It was literally the wreck of jewels and the crash of gems…
June 28 - August 17, 2018
Kate Newby and Daniel Rios Rodriguez
You do not have to be good. / You do not have to walk on your knees / For a hundred miles through the desert, repenting. / You only have to let the soft animal of your body / love what it loves. / Tell me about your despair, yours, and I will tell you mine. / Meanwhile the world goes on. / Meanwhile the sun and the clear pebbles of the rain / are moving across the landscapes, / over the prairies and the deep trees, / the mountains and the rivers. / Meanwhile the wild geese, high in the clean blue air, / are heading home again. / Whoever you are, no matter how lonely, / the world offers itself to your imagination, / calls to you like the wild geese, harsh and exciting - / over and over announcing your place / in the family of things. 
Nicelle Beauchene Gallery is pleased to announce It was literally the wreck of jewels and the crash of gems..., a two-person exhibition by Kate Newby and Daniel Rios Rodriguez. Exhibiting together for the first time, the artists explore ways their practices intersect and diverge with a shared focus on the fundamental elements of making—movement, repetition, and time—and a reverence for materiality.
Using discarded and organic materials gathered during walks in the San Antonio River Valley where he lives, Rodriguez incorporates shells, feathers, old rope, and scraps of wood into his assemblages. The shaped panels form idiosyncratic mountain ranges and riverbeds, each delicate tableau reflects and refracts the artist’s surroundings.
In It was literally the wreck of jewels and the crash of gems..., Rodriguez uses found materials that have been soaked, sun drenched, and eroded by wind or water, while Newby uses tools to manufacture a weathered appearance. For the artists, this serves as an attempt to reintegrate their creations into the natural world and to document their visual landscapes. The patina of the sun and rain is a story. The smoothed surface of a stone is a record of time.
Newby’s installations and works in glass, ceramic, brick, and rope respond to, interact with and disrupt their environment. She recontexualizes utilitarian materials in carefully considered vignettes, drawing inspiration from the intersections of nature and the manufactured. Each work is composed through an amorphous, gradual process of building and erasure.
Daniel Rios Rodriguez (Born in Killeen, TX, 1978) lives and works in San Antonio, TX. He received his MFA from Yale in 2007. His work is currently on view in Right Here, Right Now: San Antonio, curated by Dean Daderko with Patricia Restrepo, Contemporary Arts Museum Houston, TX. Recent solo exhibitions include Cooper Cole, Toronto (2017); Lulu, Mexico City (2016); Western Exhibitions, Chicago (2016); McNay Art Museum, San Antonio (2015); White Columns, New York (2011). Recent group exhibitions include Galeria Fortes D’aloia & Gabriel, São Paulo, Brazil (2017), Hannah Hoffman Gallery, Los Angeles (2016); Martos Gallery, New York (2013); Wilkinson Gallery, London (2015); Roberts & Tilton Gallery, Los Angeles (2015). The artist is a 2013 recipient of a Louis Comfort Tiffany Foundation Award.
Kate Newby (b. 1979, Auckland, New Zealand) lives and works in Brooklyn, NY. She received her DocFA and MFA from the Elam School of Fine Arts, University of Auckland. Recent solo exhibitions include the The Sunday Painter, London (2018); Kunsthalle Wien, Vienna (2018); Artpace, San Antonio (2017); Cooper Cole, Toronto (2016); and Lulu, Mexico City (2014). Recent group exhibitions include the 21st Biennale of Sydney, Sydney (2018); Aspen Art Museum, Aspen (2018); Index - The Swedish Contemporary Art Foundation, Stockholm (2017); SculptureCenter, New York (2017); Marianne Boesky, New York (2015); and Arnolﬁni, Bristol (2014). The artist has undertaken residencies at The Chinati Foundation, TX (2017), Artpace, TX (2017) and Fogo Island (2013).
Right Here, Right Now: San Antonio participating artists include: Albert Alvarez, Richard Armendariz, Julia Barbosa Landois, Christie Blizard, Sarah Castillo, Lisette Chavez, Adriana Corral, Ana Fernandez, Audrya Flores, John Hernandez, Diana Kersey, César Martínez, Michael Martínez, Martha Mood, Katie Pell, Chuck Ramirez, José Luis RiveraBarrera, Daniel Rios Rodriguez, and the duo of Britt Lorraine and Kristy Perez known collectively as Saintlorraine.
