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55 Orchard Street, New York, New York 10002 212 989 5467
 
 

Step by Step
February 22 - March 26, 2023



This group exhibition features four artists who employ accretive processes to make their work: Austin Ballard, Ron Janowich, Jim Osman, and Raymond SaŠ.
 
Austin Ballard constructs his sculptures using woven caning derived from the rattan palm, and colored epoxy clay. The clay is extruded through the natural webbing of the rattan, creating overall patterns that enliven his surfaces with a textile character. The rattan is cut into irregular shapes and pieced together incrementally without the use of an interior mold. The resultant torquing, curving and arcing sculptures reference the body, talismans, as well as forms from nature such as augmented scholar's rocks.
 
Ron Janowich's abstract drawings are made with silverpoint and powdered graphite on clay-coated paper.† The silverpoint line is essentially etched into the ground. As the medium is unforgiving and a mark cannot be erased or altered, each mark of the artist's hand is permanent and must be done deliberately.† In this series of drawings, the artist slowly and carefully weaves a space both shallow and physical through the careful accumulation of a variety of cross-hatched marks and directional lines.† Powdered graphite is rubbed into the silverpoint base and burnished until a metallic sheen is produced, creating reflective surfaces in works that share both a totemic physicality and a shimmering ephemeral quality.
 
The perception of space and the built world are explored in Jim Osman's additive constructions in wood.† Using a full range of wood species, from lowly pine to elegant walnut, including off-cuts, found logs, and bark, Osman pieces together discrete and irregular elements with a variety of fasteners, glues, and joinery to create playful and sophisticated sculptures.† All are polychromed to some degree, with the addition of color imparting movement and depth to the work. Translucent color washes enhance the natural wood grain in some elements while flatly painted areas highlight geometric facets of the forms. The sculptures fluidly shift scale between literal, physical objects, and the suggestion of both architectonic spaces and theatrical environments.
 
Raymond SaŠ uses an intuitive, accumulative process in the creation of his painted paper collage drawings.† He begins his process by painting sheets of paper with gouache, then spending days cutting them into irregular, random shapes with an X-Acto blade. †Using the cut forms as well as the negative shapes in the left-over paper, he arranges small groupings. †Once a pleasing composition has been created, the shapes are sewn onto postcard-sized pieces of card stock. After SaŠ amasses between 40 and 60 cards, he assembles them into a larger composition.† Cards are sewn together, overlapping one another like shingles from the bottom up, resulting in extensive, energetic drawings with complex internal rhythms and a multitude of lively patterns in vibrant colors.
 
  Austin Ballard, Dappled Dune 16 (Canary and Kobicha with White on Palm)
Austin Ballard
Dappled Dune 16 (Canary and Kobicha with White on Palm), 2021
Cane webbing, dye
and epoxy clay
23 x 17 x 15 inches


Austin Ballard, Dappled Dune 16 (Canary and Kobicha with White on Palm) 2nd view
Austin Ballard
Dappled Dune 16 (Canary and Kobicha with White on Palm), 2021
Cane webbing, dye
and epoxy clay
23 x 17 x 15 inches
2nd view
Austin Ballard, Clenched Palm (Canary and Cadmium Flow)
Austin Ballard
Clenched Palm (Canary and Cadmium Flow), 2021
Cane webbing and epoxy clay
20 x 20 x 16 inches




  Austin Ballard, Clenched Palm (Canary and Cadmium Flow) 2nd view
Austin Ballard
Clenched Palm (Canary and Cadmium Flow), 2021
Cane webbing and epoxy clay
20 x 20 x 16 inches
2nd view


Austin Ballard, Clenched Palm (Canary with Gradients of Phthalo Blue and Timber)
Austin Ballard
Clenched Palm (Canary with Gradients of Phthalo Blue and Timber), 2021
Cane webbing and epoxy clay
23 x 23 21 inches


Austin Ballard, Clenched Palm (Canary with Gradients of Phthalo Blue and Timber) and view
Austin Ballard
Clenched Palm (Canary with Gradients of Phthalo Blue and Timber), 2021
Cane webbing and epoxy clay
23 x 23 21 inches
2nd view

