Opening reception: May 7th, 2025

Location: 195 Chrystie Street, New York, NY 10002

Hours: Monday – Friday, 10 am – 6 pm, Saturday 12-5 pm & Sunday by appointment
Contact: caroline@voltzclarke.com | 917.292.6921

Press Release

Voltz Clarke Gallery is pleased to present Ever Seen Such a Beautiful Day…, a solo-exhibition by Holland Cunningham.

In 1964 John Cheever wrote a short story entitled “The Swimmer” and in 1968 a movie with the same title starring Burt Lancaster was released. It is a bizarre odyssey through upper middle class suburbia, a somewhat trapped and small world where one is shunned if one doesn’t play the game. On the surface, Ned Merrill, the title character, embarks on a journey swimming from pool to pool through the suburbs to his own idyllic home at the other end of the county where his wife and daughters are waiting. However what starts as a fun adventure turns into a journey of darkness and the reality of Ned’s life. Inspired by the satire of suburban life and the darkness within, I set out to make work that speaks to this theme. Each pool that Ned attempts to swim represents a memory or part of his past from which he is running. In the beginning he is oblivious to what is really happening. Amidst the trail of parties and characters he encounters, his demise is slowly revealed. What appears on the surface is in fact not at all the reality. The pools, parties, and characters might represent an escape route but in fact there is no escape. His past cannot be washed away and slowly and painfully he starts to realize this, especially when he reaches the end of his journey only to find an abandoned property with no sign of life at all; only a broken house and an overgrown tennis court where he had imagined he would find his girls playing tennis in the summer sun. All that is left is the memory of what had been.  

– Holland Cunningham 

Born in Southwestern Virginia, Holland Cunningham lives in New York and London with studios in Manhattan, Quogue, and London. Cunningham employs her practice of utilizing found photography as this new selection of works builds upon the film stills and picturesque scenes from The Swimmer. The American painter graduated from the University of Virginia and her academic journey has extended through the Art Students League, the National Academy of Art and Design, and the New York School of the Arts. She has been recognized with significant residencies, including the Bau Institute in Italy and a fellowship at the American Academy in Rome. As both observer and protagonist, Cunningham captures the dynamic essence of life's continuous flow. 

Selected Works

Opening reception: April 3rd, 2025

Location: 195 Chrystie Street, NYC, 10002

Hours: Monday – Friday, 10 am – 6 pm, Saturday 12-5 pm & Sunday by appointment
Contact: caroline@voltzclarke.com | 917.292.6921

Press Release

Voltz Clarke Gallery is pleased to present Wanderlust, a two-person exhibition by Daniel Adenitan and Leyla Pekmen.

Daniel Adenitan's celebration of still life and landscape in this new series forms a strong dialogue with the dreamlike world captured in Leyla Pekmen's whimsical compositions. Adenitan and Pekmen's new pieces in Wanderlust exemplify their aesthetic similarities as both artists focus on creating scenes inspired by everyday life in a spirited and vibrant palette.

Adenitan explains, “his works serve as a testament to his fascination with the beauty found in everyday objects and the joy of exploring the world around him.” Inspired by nature's patterns and palette, the Nigerian painter creates vibrant scenes that challenge Adenitan to balance both an exaggeration and simplification of forms in the piece. He explains, "this process of simplification allows me to tap into the essence of my subjects, revealing their underlying beauty and character." The painter also displays his attention to detail by playing with texture and pattern. Through this process his works spark imagination, evoke emotion, and invite viewers to appreciate the beauty in the mundane. Adenitan graduated from The University of Lagos with a B.A. in Creative Arts in 2019. This is his third exhibition feature at Voltz Clarke Gallery. 

In her recent series, Pekmen invites viewers to step away from the noise of everyday life and into her dreamlike world. The exhibition is both an escape and a therapeutic journey for the artist herself, deeply rooted in her fascination with nature and water. Through this collection, she offers a heartfelt tribute to these elements, expressing gratitude for the calm and inspiration they bring to her life, process, and work. The artist describes her approach as "an optimistic rebellion" against the darker aspects of life. Instead of focusing on the harshness of reality, she collects and celebrates moments of joy and beauty. By emphasizing the positive, Pekmen hopes to create a connection between the viewer and their own memories of happiness. The artist lives and works in Istanbul and this is her second exhibition with Voltz Clarke Gallery. She has participated in international female group shows in California, Beijing, and Amsterdam.

Selected Works

Opening reception: February 12th, 2025

Location: 195 Chrystie Street, NYC, 10002

Hours: Monday – Friday, 10 am – 6 pm, Saturday 12-5 pm & Sunday by appointment
Contact: caroline@voltzclarke.com | 917.292.6921

Press Release

Voltz Clarke Gallery is pleased to present Bend Here, a solo exhibition, by Natasha Law.

In her twelfth exhibition at Voltz Clarke Gallery, London based painter, Natasha Law returns to her signature female figures. The featured paintings in Bend Here capture this recognizable silhouette with reduced details to emphasize the form as shape, color, and space. Stretching, bending, folding, and reaching, each individual body escapes from and dances within the confines of the cartridge paper all while expanding beyond limitations into something far and unseen. Although the subject matter may register as provocative, the artist strives to capture and represent intimate daily moments of the modern woman. To achieve this vision, Law asks close friends and family members to model for her figurative compositions.

