Rachel Meginnes

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Bart Wouters

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Rachel Meginnes "Bullseye Red-Black-Yellow" gesso en acryl op katoen 45x35cm x3


Rachel Meginnes 1977 Rachel received her undergraduate degree in Art from Earlham College and her Master of Fine Arts degree from the University of Washington. Her work can be found in the collections of the United States Art in Embassies Program in Amman, Jordan, the University of Arkansas, and the Cameron Art Museum, among others. Rachel has taught in formal academic settings, craft contexts, prison workshops, and after-school programs, all amongst students from a wide range of backgrounds and ages. As a trusted mentor attuned to the difficulties of being an artist and feeling that call, she has guided artists through growth and challenge, offering them insight, clarity, and the momentum they need to move forward. Rachel lives and works from her home in Bakersville, North Carolina where she first arrived for a three-year residency at Penland School of Craft in 2012. She is part of an interdependent community of artists, connected by craft and the natural surrounds of the Blue Ridge mountains.

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Bart Wouters

Address:

Bredabaan 157-159 ,
2930 Brasschaat

Region:

Antwerpen

Country:

Belgium

Tel.:

+32 (0)474 45 15 67

E-mail:

info@bartwouters.be

Website:

www.bartwouters.be

NICHOLAS RULE (°1956) 'Blood, class and nostalgia', 1992. Acrylverf op doek 137x106cm.

NICHOLAS RULE (°1956)

One of Rule’s notable exhibitions was “Outside America: Going into the 90’s” at Fay Gold Gallery in Atlanta, GA in 1991. This exhibition marked the beginning of his career and showcased his unique artistic vision. Since then, Rule has participated in numerous group shows, including “Slow Art - Painting in New York Now” at MoMA PS1 in New York City in 1992. This exhibition highlighted Rule’s ability to create thought-provoking and visually captivating paintings.

Throughout his career, Rule has been exhibited alongside esteemed artists such as Stephen Ellis and Dennis Oppenheim, further solidifying his position in the art world. His work has also been showcased in prestigious institutions such as Mamco - musée d’art moderne et contemporain in Geneva and Kettle’s Yard in Cambridge, Cambridgeshire.

Rule’s artistic box-sizing: border-box; margin: 8px 0px; padding: 0px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-variant-alternates: inherit; font-variant-position: inherit; font-variant-emoji: inherit; font-stretch: inherit; font-size: 15px; line-height: 24px; font-family: "Atlas Grotesk", sans-serif; font-optical-sizing: inherit; font-size-adjust: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit; font-language-override: inherit; vertical-align: baseline; color: rgb(18, 17, 32); background-color: rgb(255, 255, 255);">In recent years, Rule’s career has seen significant growth and recognition. His most recent exhibition, “Acquired on eBay (and from other surrogate sources)” at Mitchell Algus Gallery in New York City in 2020, showcased his continued evolution as an artist.

As an artist, Rule continues to push boundaries and challenge traditional notions of art. His work invites viewers to question their perceptions and engage with the complexities of the human experience. With his unique artistic vision and dedication to his craft, Nicholas Rule has established himself as a prominent figure in the contemporary art world.

GUY LECLEF "NB 31'. Folded magazines" assemblage 36x160cm.

Guy Leclefs (1962) blijvende fascinatie voor de materialiteit van papier en karton materialen die in zijn handen transformeren in sculpturale, architecturale en poëtische vormen heeft geleid tot een nieuwe reeks werken, ontwikkeld in de afgelopen maanden. De tentoonstelling brengt een nieuwe serie samen, deels geïnspireerd door Forwarts gevierde presentatie in Kopenhagen, getoond in dialoog met enkele van zijn iconische stukken, naast niet eerder vertoonde werken die in samenwerking met Nespresso zijn gemaakt.

De titel Remains to be Seen vat de dualiteit in de kern van Leclefs praktijk. Enerzijds verwijst het naar de fysieke overblijfselen van papier, tijdschriften en boeken, soms leer of aluminium, die eenmaal weggegooid een tweede leven krijgen in zijn werk. Anderzijds wijst het op de handeling van anders kijken: wat we over het hoofd zien of weggooien, krijgt een nieuwe zichtbaarheid, wat ons uitnodigt om na te denken over waarde, herinnering en permanentie. De kunst van Leclef stelt een ogenschijnlijk eenvoudige maar diepzinnige vraag: wat blijft er over, en wat is er nog te zien.