Workshop: Nika Feldman | Tees & Tabs

PLEASE NOTE: This workshop is registration-only. Click here to save your spot.

Tees & Tabs Workshop

Saturday, March 16

Workshop Hours: 1-5 pm

Fee: $40 registration

In conjunction with the exhibition Spirits in the Material World, featuring a series of seven garment-like works made from recycled t-shirt fabric and aluminum can pull-tabs, Nika Feldman offers this special workshop. Participants will learn how to let these idiosyncratic materials direct their creative process. Feldman will teach basic embroidery techniques. All supplies included.

This class is limited to 20 participants, so make sure to register early! The $40 registration fee reserves your spot.

Click here to register.

Spirits in the Material World Events

Opening Reception: Friday, January 25, 5-7 pm | RSVP on Facebook
Artist Talk: Saturday, January 26, 2-3 pm | RSVP on Facebook
Tees & Tabs Workshop: Saturday, March 16, 1-5 pm | Register`

Performance: Maurice Oliver | Santa Fe Suite

Please Note: The gallery will ask for a $5-$25 donation in support of the artists at the door. Doors open at 6:30 pm and music starts at 7 pm.

“This is my emerging from the cocoon, as it were,” says Maurice Oliver. The musician, originally from New York City, will perform pieces from his still-developing album, “Santa Fe Sweet”—the first music he’s produced since moving to Eldorado in June 2018. “This wonderful place informs everything about the music from what sounds I program in the synthesizers to what other instruments I’m putting together.” Accompanied by his brother Steve and bassist Gary Paul Hermus, on February 23 Oliver will unveil his reactions to his new environment in an immersive concert experience forged from abstract visuals and unconventional, highly eclectic music.   

 

Oliver’s music incorporates elements of electronica, downtempo, house, techno, jazz, funk, soul, and worldbeat. He draws from a wide range of influences, beginning with the summer conga drums and church gospel music he heard growing up on Staten Island and leading to his study of orchestral percussion at the Juilliard School of Music. Living in Amsterdam in the late 1980’s, when the city was a burgeoning center of electronic production, introduced Oliver to influences from across the world. The result is the musician’s unique, texturized aesthetic: a modern music which is neither exclusively organic nor exclusively electronic.

Opening: Lisa Klakulak | Since Taos

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Lisa Klakulak presents Since Taos: Contraction of Mass, Concision of Thought. The solo exhibition of 13 felt-based sculptures was created over a period of nearly two decades, since the freewheeling artist moved away from Taos, New Mexico in 2001. The collection simultaneously acts as a vivid portrait of Klakulak’s emotional journey and manifestation of her unique way of processing the world through fiber creations. “Like any piece of art you make, you are releasing an idea into the object,” Klakulak says. “It’s a completion of a certain cycle, and it’s interesting when someone on the other side spins it into their own emotive universe.” Klakulak’s work voices ideas about growth, human connection, mental stability, and the formation of personhood, as well as social commentary on issues of gender, income inequality, and culture.

Klakulak appears at a preview artist talk of Since Taos on Friday, February 22 from 4 to 5 pm. The opening reception directly follows, from 5 to 7 pm. The artist presents a registration-only felting workshop on February 23 and 24, 2019.

Learn more about this exhibition.

EVENTS

Preview Artist Talk: Friday, February 22, 4-5 pm | RSVP on Facebook.
Opening Reception: Friday, February 22, 5-7 pm | RSVP on Facebook.
Felting Workshop: Feb. 23-24, $315 | Register Here.

Preview Artist Talk: Lisa Klakulak

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Lisa Klakulak appears at this special preview of Since Taos: Contraction of Mass, Concision of Thought, directly preceding the opening reception of the solo exhibition. The series of 13 felt-based sculptures was created over a period of nearly two decades, since the freewheeling artist moved away from Taos, New Mexico in 2001. Klakulak thinks of her life since that moment in distinct phases. “The works are all related to these leaps of faith that I have taken,” she says. “I want to think about, or articulate what I’m thinking about, in a manner that I can translate into a physical form.” Join her for an interactive tour of the show, just before its official debut.

