Danielle DeJesus, El Piraguero, 2020, acrylic and pumice on vinyl table cloth, 30.4 x 40.6 cm (12 x 16 inches), Courtesy the artist and Luce Gallery, Turin

From 24 April to 22 May 2020, Luce Gallerypresents the on-line exhibition “Open Air”, which brings together a large part of represented artists: Stephan Balkenhol, Dominic Chambers, Caitlin Cherry, Robert Davis,Danielle DeJesus, Amaryllis DeJesus Moleski, Derek Fordjour, February James, Grace Lynne Haynes, Hugo McCloud, Peter Mohalland Martha Tuttle. The group show is displayed on the gallery website: www.lucegallery.com.

The almost exclusively new works are connected by the aesthetic formalism that each of the artists involved has as a basis for their research. Through different media and languages, the works express originality, a fundamental element of both the artistic personality and the Luce Gallery program. This first virtual exhibition project was conceived from the desire for mutual support in an internationally complex moment due to the Coronavirus COVID-19 pandemic.

Stephan Balkenhol's artistic practice originates from the Minimalism and Conceptual Art of the seventies and his will to bring the figure back into contemporary sculpture by reworking classic subjects. The German sculptor carves out of a single piece of wood, creating miniature figures to which he applies bright colors paints. Here his bas-relief “Woman with braid” (2017) painted with perfection.

Drawing on his own experience and inspired by stories, mythologies and African American history, Dominic Chamberstackles themes of black identity. In the large-format paintings “Untitled (Gabriel in Blue)” (2020) and “Blue summer swing time” (2020) he reflects on the social stigma and challenges associations attributed to the black body, depicting it in moments of meditation and contemplation within invented scenarios. The African American artist questions about the concept of “the Veil” expressed by W. E. B. Du Bois, according to which the black man is separated by a line of color, which imposes a double vision with the eyes of whites whose prejudices he perceives.

The painting practice of Caitlin Cherryis characterized by personal use of color, which instills a sense of strong energy to the viewer. The African American artist looks at both the history of art and the most experimental cultural theories of this current time saturated with technology. The subjects of her works, including installations, seem interested in the distortion of obsessions and symbols of American society. The figurative paintings, including “Cypher” (2020), explore the polarization and inversion effect of malfunctioning and titling liquid crystal displays (LCD). The result becomes a metaphor for the overexposure and colonization of black female bodies in popular culture and music.

The works by Robert Davisdepict objects and people from his childhood in Norfolk, Virginia, in the 1970s. Watercolors on paper, such as “Tanya” (2020), “Bobby” (2020) and “Angela” (2020), together with oils on canvas and graphite drawings could reveal a multifaceted portrait of the artist. Portraiture has always been present in his research based on the constant interest in the fluid interrelation of experience, psychology and identity. Imbued with nostalgia, the subjects in the works are deeply personal and not.

Danielle DeJesusreflects on political issues and mainly on the trauma suffered by immigrants in the United States, often painting on dollar bills. Through this practice, the artist also documents his experience of American with Afro-Puerto Rican origins. By adapting a “western” style of painting to represent people of color, she clarifies the complexities of the Black and Brown identities. Her works on display are “El Piraguero” (2020) and “Last of a dying breed” (2020).

The two watercolors on paper “Glisteninglisteninglistening” (2020) e “The Taker Takes (the fame remains)” (2020)belong to Amaryllis DeJesus Moleski. The Afro-Puerto Rican queer artist faces the representation of women - queer, femme, brown and black - who have long been excluded from the dominant artistic narrative. Interested in the symbolism of the images, but also fantastic stories and mythology enthusiast, she draws and paints female figures of the future who form a visual language with which to tell earthly and cosmic creations. Sinuous bodies with a third eye join earthly elements, such as rainbows, rain, stones, bones, flowers and thunder. His imagery is inspired by alchemical, religious, spiritual and ancient illustrations, conceived to be read as texts.

The central theme in Derek Fordjour's work is the exploration of “game-ification” in social structures and the intrinsic vulnerability of the human being within a competition. The Ghanaian-American artist reflects about the political implications, individual and collective strategies, as well as the role of the show and related interests. In the last paintings, he returns to the subjects of crowds and sporting events to face power relations, capital flows and inequality in society and economic systems of the United States. The four black athletes of “Four Man Sweep” (2020) are a team of rowers.

February James is inspired by an autobiographical narrative, which captures the essence of people. Drawing from her own identity and experiences in the family environment, she unmasks the Self in moments that are difficult to access. Interested in the projection that the viewer elaborates on the work, the African American artist paints and draws faces, which express deep and often hidden emotions, such as those of “Sorrell” (2020), “Roux” (2020) e “Rooney” (2020). Through bright colors and distorted figures, she represents the intangible of emotional core, as it can appear in memories and dreams.

