His new paintings and works on paper further explore his creative process through the use of his materials which on one level appear to determine his compositional outcome.

These works are otherworldly in composition and appearance as we try and understand how he achieves the light that often defines and enimates from his work.

Often described as a provocateur, Segura’s practice navigates from beneath an often shocking surface, seeking to arouse deeply unsettling tensions within the viewer by uprooting and disrobing his or her most internalized beliefs. A common Segura tactic is to both establish and manipulate cognitive dissonance, throwing seemingly disparate histories, entities, and ideologies into a logical conflict the viewer is then forced to negotiate and resolve.

Segura is the poster‐boy for a young generation that is culturally savvy and globally connected and which, for better or worse, calculates risk and its consequences much more consciously than the generations that came before. Segura, in particular, has both appropriated and questioned the
effectiveness of art as a kind of sabotage, reminding the spectator that the crimes occurring around us every day are more easily forgotten than crimes recorded for the art gallery. The growing attention to Mexican contemporary art in the international arena has impacted Segura in a direct and visible way, sometimes to the extent of making his work seem cynical. Nonetheless, he still engages with a lineage of questions and stylistic idioms that reaches back to Jodorowsky, Margolles, and Okón before him. Once
more the release of laughter and terror blurs the line that divides exploitation in the world and exploitation in the work. It demands that spectators be active viewers, but also forces us to become implicated as perpetrators and criminals. In Segura’s work, uncertainty is the child of risk. (…) “

Gabriela Jauregui (2008) extract from Pull the Trigger: Risking Bodies in Recent Art from Mexico City in
John C. Welchmann (ed.) The Aesthetics of Risk, pp. 224-245. Zurich: JRP|Ringier.

Segura’s work is currently on view at Yautepec Galerie, Mexicio City, Mexico, Deceive, Inveigle and Obfuscate, February 25 – March 27 2010

http://www.yau.com.mx

Gato en Jardin, Oil on Woodboard, 240 x 240 cm, 2010

Cachalote, Oil on Woodboard, 240 x 240 cm, 2010

Coral, Oil on Wood, 44 x 51 cm, 2010

Venadito, Oil on Wood, 24 x 25 cm, 2009

Vampiro, Ink on paper, 29 x 43 cm, 2009

Opening reception: Friday, February 26, 6-9 p.m

Above image: Ripple Rock Explosion, Discovery Passage, BC, April 5, 1958 Watercolor, gouache, screen-print, beads and sequins on cut watercolor paper, 28 x 42 inches, 2010.

The Hogar Collection is pleased to present Over & Over, new work by Canadian born and Washington State based artist Michelle Forsyth. Her second solo show at the gallery, Over & Over will include eleven new works on paper from three bodies of work including One Hundred Drawings, Ostinatos and Text Work. In One Hundred Drawings and Ostinatos Forsyth continues her documentation of historic sites of disaster. Instead of relying on images of spectacle, she has traveled to these places and documented things left behind. Fleeting presences—such as clouds floating overhead or wildflowers growing along the road—are the focus of this work. Using a process that is part requiem and part cathartic obsession, she translates these nearby presences into thousands of sinuous loops of undulating color, intricately cut and stacked paper flowers, and minute hand stitches to evoke ideas about memory, loss and grief.

In Text Work, Forsyth has scoured many old newspapers for written information. She has noted many poetic passages that conjure graphic images of their own. Punching quotes from these sources, which include eyewitness testimonies and first-hand accounts, into single sheets of white paper, Forsyth has left us with a lacey absence that provides a quiet counterpoint in this exhibition. Seven historical disasters bind the work in Over & Over including: The Tacoma Narrows Bridge Collapse, The Frank Slide, The Hoboken Pier Fire, The Ripple Rock Explosion, Hurricane Hazel, Great Fires of 1947, and The New Carissa Wreck. Forming a historical backdrop for the work, the narrative accounts of each event do not overshadow the work, rather they act as a counterpoint to her own experiences at each site. In this mediation between past and present, Forsyth’s work raises questions about the continued depiction of violence in media-driven documentation of historical events.

Born in Vancouver, BC in 1972, Michelle Forsyth holds an MFA from Rutgers University (New Brunswick, NJ) and a BFA from the University of Victoria (Victoria, BC). Her work has been included in numerous group and solo exhibitions across north America and abroad, most notably at Zaum Projects (Lisbon, Portugal); The Hogar Collection (Brooklyn, NY); The Hunterdon Museum of Art (Clinton, NJ); The Charleston Heights Arts Center (Las Vegas, NV); Deluge Contemporary Art (Victoria, BC); Mercer Union (Toronto, ON); Third Avenue Gallery (Vancouver, BC); Truck Contemporary Art (Calgary, AB); The Northwest Museum of Arts and Culture (Spokane, WA); and The Kirkland Art Center (Seattle, WA).

She has been the recipient of a number of grants and awards including two project awards from the Canada Council for the Arts, a GAP grant from Artist Trust, and in 2007 she was awarded second prize in the William and Dorothy Yeck award for young painters competition at Miami University in Oxford, OH. Forsyth’s work is featured in Carte Blanche, Vol. 2 – Painting, a survey of the current state of Canadian painting

The Hogar Collection 362 Grand Street, Williamsburg, Brooklyn, NY 11211 tel.718.388.5022 info@hogarcollection.com www.hogarcollection.com Gallery Hours: Thursdays – Mondays 12:00 – 7 pm and by appointment.

Michelle Forsyth http://www.michelleforsyth.com

The Hogar Collection http://www.thehogarcollection.com

http://qag.qld.gov.au/exhibitions/current/apt6

One of the artworks that really touched me, was the work of Reuben Paterson from New Zealand, beautiful glitter encrusted canvasses, that refer to patterns from his deceased father’s tie and his grandmother’s favorite dress, beautiful symbolic works.

Thursday, January 28, at Sinaloa 199, Colonia Roma, México, D.F.