KalosEidos October 2010
Color | Beauty |Form
Curated by: Anna SolcaniovaKing
Color | Beauty |Form
Curated by: Anna SolcaniovaKing
Kalos Eidos
Artworks by:
Julianna Paradisi
The seriesFrom Cradle to Grave: The Color White depicts the ritual use of the colorwhite in the life of a woman in western culture; another series considersthe iconography of call lights.
NatashaBacca
"I began exploring the concept of literally writing with light. Ideveloped various methods of painting using light on photosensitive paperand designed a tool for this purpose."
Jaquiline Kari Bos
Her works on paper explore narrative themes,usually inspired by folklore and myth.
Leah Pellegrini
"Glass mobiles are a pleasure in my life."
“The highlights of the four-person show Kalos Eidos (Color/Beauty/Form) are the haunting paintings of Julianna Paradisi. The artist takes on the color white, normally associated with purity and nobility, and coaxes the creepiness out of it. Her eerie children in christening outfits, brides with empty eyes, and downright scary nurses in white uniforms are deeply unsettling. The fact that Paradisi is herself a registered nurse adds an additional layer of autobiography and ambiguity to the work.”
by Richard Speer for WW
Artworks by:
Julianna Paradisi
The seriesFrom Cradle to Grave: The Color White depicts the ritual use of the colorwhite in the life of a woman in western culture; another series considersthe iconography of call lights.
NatashaBacca
"I began exploring the concept of literally writing with light. Ideveloped various methods of painting using light on photosensitive paperand designed a tool for this purpose."
Jaquiline Kari Bos
Her works on paper explore narrative themes,usually inspired by folklore and myth.
Leah Pellegrini
"Glass mobiles are a pleasure in my life."
“The highlights of the four-person show Kalos Eidos (Color/Beauty/Form) are the haunting paintings of Julianna Paradisi. The artist takes on the color white, normally associated with purity and nobility, and coaxes the creepiness out of it. Her eerie children in christening outfits, brides with empty eyes, and downright scary nurses in white uniforms are deeply unsettling. The fact that Paradisi is herself a registered nurse adds an additional layer of autobiography and ambiguity to the work.”
by Richard Speer for WW
