Richard Heller Gallery
is pleased to present Thin Skinned, Andrew Sendor's
first exhibition with the gallery, and his
solo debut on the west coast of the United States.
For the past six years, Sendor
has been deeply involved with a painting practice that investigates both the potential and the limitations of representational painting.
paintings have evolved both materially and conceptually, the motivation behind the work has always been characterized by a profound fascination in how ideas and images are mediated through the language of painting.
This recent body of work, which Sendor
created in Madrid, Spain, where he
currently lives, is a progression of uncanny hypothetical situations presented in the form of intimately sized, highly skilled oil paintings.
intelligently navigates his
way through a web of delicate topics, such as the tenuous boundaries between the sacred and the profane, between religious faith and philosophical inquiry, all within a pictorial space that is clearly his
Thin Skinned features paintings that portray videos, photographs, paintings, sculptures, and, absurdly, human-beings-as-art within the walls of museum and gallery spaces.
This unexpected contextualization of the figure, mysteriously frozen in a taxidermy form on pedestals, at once adopts a monumental status and undermines accepted notions about what Art is, or what Art can be.
While the depicted characters are ostensibly functioning as the subjects, it is the setting in which they are found, in and amongst appropriated artworks, that generates the questions embedded in Sendor's ambitious painting project.
Exploring the role of the painter becomes a multifaceted endeavor for Sendor
straddles the vernaculars of historical genres and contemporaneous methodologies in painting, from nineteenth-century portraiture to photorealism.
As Jasper Sharp eloquently states, "Sendor
does not set out with the express intent to revise painting.
Andrew Sendor was born in New York and currently lives and works in Madrid, Spain.
has studied at Pratt Institute
, NY, as well as in Australia.
Caren Golden Fine Art is pleased to present "Based on a True Story," Andrew Sendor's
third solo exhibition with the gallery.
considers the historical function of the act of painting as a mimetic device, a means of expression, and an agent of desire.
recent work is born of difficult questions and complex ideas, Sendor's provocative imagery evokes a more visceral reaction from the viewer.
Exquisitely rendered and improbably seductive, these disquieting compositions thrive on the same attraction-versus-repulsion dynamic that activated the work of such painters as Goya, Courbet and Bacon.
extends these socio-psychological dialogues and continues to test the experiential limits of representational painting.
Supplementing the paintings, and adding to the philosophical discussion, Sendor
introduces a new series of drawings.
Executed on antique paper with such visible signs of age as oxidation, water stains and in some instances mildew, the ambiguities presented in these works disrupt any clear determination of authorship, authenticity or chronology.
Thus, the ontological discussion comes full circle back to the paintings, as Sendor's
voice alternates between describing a fictional or a contingent scenario and the impartial documenting of an actual event.
lives and works in NYC.
work has been featured in museum exhibitions including "Phantasmania
" at the Kemper Museum of Art
in Kansas City, MO, "MAD LOVE" at the Arken Museum of Modern Art
in Copenhagen, Denmark, and "XS-Size Matters" at the Hudson Valley Center for Contemporary Art, which traveled to the Knoxville Museum of Art
in Knoxville, TN.
Justin Allen, Michael Houk, Josh Peters, Andrew Sendor
Is There More to Life Than Bread, Blood and Bicycles?
February 21-March 31, 2007
Reception: Saturday, February 24, 6-9 PM
Caren Golden Fine Art is pleased to present the exhibition Is There More to Life Than Bread, Blood, and Bicycles?, featuring new paintings by Andrew Sendor
second solo exhibition at the gallery, Sendor
has transformed the traditional white cube into a dimly lit, contemplative space, creating an almost sacred atmosphere that metaphorically weds the mysterious narratives within his
Enveloped in this unworldly aura, his
paintings exist not as independent, decontextualized objects, but more as sequential acts in a Romantic play or unfolding chapters in a Victorian novel, exploring the spiritual, the mystical, and the unknowable nature of the afterlife.
disquieting paintings portray demure, anonymous characters juxtaposed against vivid backdrops ranging from timeless and majestic landscapes to ethereal spectrums of transcendent light.
Often quoted from antique cartes-de-visite and cabinet cards, Sendor's figures are immaculately rendered in sharp, nearly photographic detail and deployed upon an even more pristine support of Plexiglas.
Large sections of the highly polished surfaces are frequently left unpainted, allowing the reflective areas to function like secret portals that mirror and incorporate the viewer's presence.
At the same time, these windows encourage a contemplation of the history of technological advancement, from the mythology surrounding photographic "truth" and the camera's ability to capture the soul, to the innumerable and mind-bending uses of manufactured plastics.
expresses an ethnographic curiosity in the visual taxonomies of various people, places, and periods, combining and collapsing them to create otherworldly realms that bridge the spiritual and the material.
has literally turned a corner in his
practice of painting, when looking at the piece entitled, I use the term, Struggle for Eternal Existence, in a large and metaphorical sense, including dependence of one being on another, and including (which is more important) not only the life of the individual, but success in leaving progeny, working with two planes of highly reflective black Plexiglas joined together at a right angle.
Rather than merely glorifying the essence of a specific person, Sendor
has created a portrait of humanity, at once calling attention to our biological makeup and the psychological roller coaster characteristic of the much explored topic of the human condition - the positive and negative aspects of existence as a human being, especially the inevitable events such as birth, childhood, adolescence, love, sex, reproduction, aging and death.
was the subject of a ten page article, (with cover illustration), in the May/June, 2006 issue of Art Premium magazine
work is currently on view in the Salon Nouveau exhibition at the Engholm Engelhorn Galerie
in Vienna, Austria and will be featured in the Phantasmania
exhibition at the Kemper Museum of Contemporary Art
in Kansas City this summer.
In the Fall of 2007 Sendor's work will be presented in a solo exhibition at Mogadishni Gallery
in Copenhagen, Denmark.
Caren Golden Fine Art is pleased to announce Andrew Sendor's
Glossy and pristine, Sendor's
oil paintings on Plexiglas are uncanny scenes which question man's superiority over beast in a bizarre juxtaposition of civilization and chaos.
exposes the tensions between the material world and the spiritual world, employing historical imagery to reveal what lies behind our horological illusion of progress- the shadows, the dark; the unseen forces at work within our fragile notions of civilization.
The ghostly countenances of children dressed in Victorian finery stare out from wilderness scenes, comfortably at home
beside wild animals, challenging our notions of animal instinct versus cultivated behavior.
Could it be that inside us, lying in wait behind our flimsy conformity to an all-pervading materialism, is the uncanny and elusive "other" - that beautiful animal that holds sway over our unconscious?
Sendor's other-worldly characters expose the shortcomings of civilization and the alarming plasticity of tradition.
Both in his
subject matter and use of materials, Andrew Sendor
confronts both philosophic and painterly traditions, subtly deconstructing the idea of ritualization, rebuilding it with a fresh and intriguing vocabulary.
Elements of the foreground and background of Sendor's
paintings are exposed Plexiglas, contrasting with the elaborate painted surfaces.
The artificiality of the Plexi only serves to reinforce the strange connections the artist has drawn between the real and unreal.
This unique process casts an eerie shadow over Sendor's
already complex dialectic between materialism and naturalism.