The exhibition will be accompanied by a full complement of all-ages programs, including live performances by participating artists, public dialogues, hands-on workshops, and tours. To see a full schedule of these events, please visit CAMH.ORG.
Right Here, Right Now: San Antonio will be accompanied by a full-color catalogue with an introduction by Director Bill Arning and and essay by Curator Dean Daderko. Produced by Houston-based design team A Civil Fox, the catalogue contains reproductions of artworks, a checklist, and biographic information on each artist. The catalogue will be available when the exhibition opens to the public on April 27, 2018.
*Represented by Nicelle Beauchene Gallery, NYC
NADA Miami / December 7–10, 2017
Ice Palace Studios / 1400 North Miami AvenueMiami, FL 33136
Dates & Times
VIP Preview by Invitation: Thursday, December 7, 10am–12pm
Opening Preview by Invitation: Thursday, December 7, 12–2pm
Open to the Public: Thursday, December 7, 2–7pm / Friday, December 8, 11am–7pm / Saturday, December 9, 11am–7pm / Sunday, December 10, 11am–5pm
For inquiries please call 212-594-0883 or email firstname.lastname@example.org
Daniel Rios Rodriguez: Solo Show
Opening reception: Friday July 21 2017, 6-9pm
COOPER COLE is pleased to present a solo exhibition by Daniel Rios Rodriguez, the artists first exhibition in Canada.
For this exhibition, Rodriguez will present a new series of mixed media canvas works alongside a graphite drawing. Rodriguez’s constructivist approach to image making employs a unique combination of found material and impasto paint application on an intimate scale. By reconstructing the formal elements of art production, these artworks act as explorations of traditional painting subjects such as the still life, landscape, memento mori, and autobiographical narratives. Rodriguez’s assemblages embody a unique surrealist sensibility and hold a certain weight emblematic to that of a talisman or totem.
Daniel Rios Rodriguez (Born 1978, Killeen, Texas, USA) received his MFA from Yale in 2007 and is a 2013 recipient of a Louis Comfort Tiffany Foundation Award. Rodriguez has exhibited in solo and group exhibitions at Nicelle Beauchene, White Columns, Martos Gallery, New York, Hannah Hoffman Gallery, Roberts & Tilton Gallery, Los Angeles, McNay Art Museum, San Antonio, USA; Lulu, Mexico City, Mexico; Galeria Fortes D’aloia & Gabriel, São Paulo, Brazil. Rodriguez lives and works in San Antonio, USA.
For more information please contact the gallery:
Hannah Fitz, Áine McBride, Daniel Rios Rodriguez, Marcel Vidal
7th July - 26th August 2017
OPENING RECEPTION: Thursday 6 July, 6-8pm
EXHIBITION CONTINUES: 7 July - 26 August
Kerlin Gallery is delighted to present an exhibition by Hannah Fitz, Áine McBride, Daniel Rios Rodriguez and Marcel Vidal. Each of these artists will be exhibiting at Kerlin Gallery for the first time. The exhibition will open with a reception on Thursday 6 July.
Hannah Fitz (b. 1989, Dublin) works predominantly with sculpture and video, making groups of objects that collectively build and break down basic formal identities. Her sculptures often represent familiar or domestic objects, rendered in such a way that reveals their artifice – rejecting sleekness or ‘finish’, they are instead articulated by curling lines and uncertain ‘wobbles’. Painted in different shades of the same murky yellow, as if bathed in the same light, the objects in this exhibition are given a uniformity that unsettles and excludes the viewer. They appear to co-exist in a universe that omits us, reflecting back a familiar yet uneasy version of the world: cigarette smoke curls upwards from an ashtray, suspended in space; a small horse either springs into or is frozen in action. These ambiguous sculptural forms appear suspended in time, acting more like a photograph or drawing than a sculpture.
Áine McBride (b. 1987, Co Donegal) graduated from NCAD in 2016. Her sculptures formally reference domestic, urban and commercial motifs and imagery. The works use photographs of the built environment as their starting point, but undergo various processes of transformation to become fully abstracted sculptural forms. For this exhibition, McBride is creating an L-shaped partition wall with ceramic feet, creating a temporary barrier within the space, alongside smaller works using wood, cast concrete and fired ceramics. McBride’s sculptures embrace open-endedness, deliberately assimilating aspects of their visual landscape and creating an ambiguity between where the sculpture ends and its context begins. She recently completed a site-responsive exhibition in Trinity College’s Arts Block as part of the Douglas Hyde Gallery’s off-site programme.