  Austin Ballard, Clenched Palm (Widow and Oyster with Diluted Timber)
Austin Ballard
Clenched Palm (Widow and Oyster with Diluted Timber, 2023
Cane webbing and epoxy clay
20 x 21 x 25 inches


Austin Ballard, Clenched Palm (Widow and Oyster with Diluted Timber)2nd view
Austin Ballard
Clenched Palm (Widow and Oyster with Diluted Timber, 2023
Cane webbing and epoxy clay
20 x 21 x 25 inches
2nd view
Austin Ballard, Clenched Palm (Widow and Oyster with Diluted Timber)3rd view
Austin Ballard
Clenched Palm (Widow and Oyster with Diluted Timber, 2023
Cane webbing and epoxy clay
20 x 21 x 25 inches
3rd view
  Austin Ballard, Clenched Palm (Widow and Oyster with Diluted Timber)4th view
Austin Ballard
Clenched Palm (Widow and Oyster with Diluted Timber, 2023
Cane webbing and epoxy clay
20 x 21 x 25 inches
4th view
Austin Ballard, Clenched Palm (Widow and Oyster with Diluted Timber)detail view
Austin Ballard
Clenched Palm (Widow and Oyster with Diluted Timber, 2023
Cane webbing and epoxy clay
20 x 21 x 25 inches
detail
Ron Janowich, Untitled #1
Ron Janowich
Untitled #1, 2015
Silverpoint and graphite on clay coat paper
17 3/4 x 13 7/8 inches

  Ron Janowich, Untitled #2
Ron Janowich
Untitled #2, 2015
Silverpoint and graphite on clay coat paper
17 3/4 x 13 7/8 inches

Ron Janowich, Untitled #3
Ron Janowich
Untitled #3, 2015
Silverpoint and graphite on clay coat paper
17 3/4 x 13 7/8 inches

Ron Janowich, Untitled #4
Ron Janowich
Untitled #4, 2015
Silverpoint and graphite on clay coat paper
17 3/4 x 13 7/8 inches

  Ron Janowich, Untitled #5
Ron Janowich
Untitled #5, 2015
Silverpoint and graphite on clay coat paper
17 3/4 x 13 7/8 inches

Jim Osman, Walk
Jim Osman
Walk, 2023
Wood and paint
42 x 15 1/2 x 9 inches

Jim Osman, Walk, 2nd view
Jim Osman
Walk, 2023
Wood and paint
42 x 15 1/2 x 9 inches
2nd view
  Jim Osman, Wave
Jim Osman
Wave, 2023
Wood and paint
11 x 13 1/4 x 11 inches
Jim Osman, Wave 2nd view
Jim Osman
Wave, 2023
Wood and paint
11 x 13 1/4 x 11 inches
2nd view
Jim Osman, Eave
Jim Osman
Eave, 2022
Wood and paint
8 1/4 x 7 x 7 1/2 inches
  Jim Osman, Eave 2nd view
Jim Osman
Eave, 2022
Wood and paint
8 1/4 x 7 x 7 1/2 inches
2nd view
Jim Osman, Court
Court, 2022
Wood and paint
4 1/4 x 7 x 2 3/4 inches
Jim Osman, Court 2nd view
Court, 2022
Wood and paint
4 1/4 x 7 x 2 3/4 inches
2nd view
  Jim Osman, Pink Door
Jim Osman
Pink Door, 2022
Wood, paint and bark
7 3/4 x 11 x 6 inches
Jim Osman, Pink Door 2nd view
Jim Osman
Pink Door, 2022
Wood, paint and bark
7 3/4 x 11 x 6 inches
2nd view
Raymond SaŠ, Untitled SBS10001
Raymond SaŠ
Untitled, 2022
Gouache collage on sewn paper
31 x 27 inches
  Raymond SaŠ, Untitled SBS10003
Raymond SaŠ
Untitled, 2022
Gouache collage on sewn paper
32 x 40 inches
Raymond SaŠ, Untitled SBS10002
Raymond SaŠ
Untitled, 2022
Gouache collage on sewn paper
32 1/2 x 28 1/2 inches
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55 Orchard Street, New York, New York 10002 212 989 5467
email info@mckenziefineart.com