Curving lines, swirling textures, glowing accents. Danny Hart‘s elegant new collection combines shaped brass and bronze with carved walnut, olive, coolibah and tiger woods. Look below for some of our favorites.
Model: Sicily Ranieri.
form & concept collaborates with the International Folk Art Market to present a special demonstration by Kazakh artist Ilya Kazakov. Drawing inspiration from his surroundings in rural Kazakhstan, the master silversmith is reinventing a jewelry tradition that spans millennia. Steeped in the imagery of prehistoric life, Kazakov’s broad range of accessories brings a modern sensibility to the iconography of ancient civilizations.
This event is part of IFAM’s 2018 Folk Artist Demonstration series, which unfolds in partner venues across the city. Look below for Wednesday’s schedule, featuring form & concept and other Railyard locations.The 15th annual International Folk Art Market takes place July 13 through 15.
Wednesday, July 11, 11 am – 1 pm
Railyard District, Santa Fe
Form & Concept / Zane Bennett Contemporary Art
435 S Guadalupe St, Santa Fe, NM 87501
Market Artist: Ilya Kazakov | Jewelry, Woodwork | Kazakhstan
340 Read St, Santa Fe, NM 87501
Market Artist: Victor Huáman Gutiérrez | Mixed Media | Peru
319 S Guadalupe St, Santa Fe, NM 87501
Market Artist: Manjula Devi Maithil Bahun | Painting, Textiles | Janakpur Women’s Development Center | Nepal
Kaune’s Neighborhood Market
511 Old Santa Fe Trail, Santa Fe, NM 87505
Market Artist: Pedro Ortega Lozano | Paper | Mexico
Tara Khozein and Jesse Tatum first met in an alternate universe. Khozein was dressed from head to toe in black-and-white, with matching makeup covering every inch of exposed skin. Tatum sported a transparent raincoat and fairy makeup, and wielded a flute. They were both solo performers in Meow Wolf’s House of Eternal Return, for the local art installation’s 2017 Summer in the Multiverse event series, and something instantly clicked between them. “We had a few interactions in character in the exhibition and backstage, and I developed a big artist crush on her,” Khozein explains.
That initial creative attraction blossomed into a full-fledged collaboration, which makes its Santa Fe debut at form & concept on Saturday, July 14 at 7 pm. The New Mexico artists, both sopranos, will perform a new series of duets that combine melodic and percussive instrumentals and vocals. Tickets priced at a sliding scale of $5-$25 are available at https://fluteandvoice.bpt.me.
“Art making is social for me,” says Khozein. “I watch other artists in admiration, and then I kind of shyly approach them, the way you’d approach a middle school crush.” In recent years, she has collaborated closely with acclaimed saxophonist Rhonda Taylor and dancer Emmaly Wiederholt. She’ll often approach artists who are interested in reframing classical music for contemporary audiences.
“Seeing Jesse in that raincoat shredding virtuosic music on her flute made me be like, ‘That’s someone I could do an amazing recital with,’” Khozein says. “Later I saw her perform at SITE with David Felberg, and the casual way she connected to the audience was really in line with how I like to perform. I was like, ‘That’s someone who is tearing down the pretension surrounding classical music.’”
The new duo built a broad and diverse program that combines elegant melodic and textural materials with comedy and absurdity. Tatum, who serves as Principal Flute of the Santa Fe Symphony among other prestigious appointments, will play flute, bass flute and piccolo. Khozein will provide vocals and flex the theater skills that she also employs in her work with the local, experimental troupe Theater Grottesco.
“I speak often, there is lots of play of vocal percussion through consonants,” says Khozein. “Jesse plays lots of florid fast things that only woodwinds can do, and uses lots of extended techniques, and we trade off being accompaniment to each other. With this instrumentation, the playing field is so level. We are two melodic slash percussive wind instruments in conversation.”
form & concept is featured in Meow Wolf’s Ultimate Santa Fe Summer Guide! If you’re planning a trip to see the art collective’s world-famous art installation House of Eternal Return, make sure to check out all of the other sweet spots on their list. Here’s an excerpt from the guide:
As much fun as it would be to get lost in the multiverse forever, one has to come back to reality once in awhile. While in this dimension here’s our list of the best things to do during summer in (and around) Santa Fe that will keep your journey thriving.