Learn more about this exhibition.

EVENTS

Preview Artist Talk: Friday, February 22, 4-5 pm | RSVP on Facebook.
Opening Reception: Friday, February 22, 5-7 pm | RSVP on Facebook.
Felting Workshop: Feb. 23-24, $315 | SOLD OUT.

Curious Creations: Susan Aaron-Taylor

susan aaron taylor, fetch
Fetch, handmade felt, shell, beads, wood, 15 x 13 x 6 in

Fantastical creatures appear to Susan Aaron-Taylor in her dreams. In the waking hours, the Michigan artist brings them to life, stitching together a hide of handmade felt and an array of natural materials.

 

susan aaron taylor, pug, susan aaron taylor sculpture, susan aaron taylor form & concept
Pug, handmade felt, agate, wood, 9 x 11 x 15 in

 

Unified by Jungian philosophy,  Aaron-Taylor’s curious creations metamorphose animal forms with archetypal meaning.

The mixed-media sculptures simultaneously evoke universal and deeply personal themes, which Aaron-Taylor states, “chronicles the retrieval of these broken pieces of the Soul.”

 

susan aaron taylor, susan aaron taylor cat
Cat, handmade felt, porcupine quills, wood, 7 x 14 x 14 in

 

susan aaron taylor, susan aaron taylor tiger teapot
Tiger Teapot, felt, wood, geodes, porcupine quills, 12 x 19 x 10 in

Opening: Nika Feldman | Spirits in the Material World

Nika Feldman unveils a series of seven garment-like works along with accompanying objects of adornment, made from recycled t-shirt parts and salvaged aluminum can pull-tabs. Representing over 2,000 hours of handwork by the Nova Scotia artist, the intricate pieces are inspired by the coded language of clothing. “It’s an attempt to create a new dialect,” Feldman says. “In today’s world what does contemporary clothing say about North American culture?” 

Spirits in the Material World debuts with a special reception on Friday, January 25 from 5 to 7 pm. Feldman will host an artist talk on Saturday, January 26 from 2 to 3 pm and a workshop on Saturday, March 16 from 1 to 5 pm.

Learn more about this exhibition.

EVENTS

Opening Reception: Friday, January 25, 5-7 pm | RSVP on Facebook
Artist Talk: Saturday, January 26, 2-3 pm | RSVP on Facebook
Tees & Tabs Workshop: Saturday, March 16, 1-5 pm | Register

Press Roundup: Nika Feldman | Spirits in the Material World

nika feldman crop top, nika feldman artist, nika feldman spirits in the material world, nika feldman art, nika feldman textiles, nika feldman t-shirts and pull tabls, form & concept nika feldman, form and concept nika feldman, form and concept spirits in the material world, santa fe gallery, santa fe form & concept, santa fe gallery nika feldmanCrop Top, recycled t-shirts & aluminum pull-tabs, embroidery, 32 x 50 in

 

Nika Feldman’s solo exhibition Spirits in the Material World opens Saturday, January 25 from 5-7 pm, coinciding with our sister gallery Zane Bennett Contemporary Art’s Stitched Ink. Both exhibitions deal with textiles, but with largely different implications.

“A culture’s clothing has its own language,” begins Megan Bennett of Albuquerque Journal’s write-up of Nika. “What that language is, or how cultural identities and values are reflected in garments, is what drives Nika Feldman’s work.” Bennett interviewed Feldman early this winter, excerpted here:

The pieces are intentionally made to be “garment-like” rather than actual clothing items, said Feldman, with the exception of an XXL black T-shirt she didn’t want to cut apart, and instead decorated with tabs and fringe tassles made from other shirts.

“When it’s artwork, people have to investigative, people have to go deeper into those narratives,” she said. “If it’s a wearable garment, it doesn’t go any farther than that. People see it as fashion, they want to know if it comes in their size, they want to know how much it is.”

