Beanie Kaman
Yae Jee Min
Michael Nauert

Shatto Gallery is pleased to present REMIX, a three person exhibition of paintings and installation works by artists Beanie Kaman, Yae Jee Min, and Michael Nauert. This show marks the three artists first exhibition with the gallery and presents an opportunity to view a dialogue prompted by the thematic concerns the three artists share. This exhibition features new and recent works and altogether unfurls the benefits of the conceptual exchange the artists partake in.  

 

Beanie Kaman threads together nature and vignettes of memories that serve to elaborate a reinvention of her landscapes as she draws on affinities of past experiences while honing in on the allure of the natural world. The main protagonists of Kaman’s works are often motifs of flora and the ethos of the outerworld, forging the formal structures of landscapes with tremendous fervor. Kaman not only binds together these elements conceptually but quite literally threads and sews disparate elements of found materials like old scarves from friends, beads, clothes and tablecloths from her mother. The materials themselves hold a strong narrative and broach the meaning and history of women’s domestic work life. These found materials impart new definitions through the painstaking attention to Kaman’s stitchwork: threads functioning like inks. Kaman’s selected works explore a multi-dimensional sense of space, and identifies these spaces with a locus of memory. 

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In a suite of new paintings, Yae Jee Min seeks to reconcile comfort and disorientation through her gestures of murky traces, iridescent shimmers and abstract forms that ostensibly chart a map of her internal world. Min’s trademark material - sequins, serve as a ground to exude a myriad of painterly languages and collage work that foreshadows the esoteric mind of the artist. The sequins are manipulated with rhythmical descriptions of abstract configurations, echos of sweeping curves and illusion of depth. Min’s brush strokes over the sequins are sympathetic and tender as it intermingles with collage elements creating a map of her personal memories. Nevertheless the disparate elements all together in her works are superlative media to render aspirations of comfort. It’s evident in the painting that she reuses material remnants from past work and discovers new meaning when applied to a new painting. Min’s paintings yearn to be ephemeral, saturating the composition with recollections that materialize to the surface. 

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Michael Nauert’s works reveal the interconnectedness between nature and the lexicon of painting, imagining an environmental scape that oscillates between the earthly and the cosmic. His recent series showcase idiosyncratic methodologies in pursuing a wide range of painterly applications such as vivid forms of paint particles, swaths of paint washes and colorful descriptions of intricate patterns. The artist injects loose renderings of romantic landscapes; illusory spaces that slip away from the horizontal line as if the grounds are on the verge of collapsing. He then carefully mosaics individual particles of paint that've been accumulated over time and encases these spaces like a viewfinder. Nauert establishes his personal logic of recording time and history ultimately into calcified forms of paint which then embellishes the composition imbuing the physicality of painterly language. Nauert's work possesses the ability to evoke a unique outlook through the way in which he cultivates means to create a singular world. 

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The three artists join forces in this exhibition with their unique backgrounds and their influence of the present to peer into their psyche and imagination. This show illustrates extensive explorations in materials and conceptual inquiries as a means to bring forth distinctive narratives the artist references in the  historical discourse of painting. As a whole, the paintings and sculptural installations in the show come together to celebrate the prevailing inspiration of nature and contemplation.