Focusing mostly on paper for Bend Here, the high gloss nature of the paint delicately balances with the natural texture of the cartridge paper. The vibrant range of colors in the selection of paintings each carry a solid depth and lustrous finish. Law’s graphite lines of the drawn forms then subtly shine through the painting’s surface. 

Natasha Law is a United Kingdom native and graduated from Camberwell College of Arts. She continues to live and work in London and has been represented by Voltz Clarke Gallery for over two decades. Law has exhibited her pieces internationally including in Hong Kong, London, and New York. Her oeuvre is in a number of well-known private collections.

Selected Works

Location: The Solarium at The Colony Hotel, 155 Hammon Ave, Palm Beach, FL33480
Contact: caroline@voltzclarke.com | 917.292.6921

Press Release

The Colony HOTEL and Voltz Clarke Gallery are pleased to present IN THE PINK, a group exhibition.

Love and violence, seduction and innocence, finery and garishness, the masculine and the feminine; the color pink has always represented fascinating contradictions. The color's turbulent history is ushered into the present-day meaning according to Oxford Languages ‘in very good health and spirits’ at The Solarium at The Colony through a selection of works by Christina Burch, Field Kallop, Lucy Soni, Khalilah Birdsong, and Jason Trotter. The selected paintings for IN THE PINK invite viewers this season to experience pink in all its dimensions; from soft, subtle hues to bold, vibrant statements. Abstract geometries engage with familiar florals and flesh tones, showcasing pink's dynamic role in representation. Field Kallop’s sharp forms in shades of dusty rose and coral juxtapose the brilliantly deep magenta peonies in Christina Burch's canvases. Set against the backdrop of Palm Beach's pastel sunsets and plastic flamingos, the Colony Hotel provides the perfect address for this vibrant exhibition.

The Colony Palm Beach | Voltz Clarke Gallery Collaboration invites hotel guests, visitors, and locals alike to explore a rotating selection of fine art at the iconic property steps from Worth Avenue and the Atlantic Ocean. As guardians of a treasured icon, The Colony Palm Beach faithfully preserves its legacy of gracious hospitality while ensuring continued relevance to a new generation of modern, well-traveled and discerning guests. The 93 room property offers unique, curated experiences for guests of all ages delivered with best-in-class ultra boutique service. Much more than a hotel, The Colony is a state of mind – a place to connect meaningfully and authentically with one of the world’s most storied destinations, steps from both Worth Avenue and the Atlantic Ocean. Aware of The Colony’s singular place in the hearts of long-time Palm Beachers, the hotel is dedicated to maintaining a rich tradition of culinary excellence and sophisticated entertainment in a vibrant social setting that is both welcoming and refreshingly unpretentious.

Selected Works

Opening reception: November 14, 2024
Location: 195 Chrystie Street, NYC 10002
Hours: Monday – Friday, 10 am – 6 pm, Saturday 12-5 pm & Sunday by appointment
Contact: caroline@voltzclarke.com | 917.292.6921

Press Release

Voltz Clarke Gallery is pleased to present Aurora, a solo exhibition, by Maru Quiñonero.

Maru Quiñonero is a Madrid-based artist whose work is informed by her encounters with synesthesia–– a perceptual phenomenon involving an involuntary blend of the senses. Her unique sensory experiences enrich her artistic expression, enabling her to translate perceptions into vibrant visual forms. While her work may appear simple at first glance, the canvases reveal a subtle intricacy of detail displayed in pencil strokes and layered paint.

This series of paintings bear witness to Quiñonero’s unwavering passion for exploring color. In Aurora, Quiñonero turns to a rich palette of blues, drawing inspiration from the brilliant skies she admires on daily walks with her dogs. Each canvas resonates with the hues of dawn and dusk, capturing the ephemeral beauty of the Madrid skyline. The series encourages viewers to engage with the subtle nuances of color and surface, prompting an immersive sensory experience.

The artist’s technique, characterized by velvety textures and layered brushwork, provokes an appreciation for the unique complexities embedded in each piece. Pencil strokes delimit the forms, echoing the familiarity of Quiñonero’s previous works while encouraging the audience to engage with the colors beneath each figure. Rather than seeking a singular meaning, Quiñonero embraces a simplification of her artistic language, emphasizing aesthetic value and the joy of creation. Her compositions often revisit familiar shapes, serving as a meditative exercise in persistence that draws the audience deeper into her evolving vision.

Beyond the aesthetic, Quiñonero’s exploration of blue serves as a poignant metaphor for the emotional landscape of her life. “Life is full of blues,” she notes, each shade conveying distinct feelings and memories. Her work also reflects her multifaceted journey of growth, Quiñonero communicates her belief that growth is a multifaceted process, resulting in works that are neither flawless nor homogenous. By revisiting familiar forms and incorporating titles inspired by personal narratives, each painting is infused with a sense of intimacy. Quiñonero expertly balances the pursuit of beauty with a sense of familiarity in both her artistic practice and her Spanish heritage.

Once again, Maru Quiñonero demonstrates her commitment to sensitive abstraction, achieving a dynamic interplay of colors and forms that resonate with her truth and artistic vision.

Born in 1979 in Murcia, Quiñonero holds a degree in Art History from Murcia University and a Master’s from Carlos III University in Madrid. Since 2003, she has exhibited extensively, and Aurora represents her fourth solo presentation with Voltz Clarke Gallery.

