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September 6 -- October 27, 2007


San Francisco, CA: Gallery 415 is pleased to present concurrent solo shows by two Latin American artists: Uruguayan-born multimedia artist Richard Garet and painter Venuz White of Colombia.

Garet's Time Frame digital prints go beyond the idea of photographing manufactured imagery or setups into capturing imagery that is completely illusive or virtual: the radiantly colored geometric imagery from the artist's hypnotically kinetic abstract films. The artist selects frames from the sequence suggestive of change and progression within stasis and edits ands retouches them in the computer.   The finished images, mounted beneath Plexiglas, seem suspended in time, awaiting liberation, yet glowing and breathing -- doors or windows affording viewers glimpses onto an ethereal, effulgent landscape of prismatic, spiritualized color. Turner and Rothko re-imagined for the electronic age. In their transparent intricacy, and with certain areas blurred (caught in motion) or shaded to appear in low relief, they also suggest schematic diagrams somehow animated by light and color and seen through some mystical X-ray or sonogram. In their compression of time, these photographs echo Cubism; in their implied movement, they recall Op Art.

White's Dot Project paintings, in contrast, focus on the organic. Using acrylic paint of varying viscosities and densities, the artist tilts the canvases to let gravity and the physical properties of the pigment control the generation of imagery, rather like Morris Louis with his florals and views in the 1960s, or Pollock with his drips and skeins in the 1950s. Covered with eccentrically shaped color patches that seem to ooze and flow like sap, lava, or the tides, White's images resemble organic maps or quilts. Some of the zones bear rippled patterns (reminiscent of the decorated end papers in old books) that seem to be sliding off the canvas. Others contain hundreds of multicolored dots (achieved with an eyedropper) resembling the eyespots on a peacock's tail, or the concentric rings of Venetian millefiori glass, and they, too seem to be caught in glacially slow motion. We seem to be looking not down now, but across and into objects. One writer saw "cellular membranes" and described these paintings as "penetrating nature's epidermis."   White's microcosmic / macrocosmic paintings, made in collaboration with her medium, achieve Art Nouveau rhythm and style, and imbue them with hallucinatory intensity.

This fall Gallery 415 also continues its lecture series on Latin American art: "From Abstract to Conceptual in Latin American Art" by Patrick Frank, Thursday, Sept. 27, 6:30-7:30pm.

An author ("Readings in Latin American Art," Yale University Press), teacher (at CSU Monterey Bay) and curator, Dr. Frank will explain abstraction's enduring influence on contemporary Latin America art. More information at http://www.g415.com/openhouse/frank_invitation.htm.

Space is limited. RSVP to info@g415.com.

Gallery 415 in San Francisco focuses on modern and contemporary art from Latin America. The gallery program challenges the traditional views of Latin American art and showcases the great range of styles, materials, themes and aesthetics in artistic production from this diverse region. The gallery is located in the Union Square area of downtown San Francisco and is open Tuesday-Saturday, 11:00am-5:30pm. For more information please contact: Christina Bosemark 1.415.690.0026 www.g415.com or email info@g415.com.  

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77 Van Ness Ave, 8th floor| San Francisco, CA 94102 | 1.415.690.0026