They call us “one of Santa Fe’s most experimental gallery spaces,” which is just what we’re aiming to be! Some of our other favorite places on the list include SITE Santa Fe, Currents New Media Festival, Opuntia, Tonic, Paloma and, of course, MEOW WOLF! Browse the whole list here, and we’ll see you in Santa Fe this summer!
We’ve added Sunday hours for the summer! From June 24 through August 26, stop by the gallery on Sundays from 12 to 4 pm. That’s in addition to our regular hours: Tuesday to Saturday, 10 am to 5 pm.
Happy July! We’re excited to share this lovely review of our Inner Orbit exhibition by Chelsea Weathers in The Magazine. The show explores cultural or personal visions of space, so Chelsea started her review with a childhood memory:
For most people who aren’t astronomers or astrophysicists, outer space is a nebulous concept (no pun intended). How we relate to ideas like space-time, the Big Bang, and black holes often has more to do with our immediate material surroundings than with equations and formulas. My own experience of watching Halley’s Comet involves a strong memory of the vanilla-chocolate swirl ice cream cone my father bought for me when we waited to catch a glimpse of it—a moment that I don’t remember at all. On one hand, my childhood mind grasping at quotidian details reflects an inability to comprehend the enormity of outer space. Then again, everyday human life is inextricably connected to our conceptions of the universe in ways that aren’t always grandiose. I understand the rarity of Halley’s Comet because I remember that ice cream cone.
Jaydan Moore‘s solo exhibition DUST opens tonight (Friday, 6/29, 5-7 pm), coinciding with our special reception Introducing Robin Waynee & Ryan Roberts. Jennifer Levin of Pasatiempo covered Moore’s show in a gorgeous piece titled “Fragmentary Masterpieces.” Check out a tidbit below, and make sure to read the whole article in print or online.
Moore holds a master of fine arts degree from the University of Wisconsin – Madison and teaches at Virginia Commonwealth University. An exhibition of his work, DUST, opens at Form & Concept on Friday, June 29. “I like to think of these silver-plated platters as having three weird little histories, or little lies,” he said. “The platters were mass-produced, made to look like they were from the 1800s—made to look old even though most of the stuff I use is from the 1940s through the 1980s. Then, there is the silver-plated material, which is usually brass or copper. This is the platter trying to look more valuable than it really is. Thirdly, there is the wear, the care thing. Some people polish or clean it all the time, and that can be an image of the value it had to them.”
Levin’s piece ends with this dazzling quote from Moore:
“I’ve been thinking about the show title and reading about dust—about how it’s this slow accumulation of everything. You don’t notice it until it’s built up over time, and it’s something we are always trying to clean and change. But dust is valuable because it contains the environment that it is in. Dust is everything that has happened.”
We’ll see you tonight from 5 to 7 pm! Make sure to RSVP on Facebook to show your support.
We’re honored to announce that internationally renowned jewelry designers Robin Waynee and Ryan Roberts are form & concept’s newest represented artists. The couple has worked side-by-side since 1997, and though they strongly influence each other, they maintain separate practices and bodies of work. They’ll present new designs at the special event Introducing Robin Waynee & Ryan Roberts on Friday, June 29 from 5 to 7 pm.
Robin Waynee learned at an early age how creativity and hard work can lead to fulfillment. A member of the Saginaw Chippewa Tribe, Robin was born and raised in Mio, Michigan along with six siblings. Following her family to Santa Fe, New Mexico in 1991, and continuing to work in the family business of custom furniture making, Robin began designing her own pieces and pursued woodworking for several years.
After meeting local jeweler Ryan Roberts in 1997, Robin became inspired by his work and discovered a burning desire to create jewelry. Her wide range of jewelry styles, creative choices of precious stone and metal combinations and anodizing schemes, along with her careful selection of quality materials and attention to detail make Robin’s jewelry highly sought after by the discriminating collector and devotee of exclusive fine jewelry.