Selected Works

Opening reception: October 16th, 2024

Location: 195 Chrystie Street, NYC 10002
Contact: caroline@voltzclarke.com | 917.292.6921

 
Voltz Clarke Gallery is pleased to present Filial Love, a solo show, by Sasha Sykes

Press Release

Acclaimed Irish artist Sasha Sykes’ latest solo exhibition, Filial Love, is a meditation on one of Sykes’ most profound influences: her 84-year-old mother’s celebrated garden in Ireland. This deeply personal body of work is a tribute to the spiritual and emotional connections nurtured in this verdant sanctuary.

Using nature as her palette, Sykes meticulously embeds organic materials in resin, composing ethereal representations of the environment. Her work, celebrated for its transcendent beauty and innovative technique, is featured in many museums and influential private collections.

Sasha reflects, “My mother’s garden has always been a place where our souls can meet, free from complications, filled with simple delight and wonder. This new series references those memories and interrogates whether the powerful flash of spiritual connection that gardens have provided between my mother and me can be replicated, in a time of climate anxiety, to all humans and mother nature. Gardens have always been about more than aesthetic beauty; they are the complex interconnection of location and design, climate and ecology, soil and plants, and a huge amount of knowledge, work, energy and love.”

This long awaited series unveils a profound exploration of nature through the lens of intimate familial bonds rendered in Sykes’ unique and signature approach to fine art.

Praise for Sasha Sykes:

Galerie magazine’s “Creative Minds” issue: “She conjures otherworldy pieces [and] creates ethereal works by casting flowers, grasses, branches and other foraged items in resin.”

Lucia van der Post in “How to Spend It”: “Her creations seem suffused with a melancholic Irish lyricism.”

Sasha’s screen Gyre, was Listed in Architectural Digest as one of the most beautiful pieces at PAD 2018.

The Financial Times: “In a single object, Sykes is able to capture a whole cycle of seasons.”

Wallpaper: “Poetic furniture pieces.”

Selected Works

Opening reception: September 12, 2024
Location: 195 Chrystie Street, NYC 10002
Hours: Monday – Friday, 10 am – 6 pm, Saturday 12-5 pm & Sunday by appointment
Contact: caroline@voltzclarke.com | 917.292.6921

Press Release

Voltz Clarke Gallery is pleased to present Eternal Current, an exhibition of new paintings by New York artist Field Kallop. Kallop’s third solo show with the gallery will feature a dozen works that Kallop has created during the past two years, including several at a new, larger scale for the artist.

Kallop’s luminous, saturated paintings claim space in the wide-open field of geometric abstraction, across a terrain reaching from ancient sacred geometries to the hard edges of color theory. The works in Eternal Current gesture simultaneously toward scientific illustration, mystical visions, and color field painting. They invite us to reconsider the dichotomy between science and spiritualism: each is a quest to understand that which we can’t observe, and to image the unseen. So to ask whether Kallop’s paintings are rooted in transcendentalism or mathematics, in color theory or in tantra, we can simply answer: yes.

Kallop always begins her compositions with a grid, over which she lays a second-order set of geometries: circles, arcs, waves, and rays. These shapes are carefully drawn in a diagrammatic process. But within a system governed by self-imposed rules, Kallop finds room for painterly incident and idiosyncrasy: a wavering human hand is always detectable just beyond the relentless precision of her work. Her simplified forms are rich with symbolic potential, but the paintings foreground the perceptual possibilities of painting.

Kallop uses acrylic paint in highly diluted washes with a diffuse quality almost like watercolor. This method allows her to paint in multiple, diaphanous layers, suspending particles of pigment in glazes to give each color depth and dimension. Sometimes the paint is left translucent enough that the raw canvas shows through beneath it, and sometimes it’s built up in so many layers that it practically glows. Her palette is prismatic, using the colors of pure light across the visible spectrum.

In Cosmic Rhythm (II), each square of a grid is divided diagonally, giving each square the appearance of a folded and unfolded piece of paper. This grid makes up a color spectrum - not a mere color chart, but a vibrating, pulsating field of light. Punctuating this grid are a number of half-circles, alternating on either side of diagonal axes. These half-moon forms call to mind planetary rotations and an unseen order inherent in the natural world.

In Deep Transit, a large circle touches each of the four sides of the canvas, either filling the picture or opening a portal within it. A vertical stack of circles makes a column down the painting’s center, while shimmering rays radiate out from either side. Tiny white dots bifurcate the central form and

create an inner circle – suggesting data markers on a chart, or points on a map. Like much of Kallop’s work, the painting asks both to be read like a cypher and experienced like a phenomenon.

The title Eternal Current is taken from poet Rainer Maria Rilke’s First Elegy. Elsewhere in the Elegy, Rilke exclaims: “how little at home we are in the interpreted world”: a fitting prompt to experience these dazzling, mysterious paintings on their own terms.

— Mamie Tinkler, 2024

Kallop received her Master of Fine Arts from The Rhode Island School of Design in 2011, and her Bachelor of Arts from Princeton University in 2004. A recipient of multiple awards and residencies, Kallop has been an Artist in Residence at The Andy Warhol Preserve in Montauk, NY, and has exhibited widely, most notably at the Institute of Contemporary Art in Philadelphia, PA. A New York native, Kallop currently lives and works in downtown Manhattan.

