Join Matthew Mullins at a closing reception for his solo exhibition The Sun In Our Bones. His work will span form & concept’s ground floor, the second exhibition in the gallery’s two-year history to devote an entire level to a single artist. The title of the exhibition is a reference to an unconventional material Mullins has incorporated into some of his cosmic paintings: pigment made from burnt animal bones. “The calcium and phosphorous in those bones, and our own, are made in stars,” Mullins says. “It’s truly all connected.”
Whether they’re gelatin silver prints or daguerreotypes, there’s one thing that most photographs have in common: they’re flat. For a new group exhibition at form & concept, eleven artists from across the United States shatter this convention by applying craft media to photography—and vice versa. Hand/Eye presents images with the texture and volume of sculptures, vaulting a medium that’s often trapped behind glass into the viewer’s sphere. The artworks in the show incorporate a wide array of materials, including fiber, cast glass, micaceous clay and human hair. Call it super-alternative process photography.
Above: David Samuel Stern, Nouri, photographic prints on translucent vellum physically cut and woven together.
25 x 44 in.
Sampled Lives series
embroidered found postcards
4 x 6 in. each
archival pigment print
24 x 18 in.
needlepoint, thread on canvas
11 x 16 in.
Emily Margarit Mason
Yoga Mat and Glass
36 x 24 in
We’re excited to announce that Kylee Aragon is our new Administrative Coordinator! Kylee was born and raised in Albuquerque, NM. She received a BFA in Art History from the University of New Mexico. Kylee began her gallery experience at Tamarind Institute, where she developed a deep love for works on paper. While Kylee is not a printmaker she is a self-proclaimed print nerd who enjoys speaking in great detail about process, paper, and the print market. She is excited to bring her passion for art to form & concept.
This Saturday, Matthew Mullins hosts an artist talk for his solo exhibition The Sun In Our Bones. When Mullins began working on the monumental show last year, he was shooting for the stars. “I thought about this spectrum of very earthy and grounded to the cosmos,” says Mullins. “How do you encompass that staggering span, and pull someone all the way through it?” The exhibition is on view through November 17, 2018. Scroll down to see selections from the exhibition, and click here to browse all of the artwork online.
Lisa Klakulak is an avid traveler, and often draws inspiration from far-flung landscapes to create stunning fiber artworks. In the past, she’s crafted wearables that evoke lava flows and glaciers. This fall, Lisa debuts a series that draws from the vernacular of the human body. The new works reflect the soft textures and hues of hair and skin.
“Attracted by its protective and nurturing qualities, I found wool fiber a relevant material to use in my work that’s related to concepts of human vulnerability and security,” Lisa says. “I attribute the sense of contentment and calm that I feel when I’m working in the studio to the constant touch involved in the process, as well as bringing an idea into fruition. You need that idea, that inspiration.”
Made by hand in Oaxaca, these ceramics are as functional as they are elegant. From spice jars to vases, Oaxacan ceramics adapt to contemporary lifestyles while maintaining Mexican traditions.
Jordan Eddy is the new Gallery Director of form & concept and Zane Bennett Contemporary Art! Originally from Oregon, Jordan moved to Santa Fe in 2012 and quickly found himself immersed in the gallery community. He performed marketing and public relations work for galleries and museums in every Santa Fe arts district before landing at form & concept as Marketing Director. After two years in that role, he’s excited to take the helm at both galleries. Jordan also writes for a number of arts publications including The Magazine, Santa Fe Reporter, and New Mexico Magazine.
Savannah Sakry is our new Sales Manager at form & concept, while our beloved Sales Manager Clara Holiday will continue to spearhead sales for the Zane Bennett Contemporary Art collection! Originally from Evergreen, CO, Savannah moved to New York City where she received a BFA in Photography from the School of Visual Arts. Relocating to Santa Fe in 2015, she began her experience with fine art sales working for the internationally acclaimed photo bookstore and contemporary photography gallery, photo-eye. While photography is Savannah’s first love she is just as enthusiastic about other mediums, and shares form & concept’s mission to challenge traditional distinctions between art, craft, and design.
Tonight, Santa Fe artist Matthew Mullins presents his solo exhibition The Sun in Our Bones. Mullins’s work is inspired by the intrinsic links between humans and the natural world. He has a lot of ground to cover, which is why we’ve dedicated our entire ground floor to showcase his paintings, photographs, and sculptures.
We visited Matthew’s studio to talk about his process and inspiration for his show. “I want people to look beyond what’s right in front of us,” says Mullins. “And make them aware of our own cosmic origins.” Check out the video above to learn more about his artistic practice.