Born in the small village of Chimayo in Northern New Mexico, Ryan was raised in a family in which almost everyone is an artist. When he was a young teen, Ryan lived in Hawaii for a year, where he spent time with his aunt Gayle Bright, a talented sculptor and jewelry designer. Seeing the skill and care with which she made her art inspired him, and he began to cultivate a love and appreciation of jewelry making which would lead him to his life work.
Upon returning home to New Mexico, just after his 16th birthday, Ryan secured an apprenticeship at a local jeweler’s studio. By the age of 19, Ryan was hired by one of Santa Fe’s most talented local jewelers, Mario Chavez. In this environment, the young artist was exposed to an expanded array of complex tools and techniques. Ryan’s reputation grew as one of the finest jewelers in Santa Fe. Later, Ryan met the only person he had ever taken as an apprentice: his future wife, Robin Waynee. The two would both go on to become interationally celebrated jewelers.
Friday, June 29th, 5-7 pm
Internationally renowned jewelry designers Robin Waynee and Ryan Roberts are form & concept’s newest represented artists. The couple has worked side-by-side since 1997, and though they strongly influence each other, they maintain separate practices and bodies of work. They’ll present new designs at this special event, coinciding with the debut of Jaydan Moore’s solo exhibition Dust.
Jaydan Moore comes from a long line of California tombstone carvers, which might explain his obsession with the concept of commemoration. “The trade goes back four generations,” says the Virginia artist. “I grew up watching people make accommodations for loved ones, and turn their history into an object.” About six years ago, Moore began collecting silver-plated tableware to use as a raw material for intricate sculptures.
By reshaping these culturally loaded objects, he turned them into vessels for his ideas about memory and material culture. In a new solo exhibition at form & concept, Moore manipulates scrap metal from previous artistic experiments to flip his conceptual universe on its head. “What are the stages of forgetting?” he asks. Dust opens on Friday, June 29 from 5 to 7 pm, with an artist talk on Saturday, June 30 from 2 to 3 pm.
Moore earned his BFA in jewelry and metal arts from California College of the Arts. In graduate school at the University of Wisconsin—Madison, he started sculpting tableware because the material seemed like a strong proxy for memory. “Metal feels tough, but it actually has so much malleability,” Moore says. “It’ll take on dings and scratches and patinas, holding ‘recollections’ of experiences it’s been through.”
He imagined that the heirlooms were still connected to the people who once owned them, and that he could preserve these delicate biographical threads through his sculptures. In a concurrent series of intaglio prints, he recorded the patterns and marks on the platters before chopping them up. “The works on paper were initially just to document what I had found, and those last traces of whoever owned it before me,” he says. “I thought of it as the shadow of somebody.”
Moore graduated with his MFA in 2012, and continued using the tableware as a sculptural medium. Six years on, Moore is an adjunct faculty member at Virginia Commonwealth University. His thoughts about how metal holds meaning have shifted considerably. “For so long, when I was making stuff I always thought there was this living memory in things, that I could feel the person before,” he says.
Lately he’s taken an interest in the way personal significance fades when an object changes hands. Moore realized that the clues he’d been following in the tableware said more about him than their previous owners. He developed an interest in the fragments of metal that were left behind in his studio. “I do so much conglomeration and cutting, so tons of material ends up in the scrap pile,” says Moore. “The earlier series was about the memory that endures, so maybe these scraps could speak to that slow deletion.”
Dust features sculptures made from the glittering shards that landed on Moore’s cutting room floor. In his past work, the artist has taken pains to leave the flawed surfaces of the tableware relatively untouched. “In this series, I’m letting my own personal narrative of how I connect with the material be much more a part of what the viewer sees, or how I talk about it,” Moore says. “My fingerprints are now becoming patina marks on all of this.”
The exhibition also includes a new series of intaglio prints that show intricate tableware patterns fading away. Despite his recent meditations on memory’s decay, Moore can’t fully shake his earlier idea of objects as reliquaries of experience. “The child from the tombstone family believes that there is still this memory in there,” Moore says. “We wouldn’t still be talking about how much objects have a hold on us unless there was something deeply invested in it.”