Selected Works

Dates: September 4, 2024 – September 10, 2024

Location: 195 Chrystie Street, NYC 10002
Hours: Monday – Friday, 10 am – 6 pm, Saturday 12-5 pm & Sunday by appointment
Contact: caroline@voltzclarke.com | 917.292.6921

 
Voltz Clarke Gallery is pleased to present Phenomena/Noumena, a solo show, by Paul Costello.

Press Release

Artist Paul Costello’s project Phenomena/Noumena specifically uses photography to challenge what is perception, what is reality, and what is spiritual. “I am interested in the exploration of light and time that reveals both wonder, uneasiness, and unexpected narratives.” To the 18th-Century philosopher Kant, phenomena are things as they appear in our sensory experience. It’s the world we experience via our perception. On the other hand, noumena are things as they are independent of our sensory experience, and they are not directly accessible through our senses or understanding. Noumena exists beyond the realm of human perception. It is unknowable but real.

Following the success of the Phenomena/Noumena exhibit at artist Dawn Dedeaux’s Camp Abundance in New Orleans, the show will open in New York at Voltz Clarke Gallery on September 4th, for a limited run. These images are intended to be symbolic and ethereal. The protagonist is light, and the antagonist is time. The dimensions of the cube are built on the principles of sacred geometry, thus the cube inherently carries with it a spiritual overtone. The narrative is created through the juxtaposition of this spiritual form and its tenuous placement within geological formations and abandoned landscapes. This creates a kind of portal that is intended to emotionally draw you in but emits something deeper and challenges our concept of reality.

Paul Costello set out to challenge himself both technically and conceptually as shooting in the dark is a seriously complicated gambit. It boils down to the ratio between the available light and the amount of light that the cube can emit. There are only 10 to 15 minutes each day when the ratio of light is right, so only one picture can be attempted each day. On a conceptual level, Costello endeavored to experiment with a subject that is not entirely tangible, reduced to its essence, where everything is stripped away except shape and light. In the end, our understanding of the world around us remains elusive whether approached through the lens of science, art, spirituality, or philosophy. Embracing the unknown becomes a profound acknowledgment that, in the face of light and time, we are continually confronted with the mystery of existence.

Paul Costello graduated from New York University with a degree in Photography in 1993. He moved to New Orleans, Louisiana in 2010 where he currently lives and works. Phenomena/Noumena will be his first exhibition with Voltz Clarke Gallery.

Opening reception: June 13th, 2024
Location: 195 Chrystie Street, NYC 10002
Hours: Monday – Friday, 10 am – 6 pm, Saturday 12-5 pm & Sunday by appointment
Contact: caroline@voltzclarke.com | 917.292.6921

Press Release

Voltz Clarke Gallery is pleased to present Dear Life, a solo show by Stephanie Patton

In the unprecedented and current uncertain times, one may often wonder, “What’s next”? The exhibition, Dear Life, tries to make sense of the world today through a variety of relief sculpture, photographs, and video. The solo show focuses on the intensity of what we, as a society, have experienced in recent years, what we can’t “unsee,” and the internal struggles we face to process and heal together.

Humor plays an important role in Stephanie Patton’s work. The sculptor often uses it as a way to communicate challenging experiences and emotional concerns, including mental and physical health, healing, and protection. Mattress quilting suggests ideas related to birth, death, intimacy, relationships, illness, and rest. Coupled with words or phrases, which often have multiple meanings, the quilted fabric is meant to bring a humorous yet poignant conceptual message to the viewer. Patton is interested in using these text pieces as a way to reflect upon self-preservation as well as the incredibly fast, unpredictable and often tumultuous current climate. She also uses vinyl in her sculptural reliefs for its physical properties as well inherent ‘protection’ references to mental and physical health. The impenetrable nature of these pieces offers a comforting and self-protective physical and emotional awareness to the viewer. Patton’s work often addresses psychological themes while exploring the relationship between humor and personal therapies in addition to investigating aspects of human emotion.

Born in New Orleans, LA, Stephanie Patton is a multi–media artist. She received a Bachelor of Fine Arts degree in Painting from the University of Louisiana in Lafayette and a Master of Fine Arts degree in Photography from The School of the Art Institute of Chicago. Patton has shown her work nationally and internationally including shows at the Bronx Museum of the Arts, Elizabeth Houston Gallery and Voltz Clarke Gallery in New York; the Ogden Museum of Southern Art, Louisiana ArtWorks, the Contemporary Art Center and Arthur Roger Gallery in New Orleans, LA; the Acadiana Center for the Arts in Lafayette, LA; the McNay Art Museum in San Antonio, the Galveston Art Center in Texas and Galerie Patricia Dorfmann in Paris, France.

Patton has received several grants including a Career Advancement Grant from the Louisiana Division of the Arts in 2009 and 2012. She has been an artist in residence at the Vermont Studio Center, the Santa Fe Art Institute and the Joan Mitchell Center in New Orleans. In 2019 Stephanie was a South Arts Fellowship Recipient for the state of Louisiana and a Finalist for the 1858 Prize for Contemporary Southern Art with The Gibbes Museum of Art in Charleston, SC.

