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Thu June 4, 2015

Miriam Cabessa, Hands On: Works from 2007–2014

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at The Dryansky Gallery (see times)
The Dryansky Gallery is pleased to announce Hands On: Works from 2007–2014, an exhibition of 25 works on paper and 5 large oil paintings by Moroccan-born, New York-based artist, Miriam Cabessa. For its fourth exhibition, The Dryansky Gallery will partner with Projex Connect, an organization dedicated to connecting Israeli artists to communities all over the world. Hands On will be on view from April 16 to June 4, 2015 with an opening reception on Thursday, April 16, 2015 between 6 and 8 pm. The artist will be in attendance.

Miriam Cabessa’s work explores the binary of process and result. In her practice, the artist places a canvas or paper on the floor, and bends over to directly apply paint to the surface on the floor. Though this process of production is reduced to the most basic of elements—hands, paint, ground—the resulting imagery is often clean and concise, betraying the primitivity sometimes associated with the hand as a tool for painting. The topography of her painting is a smooth, meditative expanse that can look either like geographical strata or digital feedback, depending on the viewer’s worldview.
The Dryansky Gallery is pleased to announce Hands On: Works from 2007–2014, an exhibition of 25 works on paper and 5 large oil paintings by Moroccan-born, New York-based artist, Miriam Cabessa. For its fourth exhibition, The Dryansky Gallery will partner with Projex Connect, an organization dedicated to connecting Israeli artists to communities all over the world. Hands On will be on view from April 16 to June 4, 2015 with an opening reception on Thursday, April 16, 2015 between 6 and 8 pm. The artist will be in attendance.

Miriam Cabessa’s work explores the binary of process and result. In her practice, the artist places a canvas or paper on the floor, and bends over to directly apply paint to the surface on the floor. Though this process of production is reduced to the most basic of elements—hands, paint, ground—the resulting imagery is often clean and concise, betraying the primitivity sometimes associated with the hand as a tool for painting. The topography of her painting is a smooth, meditative expanse that can look either like geographical strata or digital feedback, depending on the viewer’s worldview.
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Art

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The Dryansky Gallery
2120 Union Street, San Francisco, CA 94123

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