On The Margins of a Portrait Places Its Borders in Brooklyn

One of my favorite jazz albums is Miles Davis’ Sketches of Spain.  Released in 1960, it is considered to be a textbook blending of jazz, European classical and world music.  The melodies are haunting and delicate.  Last Saturday, I found myself dangling from the same subtle, yet lingering lines found in Nancy Friedemann’s work.

Currently showing at The Gallery @ 1GAP is Friedemann’s latest exhibition of works titled, On the Margins of a Portrait Places.  With a nod to Minimalism and The Pattern Decoration Movement, the exhibit is comprised of large panel pieces and smaller paintings.  With a black backdrop, Friedemann creates a mash-up of nature and the roots of her Columbian heritage.  As the absoluteness of the noir framework attempts to consume the viewer’s eye completely, Friedemann creates depth and refinement by adding illustrations of lace and botanical imagery to contrast the darkness.  Together Friedemann’s works present a modern interpretation of yin and yang – a tango between masculine and feminine.   One of the aspects I appreciated from viewing On the Margins of a Portrait Places is Friedemann’s use of Minimalism.  I was able to get a true sense of the intricacy of the brush strokes and how the use of color brought the paintings to life.

Located inside Richard Meier on Prospect Park, a residential building, On the Margins of a Portrait Places will be on display at The Gallery @ 1GAP until August 2013.


Photo: F.A.M.E NYC Editor

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