Selected Works

Dates: May 9th – June 8th, 2024

Location: 195 Chrystie Street, NYC 10002
Hours: Monday – Friday, 10 am – 6 pm, Saturday 12-5 pm & Sunday by appointment
Contact: caroline@voltzclarke.com | 917.292.6921

Press Release

Voltz Clarke Gallery is pleased to present April Showers, a solo show by Bradley Sabin.

Bradley Sabin, a Louisiana based sculptor and passionate gardener, finds inspiration in nature and the world around him. The lush scenery from his New Orleans hometown informs his intricate wall installations and standing abstract objects. His sweeping sculptures combine hundreds of ceramic blossoms, carefully created and glazed, sometimes as many as 1,400 for a single project. He thoughtfully plans the composition in which the blooms, each screwed individually into a wall surface, are arranged. Sabin’s art has been installed in both galleries and personal homes across the country.

Each unique handmade flower is equally important to the whole. Rough, sugary textures coat the sturdy stems which support velvety and visceral petals. These vibrant yet tentative blooms give way to the reward of smooth, fleshy, glowing fruits. Luxuriating branches grow not heedlessly but according to some fractal instinct across walls similar to a flamboyant rococo fantasy rewedded to its honest organic roots. Whether they are plant or animal, some fleshy creature of the coral reef, Sabin’s forms translate nature to speak to the interior, to the human, to bridge inside and outside and transform geometric spaces to something living, hand-touched and alive.

Bradley Sabin received his Master of Fine Arts in ceramics from Louisiana State University in 1996 after completing his Bachelor of Fine Arts at the School of the Art Institute of Chicago. He now lives and works in New Orleans, Louisiana.

Selected Works

Installation

On View: September 22nd, 2022, 6 – 8 pm  – November 12th, 2022
Location: Voltz Clarke Gallery, 195 Chrystie Street, New York, NY, 10002
Hours: Monday – Friday, 10 am–6 pm, Saturday 11-5 pm & by appointment
Contact Info: Juliette@voltzclarke.com, 917.292.6921, Voltzclarke.com

Press Release

In her new paintings, Kallop, whose practice explores universal and fundamental forms and patterns, trains her focus on circles. Discs and spheres are omnipresent in the natural world and we have focused our attention on them since the beginning of recorded history. We have an innate predilection for circular forms and we have always imbued them with meaning. Circles are integral to the studies of math and science and in various cultures they are associated with the divine. These elementary forms represent unity and harmony, but they are also dynamic and unstable. They are simple and complete, yet they signify eternity and infinity. It is these inherent dualities that most interest Kallop, and in these paintings she sets out to examine, synthesize and balance the opposing principles embodied by these familiar forms.

The circles in Kallop’s recent works expand and contract, rotate and orbit. Kallop begins each piece by painting a grid structure, creating an ordered space that grounds the curvilinear forms to follow. Delicate scrims of color accumulate and overlap, generating a sense of luminosity and dimensionality. Concentric circles, serpentine curves and undulating waves emerge from the layers of paint beneath. Finally, shimmering details of gold and silver leaf are carefully placed. The circular forms seen throughout these works conjure celestial bodies, divine forces and portals to other realms. While these captivating paintings are full of movement, the experience of looking at them is one of silence and calm; they provide a meditative space to ponder our existence on this planet and our place in the cosmos.

Kallop’s ordered arrangements call to mind mathematical diagrams and astronomical charts. While these works possess an underlying rigor, there are other influences at play, which infuse them with a distinct richness. Kallop’s fascination with ancient petroglyphs, Buddhist mandalas and Indian Tantra drawing is palpable, as well as her long-standing affection for textile practices such as sewing, weaving and quilting. With her use of organic shapes, geometric symmetry and vivid color, Kallop situates herself within the lineage of modern female painters like Georgia O’Keefe, Agnes Pelton and Hilma af Klint. Kallop synthesizes these varied interests and influences into a unique visual language that investigates the connections between science, spirituality and art. 

Kallop received her Master of Fine Arts from The Rhode Island School of Design in 2011, and her Bachelor of Arts from Princeton University in 2004. A recipient of multiple awards and residencies, Kallop has been an Artist in Residence at The Andy Warhol Preserve in Montauk, NY, and has exhibited widely, most notably at the Institute of Contemporary Art in Philadelphia, PA. A New York native, Kallop currently lives and works in downtown Manhattan.

Selected Works

PLATFORM is the e-commerce destination for new works by today’s most sought-after contemporary artists. At the beginning of each month, PLATFORM releases a new limited-time selection of artworks to buy now, selected in partnership with David Zwirner and sourced from the country’s most exciting independent galleries.

Daniel Adenitan

Holland Cunningham

On View: September 1st - September 18th 2022

Location: Voltz Clarke Gallery, 195 Chrystie Street, New York, NY 10002

Hours: Monday - Friday, 10 am - 6 pm, Saturday 11 - 5 pm, & by appointment

Contact Info: Juliette@voltzclarke.com, 917.292.6921, Voltzclarke.com  

Press Release

This September, Gallery RED and Voltz Clarke are pleased to welcome Elena Gual for her first solo exhibition in the United States.

