Glade Gallery | Art Gallery in The Woodlands, Texas
Profiling artistic practices bound against the conventions of figurative art, Glade Gallery highlights the diversity within contemporary art and fuels the synergy that describes the creative exchanges between American and European art today. Bringing together outstanding artists of diverse generations and genres, the gallery gathers around the various modes of representation that have come to define figurative art in recent decades, as well as affirming its enduring urgency. Reflecting upon the resonances of the multifaceted contemporary art, Glade Gallery intends to unfold new approaches to the creative act, ultimately offering both the artists and the public the preferred landscape in the building of greater future scenarios. It’s said that art is being free from all world’s heaviness. For me, art has always been an escape from the hectic, stressful everydayness and nevertheless a constant interest because of my artistic background. Art is a reason to travel and at the same time it has the capacity to bring the world to you. And this is what I intend to do at Glade: bring high quality European / international art to Texas.
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Peter Demetz

A THOUSAND MORNINGS – PETER DEMETZ & KAREL APPEL

Curator: Denise Radulescu

A Thousand Mornings is an exhibition about asking. Ourselves, through art.

And there are two main tracks set for finding the right questions, rather than actual answers. One would be the general inquiry on memory. What are these personal constructions, and how is our individual history used rhetorically and representationally? The other subject is the identity fabric within a given narrative—be it ours, or outside us.

Thinking about memory we always face the problem of objective and subjective knowledge, of dividing between our identity and the larger context. In art, it is perhaps more productive to acknowledge the world as always unfinished—as a narrative field where we can allow the discourse to dissolve into relativism.

The works in this exhibition display stories that use memory to give form to the relationship we all have with the everyday, in a certain “domestic archaeology.” The way we relate to the exterior world and our identity are explored by Peter Demetz through a series of metaphorical questions.

Another principle in this dramatic construction is the use of breakage, the contrast and the contradiction that articulate the show. One of the reasons for which the show includes the works of Karel Appel is this particular turnoff that his works engender. In this case, it is about marking an aesthetic disrupt while discovering the conceptual bridges that link both artists.

The energetic, un-contained Appel floods his canvases with psychotic representations of a de-constructed environment, commenting upon the human condition. Aside from a similar approach to space, Appel’s chromatic madness is based on the same understanding of bright light, and its contribution to cognitive processes.

the phonecall laterale
The phone call / 2016
Linden wood, acrylic, LED / 70 x 60 x 19,5 cm