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| standing in water up to the shins, your foot looks at a minnow and says, "look what I have become!" |
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David Castillo Gallery is proud to present the solo exhibition of Andrew Guenther, Standing in water up to the shins, your foot looks at a minnow and says, "look what I have become!" The title of the exhibition refers to evolution and change, assigning life to things normally without life. Guenther is known for rendering works that are chromatically incongruous with their content. He takes a decidedly anthropological approach in the current body of work.
The artist addresses the scope of human solutions to human problems, while sometimes creating fictional narratives that touch upon spiritual considerations. Self-projection and deliberation are elicited through content and the arduous handling of the medium. These worked surfaces become venues of artistic and individual query. Guenther’s work explores the concept of social infrastructures & one’s experiences within & without them.
This exhibition is Andrew Guenther’s first solo show with the gallery. He has shown in group shows at the gallery including Searching for Love & Fire and Destroy This City. He has shown in various cities in the United States, Canada, and Europe, and has an MFA from the Mason Gross School of the Arts, Rutgers University. His work is included in both the Triumph of Painting, London, and in the recently published book Painting People: Figure Painting Today. Guenther’s work has appeared in Artforum, Flash Art, The New York Times, artnet, The Art Newspaper, The Village Voice, The Wall Street Journal, and Art Asia Pacific among other publications.
Also exhibiting a solo show is Christian Curiel What Business Has Innocence Here. The show and its title take cues from Samuel Beckett’s book Malloy. Curiel’s work explores the construction of one’s identity, evidenced & misrepresented through memory. His non-sequential narratives affectively compel the viewer to project their own experiences into the work. The distorted nature of memory as a faculty of the self is addressed through slight alterations to seemingly benign compositions. Specifically with the paintings in this exhibition, there is a dialogue about going back to certain basic ways of survival, as expressed in the imagery of hunting, a possible metaphor for today’s world. The works deal with adolescent hunters returning from the fight with nature as a rite of passage.
This is Christian Curiel’s first solo exhibition in three years and his first time showing in Miami since he completed his MFA at Yale University in 2005. He recently exhibited with Lehman Maupin Gallery, in a group exhibition Partial Recall. His work is in various collections including La Fondation Cartier pour L’art Contemporain, Paris, the Dean Valentine Collection, Los Angeles, the Hort Family Collection, New York, and the George Lindemann Collection, Miami, among numerous others. His work has been included in the New York Times, The Miami Herald, and Art in America, among other publications. |
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