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Likkle Tings, Curated by Curtis Talwst Santiago
The New York Studio School presents Likkle Tings, an exhibition curated by Curtis Talwst Santiago, on view December 9, 2021 – January 23, 2022. Likkle Tings looks at contemporary artists engaged with small-scale works as a major and serious aspect of their practice. The exhibition title is derived from the Caribbean slang for Little Things. Including works by Lyndon J Barrois, Sr, Emma Bonnemaison, Susan Cianciolo, Christina Kenton, Maria Koubourli, Christian Quin Newell, Jill Orlov, Patrice Robinson, Anthony Santiago, Curtis Talwst Santiago and Alexander Richard Wilson.
Curator Curtis Talwst Santiago writes “For most of our existence, humans have made tiny charms and talismans to bring luck, health, to keep the gods or those we cherish close. They have travelled with us, lived close to our bodies, and hidden from view when necessary. They have encouraged knowledge transmission, blessing, and intimacy.
The artists in this exhibition transform materials into palm-sized monuments. A mix of emerging and established artists, Likkle Tings has no insiders or outsiders. They are unified in their exploration of small-scale art as a channel and challenge. Lean in close, crouch, kneel, zoom in on your phone, reorient yourself, and embrace the quiet intimacy of close looking.
I would like to thank each artist for trusting me, as well as a heartfelt thank you to Graham Nickson and the New York Studio School for all of the support in putting together this exhibition.”
Lyndon J Barrois, Sr
Christian Quin Newell
Curtis Talwst Santiago
Alexander Richard Wilson
About the Artists
Lyndon J Barrois
An AMPAS VFX Executive Branch member, Lyndon boasts a long career in art and animation. His ﬁlm credits include The Matrix Trilogy, Happy Feet, and The Thing, where he directed pivotal character animation sequences in those features. He currently wins accolades for his unique gum wrapper sculpture animations of historic ﬁgures and events, whose portraits and Sportraits are produced entirely on iPhones.
Within the art world, his work has been featured in major institutions from the Pérez Art Museum Miami, to the Museum of Contemporary Art Los Angeles. Subjects of his work have ranged from gender inclusion in the FIFA World Cup, to America’s Covid-19 crisis, racial uprisings and elections of 2020.
An HBCU grad from New Orleans, he serves on the boards of The Smithsonian National Portrait Gallery, California Institute of the Arts (his MFA Alma mater), and the AMPAS Museum’s Inclusion Task Force.
I work in multiple modes of representation and expression: textiles, sculpture, sound, clay and paint. I am interested in the overlapping boundary-space of memory, loss, forgetting and spirit – the relationship between natural and metaphysical worlds. This work has been prompted by my father’s diagnosis with Alzheimer’s: he can no longer make art. His practice has been passed to me. These pieces question how memory is shared, the way it moves, and the imprint it leaves. Memories are immaterial, yet contained, in our brains, in our bodies, and intrinsic to what makes us who we are in the world. When memories dissolve, what is left?
Susan Cianciolo (b.1969) is a visual artist and designer who received her BFA from Parsons School of Design, New York, NY in 1992, a BFA from Parsons School of Design, Paris, France in 1991 and also studied at Winchester School of Art, Winchester, England. In addition to her visual arts practice, she was founder and designer of RUN Collection from 1995-2001, whose presentations were repeatedly shown at Andrea Rosen gallery. Recent solo exhibitions include PRAYER ROOM HEALING STAtion, lumber room, Portland, Oregon (2021); Spirit Guides: Paintings 1990-2020, Bridget Donahue, New York, NY (2020); GOD LIFE: Modern House on Land Outside Game Table, South London Gallery, London, United Kingdom (2019); GAME ROOM, NATURE MAZE: To Live A Life on Earth is one of the Highest Honors, Martina Simeti, Milan, Italy (2019); Run 12: God is a Jacket, Overduin & Co., Los Angeles, California (2018), among others. Group exhibitions include Pedestrian Profanities, Simon Lee Gallery, New York, NY (2020); Boro Textiles: Sustainable Aesthetics, The Japan Society, New York, NY (2020); Every Loft Needs a Sink, Vleeshal, Middleburg, The Netherlands (2019); Now & Then, The Hole, New York, NY (2018); Eckhaus Latta: Possessed, The Whitney Museum of American Art, New York, NY (2018); Fashion Work, Fashion Workers, CCS Bard Hessel Museum, Annandale-on-Hudson, NY (2018); Whitney Biennial 2017, Whitney Museum of American Art, NY (2017); Looking Back/ The 10th White Columns Annual, White Columns, New York, NY (2016); Greater New York, MoMA PS1, Long Island City, NY (2016) among others. She participated in the 2018 Siena Art Institute Residency, Siena, Italy and was The Anni and Josef Albers Foundation Artist in Residence in 2001.
