The New Non

Show dates: June 29 – July 1

Opening Reception: June 29, 7-10pm

Gallery Hours: June 30 and July 1, noon-6pm

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Curated by Jonathan Sims

An exhibition dedicated to artists defining the contemporary paradigm of abstraction for their own ends. Each of these twelve artists transcend the formal elements associated with non-representational art to engage with complex concepts, themes, or narratives, and prove that abstraction has the capacity to address and amplify some of the most pressing issues facing artists today: technology, identity, natural phenomena, mathematics, place, politics, materiality, and more.

List of Artists

Jenn Grossman
Amber Heaton 
Alison Kudlow
Iris Kufert-Rivo
Glendalys Medina
Visakh Menon
Nick Naber
Charley Peters
Lily Sheng
Zoë Shulman
David B. Smith
Jayoung Yoon

 

Performance, Protest and Greenpoint in Watercolor

A little feature of Untitled (series) at The Java Project on Greenpointers.com!

 Nick Naber – Untitled (transgress), 2018, watercolor graphite on watercolor paper, 30 x 22 inches

Nick Naber – Untitled (transgress), 2018, watercolor graphite on watercolor paper, 30 x 22 inches

Untitled (Series)
The Java Project | 252 Java St
Opening Reception Saturday, March 17th, 6-9pm
More info, Free

Local gallery and artists’ workplace compound The Java Project is presenting the latest from artist Nick Naber. Expect to see vibrant and Escher-like watercolors of imaginary buildings and spaces. Naber’s work borders on fantastical but is grounded in geometric realities, while transporting you into a trippy totalitarian futuristic cityscape.


Untitled (series)

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Nick Naber
Untitled (series)
March 17 - April 28, 2018
Opening Reception: March 17, 6 - 9 PM

Untitled (transgress), 2018, watercolor graphite on watercolor paper, 30 x 22 inches

"The artist is an inventor of places. He shapes and incarnates spaces which had been hitherto impossible, unthinkable…" - Georges Didi-Huberman

Drawing on the breadth of philosophical language surrounding architecture in what can be considered our current “panoptic” era--from penitentiaries to once-imagined Modernist, utopian corporate or urban landscapes--Nick Naber’s work envisions unimaginable, heterotopic environments rendered in watercolor and pencil. Recurring and repeating abstract and geometric forms, divorced from their contexts and functions, are recomposed through relationships of pattern, perspective, scale, and color to conjure likenesses of unreadable maps, city plans, and civic spaces, exposing the hierarchy of structures which intersect and organize imagined space in an age of alienation.


Naber’s vision is concerned with the means through which architecture can address the body in ways that regulate social and psychological inclusion, exclusion, and observation and that expose systems of visual control. He draws on a history of architectural representations as, on one hand, tools of power and, on the other, as models for utopia, through an investigation of imagined environments informed by comprehensive investigations of art and philosophy. 

The base structure of Naber’s drawings can be understood as modular. Each module, which alludes to a structure, repeats to create patterns while breaks in the repetition and in perspective of the modules create disorientation, instability, and unease. Through the creation of impossible perspectives alongside the reduction of scale in his imagined cityscapes, he critiques the power of architectural design and the often latent, unconscious effects on those who encounter it. Having become accustomed to the sights of skyscrapers, and the layouts of densely constructed cities, it is often difficult to recognize them immediately as symbols of power and control or even metaphors for unshakeable faith in progress, something these drawings expose. Additionally, Naber’s use of often saturated and heterogeneous color creates a substantial juxtaposition between the hard-edge of his modular structures and the soft, fluidity of the medium of watercolor, causing further dislocation. 


Naber received his MFA in painting and drawing from Pratt Institute (2012) and his BFA from the University of Wisconsin-Milwaukee (2010). He has had two solo exhibitions at OPUS Projects in Chelsea after earning his graduate degree along with group exhibitions nationally. Naber has been interviewed about his practice most recently by Haley Finnegan as part of her exhibition Home Economics at Penn State (2017) and his work has also been featured on the Studio Break Podcast (2015) and has been published in Alt/Process (2015), GRAPHITE Journal (2012). He is the Co-Founder/East Coast Editor and Contributor at The Coastal Post. He lives and works in Brooklyn, New York. 

 

The Java Project

252 Java St #100 

Brooklyn, NY 11222

ph: 917 773 8248

e: thejavaproj@gmail.com | thejavaproj.com

Open by appointment