abrasion – and finally, radiance. When a diamond is cut it fluoresces blue or red, not unlike how a person could be described. He is feeling blue, or she is red with anger. In people, in objects, solid states are disrupted. These rips are the road to a blinding denouement.
This friction is what I capture in intricately thin silhouettes – bodies and scenery made of light. The men have suffered, and will suffer. The women are conniving and manipulative, naturally. Their tears are phony and their heels are high. I am brining to light, literally, their wicked ways. They are fiery, guileful, calculating, crazy … or is it just that their brightness is harder to shield? Others are rotten, are double crossers, and they are somehow forgotten. But when a woman produces sharpness it’s as if she yields a deep eternal cut. So why not capture that wound in light? I illustrate the moment when you realize you’ve followed her down the wrong road, right before the crash. You’re going to call the all crazy bitches anyway, so why not light them that way?
Inquiry: Michelle Yu firstname.lastname@example.org