Manuel Moran is a major force in puppet theater and the Latino art community and we’re fortunate to share with him an affiliation with the Clemente Soto Velez Cultural Center here on the Lower East Side. He recently brought us a great framing project. Moran’s latest film is a documentary called “Titeres en el Caribe Hispano” about the origins of puppet theater in the Cuba, Dominican Republic and Puerto Rico. It provides a unique insight into the work of many prominent pioneers and puppet companies from the two countries. We framed his poster for the movie with our usual high-standard museum board and glass along with black hardwood moldings.
The framed poster for Titeres en el Hispano
A native of Puerto Rico, Moran is an actor, director, producer and puppeteer. He is the founder and Artistic Director of SEA, Society of the Educational Arts, Inc. with offices in Puerto Rico, Florida and New York City. SEA is the first Puerto Rican organization dedicated to the arts in education with simultaneous operations in Puerto Rico and the United States. Its objective is to offer a real entertainment alternative, with cultural value and educational quality for kids, youth and adults through bilingual educational programs like workshops, seminars, theater and other cultural and artistic events. Moran is the recipient of numerous awards and his positions and affiliations include being the Vice-President of UNIMA (Union Internacionale de la Marionnette), the oldest international theater organization in the world and the former Chairman of the Board of Directors of the Clemente. He lives and divides his time between New York and San Juan, Puerto Rico.
Puppeteer, actor and director Manuel Moran
BORIMIX: Puerto Rico Fest is a month long, city-wide festival of Puerto Rican artists working in film, theatre, poetry, dance, music and the visual arts in New York City. “Titeres en el Caribe Hispano” had its US debut at Teatro SEA during the BORIMIX festival here at the Clemente last November. We look forward to working more with this super talented man!
Poster for the film from its premier
Alejandro Sainz's artwork ready to leave the studio and then being installed
Frames and Stretchers and Art Delivery Van have once again teamed up on the framing and installation of a terrific work of art. The massive woodcut print by Cuban artist Alejandro Sainz required numerous handmade Japanese paper hinges which were applied with the rice paper paste that we prepare in house. After attaching the art to its museum board backing it was fitted with a black maple frame and UV plexi glazing. Once finished, the piece was off to the collector’s home where it was expertly installed by the Art Delivery Van team.
The delicate process of hinging such a large work
Alejandro Sainz is a native of Havana who graduated from the Fine Arts Academy of San Alejandro and the School of Design of Cuba, with a major in International Graphic Design. He is a painter, printmaker, engraver and sculptor. Growing up in Cuba his art and stylistic influences included 1950s movie stars, Albrecht Durer prints, propaganda posters of Cuban leaders, and interestingly, Andy Warhol. Sainz uses the craft of “xylography” (carving into wood for the purposes of printmaking) to create some of his images. As a print maker he uses the human figure along with texts to describe social and political commentary often informed by his Cuban background. This prize-winning craftsman is an artist in residence at the Experimental Workshop of Graphic Arts of La Havana and has a continuing relationship with The University of Alabama in Tuscaloosa where he has worked and lectured in the Type Lab. Some of his better-known works include a series of colorful underwater silkscreen prints that resemble cartoon panels. The piece we framed is a newer black and white composition produced as a woodcut, but it demonstrates his continued use of figuration and text to create works of socio-political critique; in this case, the tension between the use of force and the strength of intelligence.
The woodcut at Frames and Stretchers studio prior to framing
We are pleased to add Alejandro Sainz to the ever-growing list of amazing artists whose works we’ve had the opportunity to frame and present. We hope you’ll visit us if you’re on the Lower East Side and see us in action for yourself!
