Platform Gallery

October 29, 2014, 8:46am

Being There Again and Again: Joy Garnett at Platform Gallery

Most of the time, as soon as I am awake, I begin scrolling through the layers of news on my phone, while still laying in bed. The ISIS updates, the new Ebola cases, and the pithy comments on the latest art world drama barely stick during this first round of skimming headlines and images, my awareness of the day coming into focus as I work through the tweets and the “Likes.” This activity would seem to have little to do with the meticulous, studied ways we usually interact with paintings. However, Brooklyn artist Joy Garnett proves otherwise, as evidenced by her new show, Being There, which opened at Seattle’s Platform Gallery last week. Pulling images from the media—including photographs of conflicts in the Middle East and screen grabs of leaked US military videos—Garnett’s new paintings bleed and blur their scenes into places that seem as familiar as the widely-disseminated photographs they reference. However, the artist also brings out the distant, fleeting way we absorb these images, turning their subjects into things we can never fully know. —Erin Langner, Seattle contributor

Joy Garnett | Standoff, 2013, oil on canvas, 38 x 44 inches. Image courtesy of Platform Gallery.

Listed under: Review

June 06, 2014, 8:30am

Prefab Paintings: William Powhida’s Unretrospective

“ANYTHING can be ’editioned.’ Repetition is your friend.” This is one of the rules in William Powhida’s The Rules, which itself an edition of sorts. Referred to by the artist as a “republication,” The Rules is an oil painting that was made by an employee of painting village in Shenzhen, China, based on a JPEG image depicting the Brooklyn artist’s text-based drawing of the same title. This republication is available in three sizes and can be purchased through the artist’s website, for the duration of his show at Platform Gallery, Unretrospective, along with any JPEG that can be found on the site.  In effect, Powhida has created a space where anything really can be editioned, and repetition is your—or at least your wallet’s—friend.— Erin Langner, Seattle contributor

William Powhida | WHAT CAN THE Art World TEACH YOU?, 2014 (republication)
oil on canvas. Image courtesy of Platform Gallery.

Listed under: Review

January 12, 2014, 9:40pm

False Lanterns and Dark Entries: Robert Yoder at Platform Gallery

I was not familiar with the term “hobby lantern” prior to seeing Robert Yoder’s (NAP #85) new paintings.  It turns out to be a phenomenon of atmospheric, apparition-like lights that appear in boggy conditions, leading travelers astray from the safest path, also known as a will-o’-the-wisp. Appearing in titles of works featured in Dark Entries at Seattle’s Platform Gallery this month, the hobby lantern is a fitting keystone for paintings rich in both the thick, muddiness of their surfaces and the emotional sensibilities that flare beneath. - Erin Langner, Seattle Contributor

Robert Yoder |
TEENAGE DONNA (HOBBY LANTERN 1), 2013, oil and acrylic on cotton bandana. 18 x 17.5 inches. Image courtesy of Platform Gallery.

Listed under: Review

September 30, 2013, 8:00am

Disappearing Act: Jaq Chartier’s Climate-Changing Paintings

Jaq Chartier’s (NAP #13, #31, #61) paintings like to pose as objects other than paintings. The Seattle artist and cofounder of Aqua Art Miami is best known for Testing, an ongoing that physically experiments with her materials and processes. Chartier integrates paint with saturated inks, stains and dyes she designs to evolve over time, creating large, hyper-saturated canvases that pulse with patterns and forms that reference the imagery of contemporary science—DNA strands, glass slides, microbodies— and ultimately behave as visual experiments themselves. - Erin Langner, Seattle Contributor

Jaq Chartier | Lettuce Coral, 2013, acrylic, stains, paint on wood panel, 28 x 36 inches. Image courtesy of the artist and Platform Gallery.