UP CLOSE
FROM A DISTANCE
part two
Text and Images Courtesy of Lisa Sette Gallery

For over 35 years, Lisa Sette Gallery has remained committed to discovering and exhibiting original, intriguing forms of expression including painting, sculpture, photography, and installation pieces from an impressive and diverse roster of emerging and established artists.

Through close collaboration with clients, the gallery offers a unique opportunity to build and enhance an environment with thoughtful artwork selections that are meaningful and reflect your identity, values, and aesthetic.

“Please let us know how we can help,” says Lisa Sette. “We are happy to Photoshop ideas into an image of your space and suggest options based on size, budget, indoor/outdoor specifications, and desired aesthetic. We look forward to working with you!”

Above: Marie Navarre, photoshopped installation of learn from the pine (from Basho), 2016, Rag paper, Japanese washi, archival digital print on vellum, silk thread, 24.5″ x 64″ unframed, 27.25″ x 67″ framed, Edition of 5, 2 AP.

Marie Navarre’s deep interest is in poetry, especially the Japanese form of Haiku, has had a profound influence on her work. She conjures dreamlike images that appear to be from just outside the realm of human observation, like the fragments of a distant memory.

Above, left: Mncane Nzuza, Ukhamba #118, n.d., ceremonial beer-serving vessel, pit-fired hand-built earthenware, burnished surface, 11″ x 23″. Right: Mncane Nzuza, Uphiso #115, n.d., vessel for transporting liquids, pit-fired hand-built earthenware, burnished surface, 13″ x 15″.

Mncane Nzuza’s vessels are created upon a formal foundation based on ancient Zulu traditions, which in most cases is unknown to contemporary Western viewers, yet her pots transcend that gap, remaining profoundly moving even separated from their cultural context. Their simple, inflated forms are subtle and understated, yet incredibly dynamic.

Above, left: Luis González Palma, Möbius – Perdida en su Pensamiento (Lost in Thought), 2018, photograph on canvas, acrylic paint. Available in 2 sizes: 20″ x 20″ unframed (Edition of 7) & 36″ x 36″ unframed (Edition of 5). Middle: Luis González Palma, Möbius – Virginal, 2018, photograph on canvas, acrylic paint. Available in 2 sizes: 20″ x 20″ unframed (Edition of 7) & 36″ x 36″ unframed (Edition of 5). Right: Luis González Palma, Möbius – Joven Alado (Winged Youth), 2018, photograph on canvas, acrylic paint. Available in 2 sizes: 20″ x 20″ unframed (Edition of 7) & 36″ x 36″ unframed (Edition of 5).

Luis González Palma’s multifaceted body of work uses photography to create portraits, tableaux, abstract compositions, installations and objects. In rich sepia tones, his early portraits explored the identities of indigenous Mayans and the mestizo people of Guatemala. He is interested in the mechanism, culture and responsibility of perception. For him, the work of art is an opportunity to question the way we look at things and to understand how history and society train us to react to what we see in the world.

Above, left: Xawery Wolski, Untitled (Vestido Blanco/White Dress), 2017, terracotta, 65″ x 59″ x 6”. Right: Xawery Wolski, Untitled (Vestido Blanco/White Dress) detail.

Xawery Wolski works in a variety of materials: bronze, terracotta, wire, and fish bones. He makes sophisticated, minimalist and contemporary artworks using long established methods and familiar crafted materials. Created painstakingly by hand, these intricate works evoke dresses and ritual necklaces unmoored from the human body, constellations of circles and raindrops, clouds of wire bubbles and mysterious white knots of spikey terracotta. This tension between opposing concepts such as tradition and the new, restraint and liberation, and the organic and abstract, is at the core of his work.

Above: Michael Eastman, White Palace, Buenos Aires on view at Lisa Sette Gallery, 2017, photograph, 62.5″ x 82″ framed, Edition of 3.

Michael Eastman has spent five decades photographing interiors and facades in cities around the world including Rome, Venice, Naples, Paris, Lisbon, Havana, Buenos Aires, New Orleans, Memphis and East Saint Louis. He is recognized for his formal exploration of historical architecture and his painterly interest in the texture of decay.

Above: Doug & Mike Starn, Ganjin Head, 2000-2003 tea stained sulfur toned silver print on Thai mulberry paper, 27.75″ x 27.75″ framed, Edition of 15.

Identical twins and artistic collaborators, Mike and Doug Starn are philosophical in their approach to photography. Their interest in the human questions of meaning, death and desire is evident in their ephemeral subjects—the delicate capillaries and veins of fallen leaves, moths that are drawn to the light, and snowflakes that melts before our eyes. Concerned with the interconnection and interdependence of organic systems and structures, their work defies categorization and combines the traditionally separate disciplines of photography, sculpture, and architecture.

Above: David Kimball Anderson, Stillness, 2019, cast bronze, 11.5″ x 49.5″ x 21″, can be displayed inside or outside.

There is a stark elegance to David Kimball Anderson’s cast bronze sculptures. His pieces appear simultaneously delicate and heavy, industrial and exquisite. His ability to strip his subjects down to their essential form, with just an added touch of embellishment, has allowed him to walk the fine line between minimalist formal truth and decorative adornment.

For more information, visit www.lisasettegallery.com