“Winter River”, Oil on Aluminum 48” x 30” “2013-49”, Tempera on Paper 26” x 20”
Exhibition Dates: April 1st-28th 2014
Opening Reception: Thursday April 3rd 5:30-7:30
This April, Sandra Lee Gallery is proud to present two masterful artists whose internationally renowned work has captured the impact of the cosmos: Younhee Paik and David Maxim. The gallery has carefully curated each artist’s expansive body of work to a small selection that encompasses this influence in a radically diverging fashion. The eastern influence of Paik’s work is exemplified by the relationship of the cosmos with the nature, where Maxim’s western influence deals with the individual’s relationship with the cosmos. Both artists emphasize the convergence of internal and universal significance.
Younhee Paik is well known for her large, scale skyscape paintings and installations. Her work has spanned from Asia to New York over several decades. For this debut exhibition at Sandra Lee Gallery, Paik has reduced the size of her works to create a body that is distinct not only in size, but in subject matter as well. Her prior inclusion of manmade geometric forms has transformed into a more humble portrayal of organic shapes. Paik has maintained her old technique of embodying a light that seems to come from an orb glowing within her pieces. Although smaller in scale, these new illustrations of trees, clouds, water, wind, and sky are just as monumental as the endless skyscapes surrounded by human culture that have built her acclaim.
David Maxim’s career has spanned over four decades and garnered international acclaim. Much of his work has been featured in both San Francisco and New York. His style of figuration invites the notion of the individual in a cosmic context. The fluid positioning represents the pure emotion not only of the figures but the influence of forces surrounding them. The streaks emanating from the figures nearly flow outward as branches from a tree or neurons of the brain. It creates both movement and feeling that cannot be confined to the figure itself. The inconclusive, almost abstract nature of the watercolors represents a universal existential vulnerability.