Two of the prints we framed for A2IM
The 2017 A2IM Indie Week independent music conference is being held this week at the Clemente Soto Vélez Cultural and Educational Center and Frames and Stretchers is proud to have framed several works being exhibited as part of the event. A2IM Indie Week 2017 is an international conference and networking event aimed at maximizing the global impact of Independent music. 2017’s Indie Week is the largest to date, and includes interactive panels, workshops, keynote speeches by Independent music luminaries, and one-on-one discussions. Miguel Trelles is a long time resident artist at the Clemente as well as a partner here at Frames and Stretchers. His work was chosen to grace the walls of the Teatro LATEA space on the second floor where the “One-on–One” networking sessions are taking place during the conference.
Trelles's work installed in the One-on-One room at the conference
Miguel Trelles is a painter/printmaker with a Latin American sensibility that incorporates a passion for his Cuban and Puerto Rican roots, a fascination with pre-Columbian cultures and a keen awareness of Latin American and Latino history. Trelles is known for his on-going Chino-Latino painting series, which blends a contemporary Caribbean aesthetic with references to Chinese sources and imagery. His paintings are included in several permanent collections including: Fundación Gabarrón (Spain), Deutsche Bank (New York), and the Museo de Arte de Ponce (Puerto Rico). His work has been addressed in various art publications such as “Arte al Día”, “Art in America”, “Art Nexus” and “YISHU: Journal of Contemporary Chinese Art”.
Miguel Trelles in his studio at the Clemente
If you find yourself on the Lower East Side please come visit Miguel Trelles studio and Frames and Stretchers and see Miguel’s work for yourself!
What a cool way to start the summer! Last night we attended the opening of Brian Buckley’s “Ghost Ship” at ClampArt gallery in Chelsea. We provided the framing using white maple mouldings, museum board, Japanese paper hinges with rice paste for floating the work and museum glass. The art was delivered by our collaborative partners at Art Delivery Van.
One of Brian Buckley's cyanotype prints in the studio
Buckley is an artist whose process is dedicated to analog methods of photography and printing, a rarity in this age of digital imagery. His choice of cyanotypes for the work in “Ghost Ship” feels appropriate to the artist’s themes of Greek Mythology and his own experiences of the sea. Cyanotype is a nineteenth century process that predates silver gelatin photographic printing and which produces images in distinctive shades of blue. Buckley’s process involves mixing his own photosensitive chemicals and applying them in layers to watercolor paper. He uses a variety of brushes, sponges and even glass rods for his applications. The layers of chemicals contribute to the intended end result. He then uses large format negatives in combination with photogram techniques – placing objects directly onto the photosensitive paper - to produce the desired image.
Objects represented in “Ghost Ship” include: octopuses, rope, boats, bits of statuary and water. Buckley is fascinated by the sea itself and longs to be a mariner. This current body of work explores that fascination with the deep and loosely references Homer’s “Odyssey”, sirens, sea monsters and the like. Buckley’s impressive career includes a foundation scholarship to Parsons School of Design, working under master printer Ira Mandelbaum at Ken Taranto Photo Lab and working with photographer Sheila Metzner. He has been published in Fotomagazin, Germany, The Photo Review and New York Magazine among others.
Frames and Stretchers recently had the opportunity to frame a powerful large work by internationally renowned Indonesian artist Agus Suwage. This job was the latest in our continuing association with the Ford Foundation, a client who always brings us incredibly interesting art to work with. We framed the massive watercolor, titled “Icono Fascismo II”, depicting fundamentalists as puppets on a stage, in white maple with spacers. The artwork was floated on museum board using Japanese handmade mulberry paper hinges and archival rice paste. The scale of the piece required that we use UV plexi and build a suitably grand strainer.
Agus Suwards “Icono Fascismo II” framed and ready for delivery
Agus Suwage is considered to be one of the most important contemporary Indonesian artists working today. He was born in 1959 and received his Masters of Fine Arts in Graphic Design from the Bandung Institute of Technology in Bandung, Indonesia. He is a multidisciplinary artist working with drawing, painting, sculpture and installation. His themes include an interest in mortality, politics, man’s relation to animals, portraits and religion. His use of appropriation - borrowing ideas from his own works as well as other contemporary artists - relates to his interest in the idea of the cycle of life and death. This is heavily influenced by Java’s Hindu-Buddhist traditions. As a Christian converted to Islam, Suwage has adopted a multi-cultural approach and his work often critiques intolerance and attempts to impose monolithic structures on society.