The work by Grace Lynne Haynes, which includes “Almost a child” (2019), investigates the African American female experience and its relationship with color, aesthetics and the African diaspora. Her practice includes archiving images of black female figures in America of the past and present. The African American artist is often inspired by their elegant portraits of the sixties and mainly uses pastel colors, which are usually not associated with the femininity of black women.

African-American artist Hugo McCloud has always explored issues related to the value of labor and the social economy. His research is interested in and attributes beauty to unconventional materials, usually discarded or ignored, which manipulated encourage new perceptions in the viewer. The most recent works, including “Banana Head” (2020), are realized with layers of heat-fused plastic merchandise bags on wood panels and portray porters, waste recyclers and workers met during trips to India, Asia, Africa and Latin America. The great weights loaded on their bodies are real and for this reason, these people deserve respect.

Peter Mohall's new series of paintings, which includes Kvinna och hund i skogen” (2020) and “The fourth woman (study for the fower market)” (2020), combines two different painting approaches: the figurative motif and its color index, which consists of short and regular strokes inspired by previous abstract paintings. Visually, an exchange arises from the contrast of this coexistence on the jute canvas. The Swedish artist examines the alternation of brush strokes and pictorial authenticity, as well as the change in the optical values of color. On one side the interaction of colors and layers in the image portrayed, on the other, the chromatic gesture isolated laterally.

Martha Tuttle's works capture the ephemeral nuances of time and nature. The American artist uses natural pigments, also from the earth in her alternate home in New Mexico. The subtle variations of colors and shadows derive from rubbing and folding actions. The outermost layer of these paintings is covered with slightly draped textiles. Made from hand-spun wool and beaten with a mallet for hours, the weaves are dyed repeatedly to obtain the right color intensity. The soft surfaces absorb light and also have their own luminescence, while fragmentation preserves the space for imagination. For this occasion, however, the watercolors with graphite on paper “When the first strands of gray hair started growing from his beautiful head and his noble chin” (2020) and “Then the Lady Eos stopped coming to his bed” (2020).

Danielle DeJesus, El Piraguero, 2020, acrylic and pumice on vinyl table cloth, 30.4 x 40.6 cm (12 x 16 inches), Courtesy the artist and Luce Gallery, Turin

From 24 April to 22 May 2020, Luce Gallerypresents the on-line exhibition “Open Air”, which brings together a large part of represented artists: Stephan Balkenhol, Dominic Chambers, Caitlin Cherry, Robert Davis,Danielle DeJesus, Amaryllis DeJesus Moleski, Derek Fordjour, February James, Grace Lynne Haynes, Hugo McCloud, Peter Mohalland Martha Tuttle. The group show is displayed on the gallery website: www.lucegallery.com.

The almost exclusively new works are connected by the aesthetic formalism that each of the artists involved has as a basis for their research. Through different media and languages, the works express originality, a fundamental element of both the artistic personality and the Luce Gallery program. This first virtual exhibition project was conceived from the desire for mutual support in an internationally complex moment due to the Coronavirus COVID-19 pandemic.

Stephan Balkenhol's artistic practice originates from the Minimalism and Conceptual Art of the seventies and his will to bring the figure back into contemporary sculpture by reworking classic subjects. The German sculptor carves out of a single piece of wood, creating miniature figures to which he applies bright colors paints. Here his bas-relief “Woman with braid” (2017) painted with perfection.

Drawing on his own experience and inspired by stories, mythologies and African American history, Dominic Chamberstackles themes of black identity. In the large-format paintings “Untitled (Gabriel in Blue)” (2020) and “Blue summer swing time” (2020) he reflects on the social stigma and challenges associations attributed to the black body, depicting it in moments of meditation and contemplation within invented scenarios. The African American artist questions about the concept of “the Veil” expressed by W. E. B. Du Bois, according to which the black man is separated by a line of color, which imposes a double vision with the eyes of whites whose prejudices he perceives.

The painting practice of Caitlin Cherryis characterized by personal use of color, which instills a sense of strong energy to the viewer. The African American artist looks at both the history of art and the most experimental cultural theories of this current time saturated with technology. The subjects of her works, including installations, seem interested in the distortion of obsessions and symbols of American society. The figurative paintings, including “Cypher” (2020), explore the polarization and inversion effect of malfunctioning and titling liquid crystal displays (LCD). The result becomes a metaphor for the overexposure and colonization of black female bodies in popular culture and music.