ELANA GUAL  Born 1994 - Mallorca, Spain Graduate - Florence Classical Arts Academy (2016)  From a charcoal drawing to thick and expressive impasto brushstrokes of homemade oil paint applied to the canvas with a palette knife, Gual's oeuvre spans from portraiture and landscapes to abstract works. Her first solo exhibition in the US highlights the unique and natural beauty of the female body.28-year-old Elena Gual’s Mediterranean homeland connects her to family memories while providing continuous inspiration for the perfect light and colors in her paintings. At a young age, Gual traveled the world and met many women who she conveys in her works and who profoundly inspire her. Driven to highlight the unique and natural beauty of the female body and culture, Gual creates vivid portraits of diverse women and strongly believes all bodies are beautiful, despite size, color or age.Gual was born in Mallorca and trained as a classical painter at the Florence Academy of Art, followed by the prestigious Central Saint Martin’s and Royal Academy in London. The female figurative artist currently splits her time between Madrid and London, while frequently returning to Mallorca where she keeps an additional studio. Elena Gual’s academic studies allowed her to be extremely versatile and experimental with various mediums, such as charcoal drawing and oil painting, although she most frequently employs palette knives, which has become her signature technique. Gual first started using this tool due to a strong allergic reaction to turpentine, a necessary product used to clean paint brushes.  Drew Aaron, Gallery RED’s founder, followed Elena Gual’s career for two years before representing her exclusively in 2021, during the time of her first sold-out exhibition in London.Since Voltz Clarke shares the same passion for international, emerging artists as Gallery RED, joining forces with Aaron to introduce Gual to the US market is a fluid partnership.  

About Elena GUAL 

Represented worldwide by Gallery RED, Elena Gual (born 1994, Mallorca, Spain) is currently based between Mallorca, Madrid and London.A social media sensation, Gual boasts over 270k followers on Instagram (@elenagual.art) and has traveled the world, meeting many women who have inspired her work. Working initially from both memory and original photographs, Gual begins with a charcoal drawing before she starts to apply thick, impasto strokes of homemade oil paint onto the canvas with a spatula or palette knife. Her work ranges in subject matter from landscape and abstract paintings to depictions of the female form and vivid portraits of women. Gual graduated from the Florence Academy of Art in 2016 and has spent time at Central Saint Martins and the Royal Academy in London. Her work is held in prominent private collections around the world.

www.elenagual.art-@elenagual.art

About Gallery RED

Gallery RED is a contemporary art gallery based in the heart of Palma de Mallorca, Spain. Founded by entrepreneur Drew Aaron, a global collector of contemporary art, Gallery RED has quickly grown to encompass twelve unique spaces across Spain, presenting art, fashion and iconic design while offering art advisory and investment services. In addition to showcasing established artists, from Andy Warhol, Jean Michel Basquiat, Jeff Koons, Takashi Murakami, Gerhard Richter and Keith Haring, Gallery RED has developed a reputation for building the careers of top emerging Spanish artists, including Antonio Ballester Moreno, Elena Gual, Ruben Martín de Lucas, Lidia Masllorens, Ivan Montana and more.www.galleryred.com-@galleryred_This exhibition is aligned with NEDA (National Eating Disorder Association). NEDA is the largest nonprofit organization dedicated to supporting individuals and families affected by eating disordersand serves as a catalyst for prevention, cures and access to quality care. Through their programs and services, NEDA raises awareness, builds communities of support and recovery, funds research, and puts vital resources into the hands of those in need.  

On View: May 12, 2022 – July 2022
Location: Voltz Clarke Gallery, 195 Chrystie Street, New York, NY, 10002
Hours: Monday – Friday, 10 am–6 pm,  Saturday 11-5 pm & by appointment
Contact Info: juliette@voltzclarke.com, 917.292.6921, voltzclarke.com 

Press Release

Voltz Clarke Gallery is pleased to present The Need, a comprehensive solo show featuring new works by artist Maru Quiñonero.

Maru Quioñero’s passion for volume, shape, texture, color and material has driven her to define compositions that visualize her own creative universe. Her Color and Vacuum series has been in development since 2017, serving to facilitate a conversation between color and emptiness. Through these extensive monochromatic studies, Quiñonero explores form beyond plastic expression, tapping into a process of possibility that continually draws from her lived experiences. The Need is the latest iteration of this venture, consisting of a capsule collection of works revolving around red and pink hues.

The need of colour.

Caitlin Moran writes on the fifty-one page of her book ‘How to be famous’ the following quote by Carson McCullers: “The way I need you is a loneliness I cannot bear”.

I wrote it down on October fourteenth, 2020 in order to not forget it. I would probably read it the night before. I am sure that I underlined it and folded the top corner of the page so as to find it easily at any time. Since then, it has been
there. Spinning in my head for almost a year. Moran uses the quote when talking about the relationship that her main young
character has with a platonic love. It is all a matter of feelings. Art helps me to go through my emotions, in an eternal search that I still do not understand. But that is what it is all about. So I want to talk about this unbearable need.

When colour becomes a necessity.

On August eighth, just a few months ago, I wrote: “I need to do something very red and very pink”. And there was the note. On my iPhone notes. Small matter. It was just more a reminder of the colour scheme than anything else. Ten words
without intention. Ten.

A digital colour note that I would need later at my studio. I am always writing down sentences, ideas, concepts, words. I put them together with some concern because lately my thoughts are easily derailed. So much information, so many channels, so many interlocutors and messages create a mental mess and sometimes I am not able to go back to a
simple sentence. “It is really curious to note how fragile the memory is”.