“Icono Fascismo II” addresses these issues and is in keeping with The Ford Foundation's mission of inclusiveness and opportunity for all. Our most recent project for the Ford Foundation required us to frame a dozen images from a 1970s project called “The Peace Portfolio”. We were thrilled to once again get to work with such a worthy organization and their collection. Suwage is represented here in New York by Tyler Rollins Fine Art. Delivery for this museum worthy work of art will be by our collaborative partner, Art Delivery Van. You can follow them on facebook at https://www.facebook.com/artdeliveryvan/
Detail of a Mulberry paper hinge being applied to support the artwork
Karlos Pérez's portrait of a Cuban school boy
Frames and Stretchers recently had the pleasure of working with a powerful figurative painting by Cuban artist Karlos Pérez in the studio. The collector came down from upstate New York and brought one of Pérez’s “Ametropia series” paintings to be stretched and framed. The Ametropia paintings reference vintage photographs, altered and re-presented in Pérez’s distinctive, distorted style. The images are rendered on a large scale and distorted through his painterly process. This particular image was based on a 1960s school portrait of a Cuban immigrant to the US. It’s part of a larger body of work that references vintage photographs which the artist manipulates in order to distance them from their original time and place and create a more surreal visual experience.
A work from Karlos Pérez's, "Ametropia"series
With a background in photography, video, and installation, Karlos Perez’s paintings blur the traditional discourse of art. His works are not so much portraits in the traditional sense, but more of an exploration of existential character. Pérez’s paintings also blur the boundaries between mediums. Fragments of images have been meticulously analyzed by the artist and processed through the filters of his personal experiences. Family photographs are removed and distanced from their temporal settings contributing to their surreal quality. His method involves blotting of paint and scratching of the canvas. He reshapes the original images as captured on film creating a fluid, liquid feeling. The results are enigmatic paintings that seem to have traveled through time to captivate us in the present.
An image with two figures from the artist's "Ametrpoia" series
Although based in Cuba, Pérez is a young artist currently exploring domestic as well as international production and exhibition. It was exciting to have the opportunity to work with his art here at our Lower East Side location!
From his artist statement: “There is no such thing as an original image, every image is incomplete and is always revealed as reminiscent of many others…”
We recently got a chance to stretch a great piece by Texas born artist Nick Flatt. Flatt hails from Dallas and is currently working as part of the fertile Berlin art scene. His numerous international exhibitions include stops in Berlin and London and, along with fellow street artist Cryptik, he created an Andy Warhol memorial mural in Los Angeles. His art often is often photorealistic and depicts stereotypical images that feel appropriated from advertising, but with more subversive comments and intentionally provocative titles.
Nick Flatt's completed stretched canvas in our studio
“Flatt whets the viewer’s unconscious appetite for consumption. However, their extreme, lascivious gestures distort our desire to the point of discomfort. By exposing the cheap triggers employed by these glossy glamazons, Flatt invites us to be repulsed by their honest unmasking.” *
The piece we stretched, "Revolution Porno" (2016), is part of a series in which the artist takes on icons of art and presents them literally going up in flames. The print we worked on is the artist’s version of the "Mona Lisa". It’s one of an edition of 20 giclee prints on canvas each hand-finished with spray paint, acrylic and oil and signed by the artist.
Two other works by the artist referencing Damien Hirst and Vermeer
Frames and Stretchers is fortunate to be afforded the opportunity to work with a wide variety of artworks from 100 year old abstract canvases to contemporary twenty-first century gallery installations. Nick Flatt’s work joins a growing list of street art works that have come through our studio doors here at The Clemente building at our location here on the Lower East Side.