Wednesday, May 22, 2019

The River of Migration - KIND OF GREEN - Yi Gallery


Yi Gallery

191 Henry Street, NY NY 10002

June 1-11, 2019

Opening reception Saturday, June 1, 3-6 pm

NEW YORK - A group exhibition comprised of art and design works by Anne Katrine SenstadSi Jie LooJamie Martinez, and Studio Roosegaarde will be on view starting June 1st, 2019. Society is faced with climate change, pollution, rising sea levels, and massive ecologically driven migration. Many sustainable lifestyle theories advise people to “buy green,” invest in a “clean” car or only eat organic food. But is it wise to rely on consumerism to provide a solution to the very problems it has helped create? In this interdisciplinary exhibition, artists and designers think beyond “eco” art made from recycled materials or projects that simply paint an apocalyptic scene in order to address the urgent and ongoing ecological challenges the planet is faced with. The exhibition will be on view from June 1st to June 11th every day from 11am to 6pm at 191 Henry Street, New York, NY. An opening reception will be held on Saturday, June 1st from 3pm to 6pm.

The River of Migration

Single channel video

The first incarnation of Anne Katrine Senstad's memorial piece, The River of Migration, existed as a large outdoor light and land installation at Life is Art Foundation in 2010. The piece consisted of 72 solar-powered lights placed along a mountainside in Santa Rosa, CA. They formed a symbolic “human river” on what was historically Mexican land. Each of the 72 lights refers to a specific case where a person was brutally massacred by cartels after refusing to be used as a drug trafficker. Using light to create a memorial, Senstad illuminated the urgent migration issue with her symbolic river of light. The project honored the 72 nameless souls who died during the migration process and simultaneously spoke for all victims of migratory violence. The solar panel lights were lit from dusk till dawn, when most people cross borders illegally, and illustrated the very nature of the migratory action. The lights created a geographical mapping of the California landscape and served as a gestural, lyrical, and critical comment on migration policies, border wall politics, and the intensifying climate and political refugee crisis. Unnatural deaths of migrants are intimately connected to climate change and resource enclosures fueled by the growth of global wealth inequality.  It is critical to revisit this work today as it raises awareness of the new, and more elaborate, forms of human trafficking as a global business as well as the financial structures on which it capitalizes. 

Monday, April 22, 2019

Beckoned to Blue installation views


April 3 - May 31, 2019 
Tuesday - Friday 11 am - 6 pm
Saturday by Appointment

Elements III
Neon light sculpture - immersive installation, 2019
The exhibition’s centerpiece, "Elements III" defines the environment as luminous blues that envelope the fabric of our cognitive body. Made up of monochromatic squares of light defined by an inner blue spectral vertical portal centered in the space, the viewer experiences the interior and exterior light sculptures, resonating through prismatic frequencies. The immersive quality offers the viewer a dialectic between center and horizon—the sculptural light composition enveloping us with a sense of the infinite. Senstad’s cosmology of spacetime and light beckons you to a matrix of horizontal and vertical expressions of blue light, evoking fractal topologies. In space, distance is the present—the horizon extending far beyond our frame of reference as blue columns of light ascend to the empyrean. Senstad’s interpretation of blue as physical environment is informed as much by the artist’s curiosity about the emotional, physiological, and scientific phenomena that constitute our concept of color as it serves her lifelong desire to capture the impossible beauty and sensorial properties of color in the abstract.

Beckoned to Blue
HD video, 18:32 min, 2019
Senstad’s sensory chamber installation represents the internal geography of the viewer’s physical self. Here, the installation brings the public into an architecturally reductive private chamber, echoing the internal - the physiological and psychological experience of the work. Playing on a 18:32 minute loop within the chamber, the video work, "Beckoned to Blue," travels through compositions in multiple hues of blue. The accompanying sound piece for the video, "The Well-Tuned Marimba" (1976), composed and performed by electronic sound pioneer and mathematician Catherine Christer Hennix, creates sparkling spatial sensations between the gravity of Hennix’s keyboard, sine-wave generator, and the Sheng - a traditional Chinese polyphonic reed instrument that merges Hennix’s ocular minimalist sound with the aural color spheres evident in the video. 

I have broken the blue boundary of color limits, come out into the white; 
beside me comrade-pilots swim in this infinity. I have established the 
semaphore of Suprematism. I have beaten the lining of the colored sky, 
torn it away and in the sack that formed itself, I have put color and knotted it. 
Swim! The free white sea, infinity, lies before you. 

Kasimir Malevich, Suprematism, 1919

Photographic Work
Included as part of the exhibition Beckoned to Blue, are 
works from two bodies of work; Color Kinesthesia, 2012 
and Universals Foldouts, 2013. 

Senstad's photographic works examine the properties of light 
and color in relation to time, spatial relations and volume. 
Color Kinesthesia has previously been exhibited as part of 
Senstad's exhibitions at Zhulong Gallery in Dallas, TX, 
FineArt in Oslo, Norway, Airmattress Gallery, New York and 
Octavia Art Gallery's spaces in both New Orleans and Houston. 
Sizes: 50x60 inches and 30x40 inches.  
Please contact for more info on these works.