Daniel Rios Rodriguez (b. 1978, Killeen, Texas) makes semi-figurative paintings that combine images from nature with fantastical visions. The artist works to a small scale, building coarse layers of impasto upon homemade wooden panels in irregular shapes. Often these assemblages bear impromptu frames, built by the artist with frayed strips of rope, nails or copper wire, or introduce a collaged element with found organic detritus – stones, shells, ears of wheat. Rios Rodriguez’s paintings provide an abstracted version of the artist’s personal experiences, and filter the traditional genres of still life, landscape and memento mori through the cosmic lens of American folk art. Though European Modernism and Old Masters inform his work, the artist looks equally towards figures outside of the accepted ‘canon’ of western art history, like the visionary Texan painter Forrest Bess.
Rendered with traditional techniques, the paintings of Marcel Vidal (b. 1986, Dublin) possess a surface beauty, but withhold just enough information to induce an atmosphere of unease: faces are obscured; flowers recoil away; unidentified persons are shielded from our gaze. The paintings find a more disruptive counterpoint in Vidal’s sculptures – plinth-like forms on castor wheels, painted/spraypainted black and bolted together with zinc-plated coach screws. Framed black and white watercolours are attached to the plinths with bitumen tape while messy, volatile assemblages sit on top; built from strips of wood, expanding foam, fur pelts and deer hooves, they appear to claw for the air around them. These two intertwining and opposing stands of Vidal’s practice, painting and sculpture, are in constant dialogue, elucidating a tension between reservation/expression, silence/noise, light/dark.
For further information, please contact Rosa Abbott, email@example.com.
Daniel Rios Rodriguez
April 21, 2017 - May 21, 2017
Nicelle Beauchene Gallery is thrilled to announce Controlled Burn, the gallery’s first solo exhibition with San Antonio-based artist Daniel Rios Rodriguez.
Rodriguez’s modest scale canvases reconfigure abstraction as symbolic, esoteric explorations that consider landscape, still life painting and vanitas iconography as themes and associations within his practice. Combining the formal austerity of Constructivism with the mystical elements of Surrealism, the artist’s intimate constructions gesture toward something beyond a physical reality. Through their abstruse narratives, the works express reverence for other art forms such as theater, literature, and film.
Incorporating and encoding cast off or discarded materials found on daily walks taken in and around the San Antonio River Valley — feathers, rope, wood, shells, river rocks— into his miniature tableaux, Ro- driguez’s semi-abstract compositions become autobiographical investigations where memory and nostalgia become a condition of his practice. Loaded with symbolic meaning and emotional content, these subversive assemblages echo and reflect the functionality of talismans or amulets.
The title of the exhibition, Controlled Burn, refers to Rodriguez’s variety of formal experiments — burning, cutting, etching— that test both the surface and the structure of his works. The physicality of his process can be seen in the roughly hewn artist-made frames as well as the careful application of feathers and other delicate objects. Contextually elusive and self-aware, Rodriguez’s canvases defy traditional painting practices, evolving into a territory all its own.
Daniel Rios Rodriguez (Born in Killeen, TX, 1978) received his MFA from Yale in 2007. He lives and works in San Antonio. Recent solo exhibitions include Lulu, Mexico City; Western Exhibitions, Chicago; White Columns, New York.; McNay Art Museum, San Antonio. Recent group exhibitions include Galeria Fortes D’aloia & Gabriel, São Paulo, Brazil, Hannah Hoffman Gallery, Los Angeles, Martos Gallery, New York; Wilkinson Gallery, London; Roberts & Tilton Gallery, Los Angeles. Additionally, Rodriguez has an upcoming solo project with Cooper Cole, Toronto (Summer 2017). The artist is a 2013 recipient of a Louis Comfort Tiffany Foundation Award.
Haris Epaminonda, Christina Forrer, Mohammad Ghazali, Youssef Limoud, Daniel Rios Rodriguez, Megan Rooney, Stéphanie Saadé, Augustas Serapinas
Curated by Samuel Leuenberger
13 April – 5 June 2017
Barbara Seiler is pleased to present Quiet, an exhibition dedicated to an artistic quest into introvert sensibilities. Curated by Samuel Leuenberger, the exhibition features works by Haris Epaminonda, Christina Forrer, Mohammad Ghazali, Youssef Limoud, Daniel Rios Rodriguez, Megan Rooney, Stéphanie Saadé and Augustas Serapinas and traces visual narratives that reveal an intimate and quiet presence and which demands a particular reflection.
