Press Release - "In Time" by Jean Nagai & Kelly Ording
Kelly Ording - "Kente". Acrylic on Dyed Paper. 32.25 x 24.75 Inches. Framed. 2018.
IN TIME
JEAN NAGAI
KELLY ORDING
Opening Reception
Saturday May 12th, 12pm
1523 b Webster St. Oakland, CA 94612
info@part2gallery.com
Press Release - Part 2 Gallery is proud to announce "In Time" a duo exhibition by Jean Nagai and Kelly Ording opening May 12th at 12pm in Downtown Oakland. The gallery is located at 1523 b Webster St. and is just blocks away from both 12th & 19th st Bart Stations. Opening receptions at pt.2: are always free, kid friendly and open to the public. Both artists with be in attendance. To receive a preview of the exhibition please contact info@part2gallery.com for a sneak peek. Learn more about both artists below.
Jean Nagai - "A Hippy Is A Landscape". Acrylic and Pumice on Canvas. 60 x 48 Inches. 2018.
JEAN NAGAI
Jean Nagai is a artist/muralist (b.1979 Seattle, WA) and currently living in Los Angeles. He received a BA from The Evergreen State College and his work has been shown in the Pacific Northwest and other places across the US.
By engaging in a meditative process by which the sum of many individual dots accumulate to form a larger synergic whole, Jean’s work both creates and explores a visual microcosm and macrocosm that shifts between the physical, digital and spiritual landscape.
Kelly Ording - "Libson (Lemon)". Acrylic on Dyed Canvas. 60 x 48 Inches. 2018.
KELLY ORDING
My work encompasses a broad palette and wide range of media: from muted to vibrant colors and tones, from pen and ink drawings to paintings, murals, and public installations. Each piece employs intuition and intention to explore the limits of minimalism, abstraction and representation. Beginning with a dyeing process, each piece undergoes a dynamic natural process I follow by hand, setting up and capturing the conversation between the artist and the artwork. Additionally, the use of negative space is central to the dichotomies of surrender and control, illusion and memory, expression and restraint. I’m especially interested in ways simple repetition, geometric patterns, and mathematical marking or mapping contain an inherent capacity to evoke represented subjects in the viewer. The works included in the “In Time” exhibition focus on the use of color, shapes, and repetitive mark-making to show the passage of time. In many of these pieces, the line becomes a marker of time, similar to the visual evidence of time seen in sedimentary rocks or old growth tree stumps. These pieces are the evidence of both the artist’s hand as well as nature’s inevitable processes in the passage of time.