The works by Robert Davisdepict objects and people from his childhood in Norfolk, Virginia, in the 1970s. Watercolors on paper, such as “Tanya” (2020), “Bobby” (2020) and “Angela” (2020), together with oils on canvas and graphite drawings could reveal a multifaceted portrait of the artist. Portraiture has always been present in his research based on the constant interest in the fluid interrelation of experience, psychology and identity. Imbued with nostalgia, the subjects in the works are deeply personal and not.

Danielle DeJesusreflects on political issues and mainly on the trauma suffered by immigrants in the United States, often painting on dollar bills. Through this practice, the artist also documents his experience of American with Afro-Puerto Rican origins. By adapting a “western” style of painting to represent people of color, she clarifies the complexities of the Black and Brown identities. Her works on display are “El Piraguero” (2020) and “Last of a dying breed” (2020).

The two watercolors on paper “Glisteninglisteninglistening” (2020) e “The Taker Takes (the fame remains)” (2020)belong to Amaryllis DeJesus Moleski. The Afro-Puerto Rican queer artist faces the representation of women - queer, femme, brown and black - who have long been excluded from the dominant artistic narrative. Interested in the symbolism of the images, but also fantastic stories and mythology enthusiast, she draws and paints female figures of the future who form a visual language with which to tell earthly and cosmic creations. Sinuous bodies with a third eye join earthly elements, such as rainbows, rain, stones, bones, flowers and thunder. His imagery is inspired by alchemical, religious, spiritual and ancient illustrations, conceived to be read as texts.

The central theme in Derek Fordjour's work is the exploration of “game-ification” in social structures and the intrinsic vulnerability of the human being within a competition. The Ghanaian-American artist reflects about the political implications, individual and collective strategies, as well as the role of the show and related interests. In the last paintings, he returns to the subjects of crowds and sporting events to face power relations, capital flows and inequality in society and economic systems of the United States. The four black athletes of “Four Man Sweep” (2020) are a team of rowers.

February James is inspired by an autobiographical narrative, which captures the essence of people. Drawing from her own identity and experiences in the family environment, she unmasks the Self in moments that are difficult to access. Interested in the projection that the viewer elaborates on the work, the African American artist paints and draws faces, which express deep and often hidden emotions, such as those of “Sorrell” (2020), “Roux” (2020) e “Rooney” (2020). Through bright colors and distorted figures, she represents the intangible of emotional core, as it can appear in memories and dreams.

The work by Grace Lynne Haynes, which includes “Almost a child” (2019), investigates the African American female experience and its relationship with color, aesthetics and the African diaspora. Her practice includes archiving images of black female figures in America of the past and present. The African American artist is often inspired by their elegant portraits of the sixties and mainly uses pastel colors, which are usually not associated with the femininity of black women.

African-American artist Hugo McCloud has always explored issues related to the value of labor and the social economy. His research is interested in and attributes beauty to unconventional materials, usually discarded or ignored, which manipulated encourage new perceptions in the viewer. The most recent works, including “Banana Head” (2020), are realized with layers of heat-fused plastic merchandise bags on wood panels and portray porters, waste recyclers and workers met during trips to India, Asia, Africa and Latin America. The great weights loaded on their bodies are real and for this reason, these people deserve respect.

Peter Mohall's new series of paintings, which includes Kvinna och hund i skogen” (2020) and “The fourth woman (study for the fower market)” (2020), combines two different painting approaches: the figurative motif and its color index, which consists of short and regular strokes inspired by previous abstract paintings. Visually, an exchange arises from the contrast of this coexistence on the jute canvas. The Swedish artist examines the alternation of brush strokes and pictorial authenticity, as well as the change in the optical values of color. On one side the interaction of colors and layers in the image portrayed, on the other, the chromatic gesture isolated laterally.

Martha Tuttle's works capture the ephemeral nuances of time and nature. The American artist uses natural pigments, also from the earth in her alternate home in New Mexico. The subtle variations of colors and shadows derive from rubbing and folding actions. The outermost layer of these paintings is covered with slightly draped textiles. Made from hand-spun wool and beaten with a mallet for hours, the weaves are dyed repeatedly to obtain the right color intensity. The soft surfaces absorb light and also have their own luminescence, while fragmentation preserves the space for imagination. For this occasion, however, the watercolors with graphite on paper “When the first strands of gray hair started growing from his beautiful head and his noble chin” (2020) and “Then the Lady Eos stopped coming to his bed” (2020).

Robert Davis (1970, Norfolk, Virginia, United States) lives and works in Brooklyn, New York.