Extroversion and introversion have always worked side by side in much the same way that they have invariably contested each other. One would assume that within our society extroverts are more socially accepted, or that introverts are less regarded. Susan Cain’s 2003 book Quiet: The Power of Introverts in a World That Can’t Stop Talking, from which the title of this exhibition derives, argues that modern Western culture dramatically undervalues the traits and capabilities of introversion and yet it is those quiet virtues that are advantageous and necessary. It is in this vein that this exhibition explores how such an inherent quality can manifest itself in an artistic inquiry and how the resulting artwork may be read, felt, and analyzed.
Each of the exhibiting artists share a sensibility that transcends by way of decoding their idiosyncratic visual language, forming a complexity that invites us to pause. The Egyptian artist Youssef Limoud’s made a new and site-specific installation; Geometry of the Passing encompasses a large part of the gallery space as we enter. Scattered fragments of architectural decay suggest a city that fell silent. We appear to be encircled by ruins, yet Limoud’s urban collage is under ongoing construction that evokes both memories of our destructing past and poses questions about an enduring future. Mohammad Ghazali equally reconstructs urban imagery in his Dredge Series, 2016. Inspired by his hometown Tehran he takes photographs of his surroundings and turns them into a series of objects with haptic nature. By hand-framing these small gelatin prints with layers of tape and handcoloured washes, Ghazali directs the gaze from the city’s public disorder or more neutral zones to a somewhat private, more erotic place. We are invited to pick up the seemingly scattered, yet precisely placed frames, and examine them closely
in our hands.
Disguising the past and at the same time uncovering the present are Stéphanie Saadé’s Golden Memories, 2015-17. The Lebanese artist conceals her own childhood photographs with a delicate layer of 24 carat gold, thus erasing slowly her own memory thereof. What has been rendered abstract now beautifully reflects one's own imagination, one's own values, an imagination that cuts through the aureate muteness. On the window sill of the gallery sits a vase with two white roses in it, a real one is co- inhabiting the same vessel as its plastic imitation, they are called Faux-Jumeaux and as the exhibition endures, the difference between them becomes evident. At first sight, something too seems absent, to be discovered in Haris Epaminonda’s work Untitled no11 a/y from 2016. A fragmentary archive of carefully assembled and found objects are connected with each other, a replica of a classical head on top of a plinth looks into the corner of a blue wall, a metal frame and a metal corner structure are placed alongside it on the floor, connections are generated offering a multitude of narratives to form a three-dimensional collage. Her metaphorical play turns space into a depository of time, merging past and present, the familiar and unusual.
Christina Forrer’s raw-woven portraits Dead Person, 2016 and Bride, 2016 concern ideas around birth, marriage, and death - events that are publicly recorded, yet bear an enduring personal significance. Her explorations into the texture of the warp and weft that pulls imagery in and out of shape, paired with the use of earthy pale-toned thread make for simplified facial expression and evoke an organic roughness. Both formal simplicity and colour palette can be recognized in Daniel Rios Rodriguez’ densely composed painting Ratibida Columnifera, 2015-16, painted, scratched and sitting in a frame with white painted nails protruding from it, as if to decorate the somber still life exterior case. The still-life requests a moment of contemplation, in silence, approximating the memento mori picture. While Forrer and Rios Rodriguez carry forth a quiet, almost spiritual sentiment, Canadian artist Megan Rooney’s collages, Someone Turn the Lights back on and Private Life in the bath with your mobile, both from 2017 are stirringly gestural. Populated by barely tangible human figures that seamlessly melt together in a visual language of soft pastel pinks, juicy peach, and pallid flesh, Rooney tells an array of stories as if her works were infused with words invisible. These invisible words reappear in form of a sound work entitled, Last Days, Last Days, Last Days from 2015, which the visitor can listen to over headphones whilst walking through the exhibit. Tying in with a refreshing sense of humor is Augustas Serapinas's The Ripper, 2016. A reconstructed swing stepper, bearing a three-piece candle holder, is made from an artwork previously discarded by Fine Arts students of the Estonian Academy of Arts in Tallinn. Socially engaging and performative, the object balances quite literally between functionality and uselessness. Do we dare working out?
The work of these eight artists reveals a shared sentiment that is intimate and private. This perception manifests in distinctive narratives, at times serious and thought provoking, at other times playful and witty. Their work demands our attention and we find ourselves reflecting rather than looking.