Tulu Bayar —
Welcome to the 217th installment of A View From the Easel, a series in which artists reflect on their workspace. This week, artists find comfort in their backyard, work in a studio for the first time, reflect on food and heritage, and find new uses for old materials.
"Nestled within the picturesque rural expanse of Pennsylvania, my studio occupies the hallowed grounds of a once-vibrant dairy barn. A mere 10-minute stroll from my residence transports me to my studio, bridging the divide between my urban origins and my current rural abode.
"On this corner of the studio, citra transfer prints on handmade paper and a collection of drinking vessels on trays are scattered flat across the wall. In the foreground, protruding giant scrolls sleep on a bench that I found in a wastebin. Both ends of the scrolls are rolled up, referencing the hidden past and future, waiting for an unfold."
— Tulu Bayar, Lewisburg, PA
Tulu Bayar — Art in American Guide
Amos Eno Gallery proudly presents “Traces,” an exhibition of a mixed-media installation by Tulu Bayar. Join us Friday, May 21st from 6-8pm to encounter Bayar’s most recent installation, which draws upon her decade-long exploration of drawing with photographic film, and utilizes meditative repetition to communicate the idea of oneness: all binary concepts share and are connected to one source. In contrast to an examination of the physical, Bayar’s work focuses on the spiritual essence of wholeness and mysticism that are deeply rooted in Rumi’s teachings. The artist will be creating ephemeral work for visitors during the opening, in call and response with Pianist Sezi Seskir, who will be playing ‘Two Pages’ by Philip Glass, an early work of his from 1968. Please join us for this unique, collaborative performance experience.
Kathy Putnam & Kahori Kamiya - TransBorder Art
Episode 46- Play and Art
Sarah Dahlinger, Kahori Kamiya, Kathy Putnam and Moses Ros discuss how Art can be playful and fun but it also has the power to bring to light profound concepts about life. For many artists, the process of creation is connected to play. For example, the use of color in an artists' work, the sound of music or lack of it, the social interaction that may or may not occur, the memories, and the freedom of play are all part of the process of art making and our own lives. Furthermore, the possibility of inviting the viewer into an artists' work brings richness to the concept of each piece.
Candace Jensen in The Adroit Journal
"Despite the imposed technologization of COVID-era communication, these pieces bear the aspect of the deeply ancient. Little’s inkblots resemble the Lascaux cave paintings in texture and shade; Jensen’s intricately rendered beasts on deer and goatskin parchment leap from the pages of illuminated manuscripts; Stevenson’s calligraphy suggests the delicate, swooping lines of ink-wash Tang dynasty scrolls. The artists’ collective attention to the discrete, deliberate act of mark-making—their deep historical knowledge of color, form, and line—enables this fluid descent into time."
Tulu Bayar —
Bayar’s work evokes the relationship between time and space itself. We can never fully grasp the many layered histories that shaped the world we live in today. We can only see the shape of the world.
Bridging the gap between traditional and experimental art forms, Tulu Bayar’s mixed media works are sculptural gestures, frozen in time.
In “Traces,” she draws with undeveloped film, as opposed to exposing, processing and enlarging the materials in the darkroom. She then encases the resulting forms in resin and ink.
Each piece is an exploration of calligraphic abstraction (reminiscent of Islamic art), performance, drawing, and ebru (Turkish marbling art).
Kahori Kamiya — Hyperallergic
Two figures greet viewers entering Long Eclipse at Amos Eno Gallery in Bushwick, the first New York City solo show by Nagoya-born and New York-based multidisciplinary artist Kahori Kamiya.
“Blooming Flow” is the artist’s vision of Venus. In 2005, Japan’s Fuji Sengen Shrine commissioned Kamiya to craft an idol honoring Konohanasakuya-hime, the cherry blossom goddess of Mt. Fuji. “Blooming Flow,” though, is all the sculptor’s own. Kamiya’s thumb strokes remain imprinted on clay plumes that rise from her bosom, painted with acrylic and metal leaf and dappled with amethyst. A mortal of clay and polyurethane hovers behind her in the wall-mounted “OMG.”
Aaron Wilder - Yale University.
Aaron Wilder – Omission Rituals
Aaron Wilder is an interdisciplinary artist who blurs boundaries between the analog and the digital, the public and the private, and the unassuming and the instigative. He uses his own experiences and sense of identity as a lens through which he explores the introspective and social processes of contemporary culture.
Tulu Bayar —
A feeling of lightness and buoyancy surrounds viewers upon entering “Traces,” a mixed-media installation by multidisciplinary artist Tulu Bayar on view through June 13th at Amos Eno Gallery. Over one hundred circular works composed of photographic film rolls, ink, and resin float weightlessly on the walls. These are presented in the space at varying heights as if rising and cresting, like a wave, and floating around the viewer. Dark rolls of film spiral, unravel, and protrude from the works with a deliberate sense of gesture and line, while vibrant colors swirl within the transparent resin. Citing influences such as calligraphy, Islamic manuscript painting, and ebru – the mesmerizing practice of Turkish marbling art – Tulu Bayar crafts a distinctive visual language that viewers can interpret and find meaning within.
Aaron Wilder — Yale University
On Thursday January 5, 2023, Brainard Carey interviewed artist Aaon Wilder on Yale Radio about his solo exhibition Omission Rituals at Amos Eno Gallery in Brooklyn, New York. The following text is a transcription of the dialogue between Carey and Wilder edited for clarity and readability with images of the artworks discussed.
Kahori Kamiya in
Kahori Kamiya – Sur/Reality at Amos Eno
Multi-disciplinary artist Kahori Kamiya uses in her sculptures a wide range of materials and techniques to explore oppositions like suffering and healing, beauty and grotesque. Her current sculptures focus on motherhood, especially on breastfeeding.
Nishiki Sugawara-Beda in Whitehot Magazine of Contemporary Art
"...these works hail from the artist’s KuroKuroShiro series, which translates to “black and white.” Over video chat, Sugawara-Beda said she adopted a monochromatic practice in 2019. “I used to use a lot of colors,” she explained. “Each color had a language to me.” Five years ago the artist began limiting her repertoire to just a few colors in each artwork, and then just one."
José-Ricardo Presman in the Bushwick Daily
"“The goal is to bring back integrity and dignity to earthly humanity,” Presman tells Bushwick Daily about his latest collection of visual art pieces, which center primarily on a series of abstract wax pastels that appear on what he describes as an extremely ordinary classroom blackboard. These are given simple, blunt names and depict ghostly vestiges of the natural world reduced to its elements."