Letter from Marcel Duchamp to Marcel Jean, March 15, 1952, New York. That is why, a few days later, when I wrote down another small thought, I stopped at that sentence. But I did not see the colours, I just saw the need. Why did I use that verb? Where does this state of need come from? Since then, I have not been able to stop thinking about this aphorism of mine. Almost a
judgement, “I need to do something very red and very pink”. A sudden and compelling urge for colour.

I am not here to discover anything new by affirming that artists have always looked outwards to paint, to reflect their reality, their society, their time. And they have not stopped since. All persons, whether artists or not, are beings who absorb what surrounds them.

Whether we like it or not, we are permeable to everything that coexists with our reality.

The intention of revealing the inside from the outside is the recurring idea that haunts me.

I often think about the idea that everything changed with modern and contemporary art. When artists looked inwards to express their surroundings. Until then imitating reality was the norm and, in a way or another, that was what art used to pursue.

But there comes the moderns and the avant-garde and the contemporaries, and they begin to express existence in response to their own reality. They articulate their own language and with their personal codes they are able to interpret
what they see and what they feel. Their individualism defines them. Is it the moment when the artist became a narcissist?

I think it is important to invite people to look at the abstract work without prejudice and simply for pure enjoyment. This is how it should be. Without so much analysis. And it is essential to educate the gaze to achieve it. It would be necessary to appreciate the details of each era, the fragments and the distinctive features of each society and recognize the different modes of expression of the history of humanity. But apart from all this cultural baggage that helps us to contextualize, each reading will inevitably be conditioned by the intonation of the person looking at the artwork. Does the one who watches then become the focus? More than the work, more than the artist? I am a full time artist. And as I am very self-demanding, I believe that I must use all the resources available to understand why I am doing or not something. It is the only way to grow.

I do not like to improvise at work. I cannot leave something so serious to the unexpected. But I care for spontaneity and freshness. The naturalness. I do not want a vice in the line, nor going just to the familiar. I try to execute something that I have previously seen in my mind, but I do not necessarily have to go through the sketch. Not that. Sometimes I hate it. But there are endless days in
the studio that I cannot find any other way. And I bend. It is hard to lose this battle because I have a lot of confidence in my intellectual work, the idea is already inside me but sometimes it is my hand that does not know how to execute it.

Those days of brain-hand disconnection are few and as I like to see the bright side of everything, I try to learn from that break that I indulge myself. This sentence from Bachelard now comes to my mind: “One can study only what one has first dreamed about” The psychoanalysis of fire. But what is the purpose of creating? What for? For whom?

There is no answer or other solution than honesty. I just pretend to be honest. With myself. Looking for honesty to find order. And I find honesty in the blunt forms of colour that I can imagine and build up in my head. I perceive them loaded with meaning and morality. I let myself be carried away by thought and reflection, getting lost in the aesthetic reasoning. Making the words pictorial. And then everything fits. It is not so much about thinking, but about feeling.

But do we think with ideas or words? Thinking about thinking, I have to inquire about metacognition. I recently heard Juan José Millás assure that “the word is the organ of sight”. And then I thought, we see the ideas. And then we put words to them. And following this, in my case, I put colour on them. I cannot stop wondering if Robert Mapplethorpe was referring to this when, worried by a mental block, in total lack of inspiration, he told Patti Smith at the Chelsea Hotel in New York, “The old imagery doesn’t work for me”.

Selected Works

Souls and Spirits
Opening: Wednesday, April 6th, 6-8pm

On view: April 6—May 6, 2022
Gallery Location: Voltz Clarke Gallery, 195 Chrystie Street, New York, NY, 10002
Hours: Monday – Friday: 10 am – 6 pm, Saturday: 12 pm - 5 pm, Sundays by appointment
Contact Info: juliette@voltzclarke.com, 917.292.692, voltzclarke.com

Voltz Clarke Gallery is pleased to present SOULS AND SPIRITS, a group exhibition curated by Paul Conliffe. 

In SOULS AND SPIRITS Voltz Clarke celebrates the diversity of emerging artists based in Africa. The works centralize around cultural and personal identity, vibrancy, and innovative use of material. The chosen figurative artists establish various layers of Black excellence, and display evidence of a uniquely rich cultural heritage. The figurative paintings battle stereotypes regarding the concept of Blackness with innuendos of hope, resiliency, and strength.

Daniel Adenitan is based in Lagos, Nigeria and received his BSC in creative arts from University of Lagos. Adenitan aims to represent the originality and cultural richness of Black African identities. His flattened forms and selective detail, accented with gold, create vivid compositions that convey Black royalty.

Modeling paste figures emerge from the high-contrast black canvases made by Richard Adusu, who is based in Ghana. Adusu highlights iconic figures in Black history and everyday people, like friends and family, in a celebration of Black excellence and resiliency. Dappled smears of paint explore the figures’ beauty, imbuing the works with a vivid kinetic energy, and the textured surfaces reflect the rockiness of everyday life.

Ikeorah Chisom Chi-FADA is a figurative painter based in Owerri, Nigeria. He combines charcoal, pastel, and acrylics in many of his mixed media works, creating vibrant depictions of everyday life. His works illuminate the richness of Nigerian culture.

Joshua Donkor is a UK based artist combining western styles with imagery from Ghanaian culture through photo transfer in conjunction with oil portraiture. The transfers swim beneath the painted figures, revealing messages of black identity and history.