 

nika feldman hooded cape, hooded cape nika feldman, nika feldman artist, nika feldman art, nika feldman form & concept, form & concept nika feldman, form and concept textils, form and concept gallery, santa fe galleries, santa fe gallery, new mexico galleryHooded Cape, recycled t-shirts & aluminum pull-tabs,embroidery, 50 x 40 in

 

Emily Van Cleve covered Spirits in the Material World in a feature on the Santa Fe Arts Journal. Here’s an excerpt:

 

“All around the world, people wear t-shirts,” says Feldman, a Santa Fe artist who moved to town from Nova Scotia at the end of 2017. “T-shirts were originally an undergarment. But now, through their logos, they inform others about the specific groups, companies, rock bands and organizations we like.” Feldman liked the idea of putting pull-tabs in her work for the same reasons she was drawn to t-shirts. They’re readily available. There’s an abundant supply of them. They’re also an integral part of Western culture.

 

nika feldman camo dress, nika feldman artist, nika feldman spirits in the material world, nika feldman art, nika feldman textiles, nika feldman t-shirts and pull tabs, form & concept nika feldman, form and concept nika feldman, form and concept spirits in the material world, santa fe gallery, santa fe form & concept, santa fe gallery nika feldmanCamo Dress, recycled t-shirts & aluminum pull-tabs,embroidery, 50 x 45 in

The Santa Fean also covered Spirits in the Material World for their Holiday Issue. Here’s an excerpt:

Nika Feldman describes herself as a textile artist, rag picker, and costume stenographer, and her job history includes stints in fashion design, social work, and sorting through clothing in a thrift store. Feldman weaves these disparate threads into a whole in the eight pieces displayed in Spirits in the Material World.

 

Spirits in the Material World opens January 25 and runs through March 23. Nika Feldman will conduct an Artist Talk on January 26 at 2 pm.

Artist Spotlight: Heidi Brandow

 

 

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Heidi Brandow, Margins, mixed media on panel, 18 x 24 in

 

“I knew from an early age that our native identity is so rich that we shouldn’t just hold it to a specific ceremony or spiritual practice,” Heidi Brandow said during a studio visit in 2016. “In my eyes, art is a tool that helps mark history, time, place and memory. Who’s to say pop culture are not equally as important as star sticks?”

heidi brandow, heidi k brandow, heidi brandow art, heidi brandow daydreaming, heidi brandow octopus, heidi brandow art, heidi brandow artist, santa fe artist, form & concept, form and concept, santa fe artist, form and concept heidi brandow, form & concept heidi brandow, form & concept daydreamingDaydream, mixed media on panel, 5.5 x 12 x 1 in

Brandow’s works often feature whimsical monsters and characters against vividly colorful backdrops and paper collages she collects on her international travels.

heidi brandow, heidi k brandow, heidi brandow artist, picture of heidi brandow, heidi brandow artist picture, santa fe artist

 

Brandow was recently awarded the third Ucross Fellowship for Native American Visual Artists.

“As an artist with an active arts practice, a full-time commitment to the Institute of American Indian Arts, and a family,” says Heidi. “I am grateful for Ucross’ support in granting me the time, space, and resources to enhance my craft and create in such a beautiful setting.”

 

heidi brandow, heidi k brandow, heidi brandow artist, heidi brandow low tide, low tide heidi brandow, mixed media painting, collage painting, santa fe artist, santa fe gallery, form & concept, form and concept, form & concept heidi brandow

Low Tide, mixed media painting, 5.5 x 5.5 x 1.5 in

 

To learn more about Heidi, please inquire or call us at (505) 216-1256.

Click here to view more works by Heidi Brandow in our collection.

Scroll below to read excerpts from our 2016 studio interview.

 

Do the monsters have names, or story lines? 