Mullins also gave Megan Bennett of the Albuquerque Journal a tour of his studio. Here’s an excerpt:
Mullins thinks of the patterns as a representation of the human experience of being out there nature.
“If you’re in one of these places or in nature just staring off into the trees, I feel the mind kind of wanders a little bit,” he said. “Like you’re looking at the landscape, but other thoughts come in. You lose it, and then you see the landscape.
“So I like the representational qualities with the landscape, as well as the abstract patterns. The brain can go from experiencing the depth and light of the landscape to the flatness and rhythm of the abstraction. The brain toddles back and forth, and it creates a more dynamic experience that’s kind of uncontrollable.”
Mullins was also the subject of Emily Van Cleve’s article in the Santa Fe Arts Journal. Check out this quote:
An award-winning professional artist who moved to Santa Fe in 2011, Mullins has been working on the pieces in “The Sun in our Bodies” for the past two years.
“My work draws upon my fascination with visual perception and the forces of nature,” he says. “By integrating human-made constructs with natural environments, I’m composing a relationship that is often deconstructed or forgotten in today’s society.
The press doesn’t stop there! The Santa Fe Reporter brought Mullins in for their 3 Questions Column. Here’s what he had to say about The Sun in Our Bone’s overarching theme:
The theme is trying to make art that can connect the viewer with nature and the cosmos. A lot of pieces in the show are about how the materials in our own body are made of the stars, and how the elements that give us life and the ability to have consciousness come from the stars. I’m really trying to drive that point home. The title of the show, The Sun in Our Bones, comes from a poem by poem by Nayyirah Waheed, and really conveys what I’m trying to do with art.
The Sun in Our Bones opens September 28th at 5 PM and runs through November 17th. Mullins will conduct an Artist Talk on the 20th of October.
Santa Fe artist Matthew Mullins presents a solo exhibition of paintings, photographs and sculptures, inspired by the intrinsic links between humans and the natural world. Known for his mixed-media paintings that visually connect landscapes with human-made, geometric patterns, Mullins broadens his practice to encompass photography and sculpture. With this expanded artistic palette, he draws viewers across time and space—from a windswept patch of grass to the swirling cosmos.
In August, Dr. Estevan Rael-Gálvez convened beneath the Flying Blue Buffalo for a special lecture titled Entre Cíbolos Criados: Creativity, Consciousness and Community.
In his moving speech, Dr. Rael-Gálvez discusses the three concepts that have long defined his work and the history of Indigenous slavery.
His lecture is sampled below, and can be read in full at flyingbluebuffalo.com
It is a tremendous honor to be able to participate in this opening by the amazing artist, Armond Lara – whose memorial is… breath-taking, but it gives breath as well. This thoughtful remembering is a project — that through creativity raises consciousness — and in the end, is inspired by the promise of strengthening community.
Here in this sovereign landscape, Pueblo elders have said that, “wherever we go, we leave our breath behind us” — an invocation recognizing those who came before us and how their life force remains with us long after they have gone. In recognizing this life force, we not only illuminate all of the ancestors who lived in this place, but point especially to the life of those living now in the present, as well as to those generations that will follow, inheriting what we leave behind in the future.
In time, drawn to the subject of enslaved Indians as a young scholar, I would immerse myself as a historian in countless archives, reading between the lines of documents, tracing my finger across maps and looking closer at photographs, all complemented by my work as an anthropologist, engaged in many hundreds of conversations set with bread at kitchen tables, revealed upon a walk through alfalfa fields, and shared across miles by telephone and electronic correspondence.
Taking those experiences, connecting them and eventually centering them, the story grew like a forest, one that eventually became a manuscript defended by me to hold a doctoral credential. However, believing that scholarship is most valuable when grounded and applied in the world, I left academia, and yet through my role as a public historian and anthropologist, indeed, because of it, the story only deepened further, to this day.
So when I talk about consciousness now, I am not only referring to the work I have done as a scholar and public historian for over two decades, but a commitment to raising consciousness on the ground, locally, in the minds of people in our region and nation, particularly in the minds of those who have not yet recognized that this story, however painful, is also one of complex beauty. This is no easy task.
The eyes of all of the descendants of those indigenous ancestors continue to awaken the possibility of remembering with each new birth of a New Mexican. Telling this Story—in whatever form that telling comes— is about how individual and collective lives are remembered, how a community takes the memories, stories and traditions of what has been passed down from one generation to the next, and how it reimagines itself, now in the present and into the future. We are the herd of buffalo that rises.