Sanya Gbemileke raises figurative and floral compositions from the canvas surface with acrylic and enamel. Experienced with large-scale mural paintings, Gbemileke often explores bold mark making and textures in his work.

The colorful paintings of Timi Light use distortion to convey an impression of peace, hope, and love. Vivid green highlights and fractured compositions allude to the flourishing gold bracts of tree limbs which, though creating a pattern of fragmented forms, is still full of life. Light invites viewers to complete these compositions with their own connotations of resiliency.

Fabric cut-offs pieced together Nusenu Prince Mawuli’s sustainable canvases. Jute textures and vibrant patterns allude to the cultural importance of African fabrics. Mawuli is based in Ghana where textiles are given as a rite of passage, which Mawuli uses to convey both pain and joy. The cultural significance of textiles pairs with environmentally conscious modes of making in Mawuli’s works.

A Fine Art graduate from The Polytechnic of Ibadan, Olawale Moses’s figurative charcoal drawings showcase Black beauty through hyperreal detailing and emphasis on a dance between light and the figure. Moses emphasizes the cultural importance of hairstyles as a signifier of familial background, status, spirituality, and other forms of social and personal identity.

Lagos, Nigeria born Oscar Ukonu, creates large-scale ballpoint pen drawings of hyperreal figures exploring gender, socio political status, and religion, through the multilayered experience of African identity. Selective rendering and emphasis bring Ukonu’s compositions to life.

Curator Paul Conliffe is a Brooklynite living in the Lower East Side of Manhattan and grew up submerged in a rich culture of the arts. He was fascinated by his father’s drawing process as a child and continues to take interest in artistic practices through art collection. He specializes in African art and would like this show to reveal the creativity and beauty developed by these emerging African artists.

Founded in 2002 in New York City, Voltz Clarke Gallery maintains a roster of emerging and mid-career artists focusing on introducing international artists to the New York and wider US market. Founder Blair Clarke believes one should cast the net wide in order to identify new talent. In a market, which is increasingly globalized, she is intrigued by the rich diversity in work found often in unexpected places. Clarke’s experience combines over eighteen years of East coast gallery associations and curatorial projects. In 2015, after thirty years of experience at Christie’s and Sotheby’s auction houses, Alistair Clarke joined the gallery as President.

Voltz Clarke Gallery is pleased to present Jacinto Moros, Maru Quiñonero, & Jason Trotter at Intersect Palm Springs opening Thursday, February 10th.

Location: Palm Springs Convention Center | 277 N Avenida Cabelleros Palm Springs CA 92262
Opening Night Preview (VIP/All Access Pass required): Thursday, February 10, 2022 5:00 pm – 9:00 pm
Fair Dates: 
– Friday, February 11, 2022 11:00 am – 7:00 pm
– Saturday, February 12, 2022 11:00 am – 5:00 pm
– Sunday, February 13, 2022 11:00 am – 4:00 pm
– VIP Brunch Sunday, February 13, 2022 10:00 am – 11:00 am

Jacinto Moros, Maru Quinonero, and Jason Trotter eachshare a strong interest in playful shapes, dynamic form, and vivid color. Distinguished by their unique backgrounds, specialized training, and distinct use of material, these works interact effortlessly to showcase high energy and expressive emotion. Moros’ wooden structures dance alongside the delicate hand of Quiñonero’s pastels and Trotter’s razor sharp compositions.

Intersect Palm Springs is a boutique fair that brings together a dynamic mix of modern and contemporary art, and is activated by timely and original programming. The fair has traditionally occurred in conjunction with Modernism Week at the Palm Springs Convention Center, and presents post-war and contemporary art. Formerly known as Art Palm Springs, it has been running since 2012.

Jacinto Moros was born in 1959 in Cetina, Zaragoza, Spain and is best known for his innovative use of the sculpture medium. By creating friction between his chosen material and their resulting forms, Moros develops a rhythmic weightlessness in space, as seen through his wood work and embossed monochromatic reliefs. The artist has been exhibited internationally, including the New Museum in New York City, the Sculpture Center, and the Smithsonian Institute, among others. Moros is also found in many private collections worldwide. He currently lives and works in Madrid, Spain.

Maru Quiñonero’s passion for volumes, shapes, textures, colors, and different materials inspire her to define compositions that visualize her own creative universe. Her Color and Vacuum series has been in the development stage since 2017 and focuses on creating a conversation between color and emptiness with a recent extensive study of colors– blue in particular. Quiñonero is a self taught artist who breaks conventional boundaries through her own capacity to imagine and express what she feels inside. She is based in Madrid, Spain. 

Jason Trotter is an American artist known for his bold geometric abstracts rendered in acrylics. The Los Angeles based painter explores contrast and balance using a hard-edge technique that produces sharp lines with abrupt transitions between color fields. His process requires him to work on a flat surface to tape off shapes, and then build up multiple layers of paint with a brush before applying the final coat with a palette knife for ample texture. He focuses on triptychs that are assembled and framed as one piece. This multi-panel approach allows for a more dynamic effect than the traditional compilation.While Trotter’s colors are chosen intuitively, his compositions are inspired by lines and forms observed in daily life with the intention of evoking an instinctual, physical reaction from observers rather than interpretive analysis.