Christina Kenton is a self taught artist born in Vancouver Canada. Christina has been creating surreal pieces around functioning lighters for over 12 years. Dreams, nature, forensics are a main inspiration for the artist as well as her late grandfather surrealist Ladislav Guderna. Along with the common therapeutic effects of art making, Kenton noticed the repetitive, detail work helped soothe her chronic vertigo from a past brain injury.
My name is Mariam Koubourli, I was born in Greece in the city of Thessaloniki. I did graphic design in Vakalo School in Athens and then I moved to the island of Mykonos where I lived for twenty years. There in 2002 I was taught for three years the art of ceramics from Marissa Taboulchana.
The landscape of the island and its mythology influence the character of my creations. Figurines, sculptures, anthropomorphic pitchers, lamps, ritual objects and heads inspired by my dreams and my real life. I did exhibitions in Koufonissia Islands, to the old school of Hora in Patmos, and in Patmian Cultural Center, and also to old Port of Thessaloniki. I collaborate with Andreas Kalatzis in Hora of Patmos, a meeting place for artists and friends from all over the world.
Christian Quin Newell
In his paintings, drawings and miniatures, Christian Quin Newell presents coded narratives to reflect on and process the world around him. Often anchored around a semi-autobiographical protagonist the works form a personal mythology, in which Newell employs a distinct iconography of semiotic marks, archetypal images, transhistorical characters and multilayered plots.
Originally trained as an architect, my design process always began with tiny concept models. My architecturally inspired artwork goes back full circle, I now build miniature vignettes in metal and found objects. Still an architect at heart, my work is still the built environment…just miniaturized. Extensive research of classic and iconic spaces inspires my one-of-a-kind miniature rooms or vignettes, a contrast in styles, industrial converging with classic old-world designs. Combining styles and scales overlap in many settings from modern to traditional. I also use fragments of architectural salvage, bicycle parts, copper sheet, mesh and rivets, mirror, aluminum, my handmade miniature paper books, and miniature glasses and bottles.
New York based artist, Patrice Robinson is best known for her intense, realistic portrait paintings created by using oil on wood panels and MetroCards. She uses her own experiences, as an African American woman growing up and living in NYC as inspiration. The themes that interest Patrice are duality, confinement displacement and attachment. She was an ARTWorks, Inc. Resident-Fellow at Jamaica Center for Arts and Learning from 2019-2020.
Anthony Santiago is a Vancouver-based Black Canadian artist whose work explores his diasporic identity and love for mythology (both ancient and contemporary) through screenprinting, collage, and painting. Influences include Basquiat, Bearden, Chantry, Kirby, Rentler and the D’Aulaires.
Curtis Talwst Santiago
Curtis Talwst Santiago (b. 1979, Edmonton, Alberta) studied as an apprentice of Lawrence Paul Yuxweluptun. Santiago has exhibited internationally at venues such as The FLAG Art Foundation, New York, NY; The New Museum, New York, NY; The Eli and Edythe Broad Museum at Michigan State University, East Lansing, MI; the Institute of Contemporary Art at Virginia Commonwealth University, Richmond, VA; the University of Saskatchewan, Saskatchewan, Canada; The Pérez Art Museum Miami, Miami, FL; Art Gallery of Ontario, Toronto, Canada; and the SCAD Museum of Art, Savannah, GA; among others. The artist was included in the inaugural 2019 Toronto Biennial of Art in Toronto, Canada, the SITE Santa Fe SITELines.2018 Biennial, Casa Tomada, in Santa Fe, NM, and was featured in the 2018 Biennale de Dakar in Dakar, Senegal. The artist’s solo exhibition Can’t I Alter, opens in February 2020 at The Drawing Center, New York, NY. His work is in the permanent collection of the Studio Museum in Harlem, New York, NY. Santiago considers himself decentralized and lives and works between New York, NY, Lisbon, Portugal, and Toronto, CA. Bio Courtesy of Rachel Uffner Gallery.
Alexander Richard Wilson
Alexander Richard Wilson, Is a queer, African American artist working to render the condition of the contemporary american landscape in the midst of the turmoil of climate change. Born (1993) and raised in St. Louis Missouri among five siblings, Alexander was heavily influenced by the St. Louis Area’s architectural legacy and the sense of being a part of a whole. Artistically underpinned by a determined architectural sensibility, he seeks to articulate landscape paintings that speak to the American environmental climate as it changes. Upon finishing his BFA at the school of the art institute of Chicago (2017), Alexander worked in the city of Chicago in installations, and the fabrication of sculpture. Upon moving to Lakewood, Colorado in the summer of 2020, with his partner Grace, the conditions present in the mountain west struck a nerve with the artist, and he began generativity painting landscapes that directly represented present extreme weather conditions, and large mountain fires as they burned. His paintings speak to the striking severity of the events unfolding in the mountain west, and a sensibility regarding line and form, formed in the crucible of Chicago’s towering canyons. Alexander has shown these works at Housing NY.