Dr. Rael-Gálvez holds a B.A. from the University of California at Berkeley and an M.A. and Ph.D. from the University of Michigan at Ann Arbor, where he completed an award-winning dissertation, “Identifying Captivity and Capturing Identity: Narratives of American Indian Slavery.” Formerly the State Historian of New Mexico, Executive Director of the National Hispanic Cultural Center, and Senior Vice President at the National Trust for Historic Preservation, Dr. Rael-Gálvez currently is a writer and the founding principal of Creative Strategies 360°.
September 22 is World Rhino Day! Just in time for the holiday, Elana Schwartz has completed a fantastical rhino sculpture in bronze. We’re donating 10% of the proceeds from the artwork’s sale to the International Rhino Foundation. Help save the rhinos, and add this stunning artwork to your collection.
“The Earth is on the verge of a mass extinction event,” said Schwartz. “Today, plants and animals on earth’s surface are becoming extinct at a faster rate than ever before. The corruption of earth’s shared natural resources informs us that humanity is inseparable from the rest the natural world and leads us the confront and thus act on the untimely impermanence of all existence.”
At the start of the 20th century, 500,000 rhinos roamed the earth. Today, only 29,500 rhinos survive in the wild. Learn more about the rhino crisis and how you can help here.
Matthew Mullins is an avid hiker and distance runner, and lately he’s been leaving artwork behind on his adventures through New Mexico’s high desert. He’ll install pinhole cameras in remote areas, note their coordinates, and return for them weeks or months later. The final images reflect the shifting path of the sun and other natural phenomena—that is, if Mullins can retrieve them. Weather and wild animals have destroyed several cameras, and others have vanished without a trace. Despite the occasional lost artwork, Mullins says his far-flung creative process is worth the risk.
“With these pinhole photos, I’m presenting different ways to look at nature and different ways of seeing time,” the Santa Fe artist explains. “The incredibly long exposures require the cameras to be in remote locations, which always involves leaps of faith.” In his solo exhibition The Sun in Our Bones, opening Friday, September 28 from 5 to 7 pm, Mullins presents photographs, paintings and sculptures inspired by the intrinsic links between humans and the natural world. An artist talk follows on October 20, and a closing reception takes place on November 17.
When Mullins began working on The Sun in Our Bones last year, he was shooting for the stars. “I thought about making a series of artwork within a spectrum of very earthy and grounded to cosmic. I wanted to paint nature and natural processes from the subatomic world to the stars” says Mullins. “How do you encompass that staggering span, and pull someone all the way through it?” The Santa Fe artist has been working on a series of highly unconventional landscape paintings since moving to New Mexico from Berkeley, California in 2011. The works depict scenes from nature, often in a monochrome palette, with geometric patterns inspired by human-made designs cutting through them. A concurrent series of watercolor paintings features mandala patterns dotted with countless stars.
Branching out even further, the artist started experimenting with several new mediums. He gathered dry, twisted pieces of juniper wood on his outdoor excursions and brought them back to his studio, cleaning them, burnishing them and covering them with shiny graphite to accentuate their lines and textures. Through the pinhole photography series, Mullins found a method for depicting a temporal experience of landscape. “I really wanted to track time in a different way and also show the movement of our planet around the sun. I didn’t think I could really get that in my paintings,” he says. “I love the idea of having these pinhole cameras out in the world. They’re working right now, so I’m making art 24/7.”
The Sun in Our Bones will span form & concept’s ground floor, the second show in the gallery’s two-year history (after Thais Mather’s Reckless Abandon in November 2017) to devote an entire level to a single artist. The title of the exhibition is a reference to an unconventional material Mullins has incorporated into some of his cosmic paintings: pigment made from burnt animal bones. “The calcium and phosphorous in those bones, and our own, are made in stars,” Mullins says. “It’s truly all connected.”
For Mullins, the exhibition is a culmination of 15 years of work as a professional artist. Originally from the Bay Area of California, he received his MFA from University of California Berkeley. There, he began his career with his Artifacts & Archives paintings, a series of photo-realistic watercolors that replicate the archival environments and materials he had access to during his graduate studies.
Mullins received the prestigious Eisner Prize for Visual Art in 2010, a year before relocating to New Mexico. Following the move, he was inspired by the desolate, sweeping landscapes of the Desert Southwest to shift from an illustrative style to semi-abstraction. Through his latest work, Mullins has sought to show the connection between human consciousness and the natural world. “Humans are part of the natural world,” says Mullins. “But we often become so focused on our individuality that we lose track of that greater connection. My work is about reintegrating with nature and finding unity in that relationship.”
“It’s all about having this vulnerability and turning it into power. The crystals stemmed from Superman’s crystalline Fortress of Solitude. It’s about the power of crystals in this kind of cartoony, comic book way—and then in reality, the various properties that people believe they have. They’re like mini shields.”