For me personally, they don’t have names, and there’s no story behind any of them. I try not to put too much of my own self into them. I don’t want to over personalize it. These are a nice outlet for me to create work that is lighthearted, that is easy. It’s very fluid. I feel like when people see it, they get it immediately. Whether you like it or you don’t like it, it’s a visceral thing. It’s not too theory-based.

I want my work to reach everyone. I don’t come from a community or people that are heavy academicians. In fact, I would argue that the art world has largely blocked out people of color from participating in art to a large extent.

On the other hand, I think a lot of the work I do is a little heavier. This is a nice outlet, where I can just make work that is more lighthearted and fun.

 

heidi brandow, heidi k brandow, heidi brandow floating, floating heidi brandow, heidi brandow monsters, floating form & concept, floating form and concept, mixed media painting, moster painting

Floating, mixed-media on panel, 5 x 5 x 3 in

 

How does your own cultural heritage figure into your work? 

I never entered the art scene on the basis of promoting myself or my work as Native art. Not because I was shying away from it, but because my idea of Native art was a lot of very cultural referenced work, such as very specific tribal motifs and designs. The stuff that I was doing wasn’t like that. I never felt weird about it, because I always felt like my Native identity is already in this work, whether or not there’s symbols or direct references to cultural place. The simple fact that I’m Native and that this is the work that I’m making, there’s no way of denying my heritage and my experience, or saying that it’s not implicitly in the work. I don’t believe it has to have direct references to culture and place.

Culturally Native people are so diverse and our experience is so diverse. If you look at someone like myself, being Native Hawaiian and Navajo or Dinè, they’re two entirely different cultures. They’re both Native, but it’s ocean and desert people. That’s only the first difference, right? Of course we have a lot of similar cultural values, but it’s like night and day in a lot of ways.

 

heidi brandow, heidi k brandow, heidi brandow artist, heidi brandow art, heidi brandow diptych, fences diptych, form and concept fences diptych, form & concept

Fences (diptych) mixed media painting, 5.5 x 11 x 1.5 in

 

Do the monsters have names, or story lines? 

For me personally, they don’t have names, and there’s no story behind any of them. I try not to put too much of my own self into them. I don’t want to over personalize it. These are a nice outlet for me to create work that is lighthearted, that is easy. It’s very fluid. I feel like when people see it, they get it immediately. Whether you like it or you don’t like it, it’s a visceral thing. It’s not too theory-based.

I want my work to reach everyone. I don’t come from a community or people that are heavy academicians. In fact, I would argue that the art world has largely blocked out people of color from participating in art to a large extent.

On the other hand, I think a lot of the work I do is a little heavier. This is a nice outlet, where I can just make work that is more lighthearted and fun.

 

heidi brandow, heidi k brandow, heidi brandow artsit, heidi brandow altin, heidi brandow art, heidi brandow altin art, form and concept altin, form & concept altin, form & concept altin heidi brandow

Altin, mixed-media, 5.5 x 12 x 1 in

The Tara + Rhonda Show 2018

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Purchase Tickets.

“I must be fearless in improvisation, fully committed and fully present,” says Las Cruces saxophonist Rhonda Taylor. “Otherwise the quality of the moment is diminished.” For a leap of faith like this, it helps to have a buddy. Enter Santa Fe soprano and theatre-maker Tara Khozein, who collaborates with Taylor on this evening of performance at form & concept. They will debut improvisational scores that incorporate instrumentals, vocals, and gestures. 

“Tara and I have a sort of Venn diagram of skill sets,” Taylor says. “What I love about working and performing with her is how we both are able to push and pull the other one beyond her comfort zone, in what I believe is a very beautiful and unpredictable way.” The Tara + Rhonda Show 2018 is the duo’s second performance at form & concept, following last December’s The Tara + Rhonda Show: Fully Clothed and Highly Introverted. The gallery will ask for a sliding scale donation of $5-$25 at the door in support of the artists. Doors open at 6:30 pm, and the performance begins at 7:00 pm.