January 20 – March 7
Rechnitz Hall
DiMattio Gallery – First Floor
Lecture: Thursday, January 29, 4:30 – 5:30 p.m.  Wilson Hall Auditorium,
Opening Reception: Thursday, January 29 5:30 – 7:00 p.m.

The poetics of intimate spaces and the exploration of the idea of home are what interest me in paintings and installation.  The subject of home remains an abstract concept and is the motivational force for my studio pursuits.  Born in a refugee camp that lies between Cambodia and Thailand, I moved with my family to Mississippi at the age of six.  Growing up, the sense of belonging and not belonging to the Southern culture of Mississippi affected my sense of identity.  The memories of my childhood on the Thai-Cambodia border became just a faint beacon of light as the years go by; the need to remember, to retrieve those childhood memories of a past life remains a constant act in my work.

In my installations, I make objects that convey themes of identity, memory and longing to transform and activate a room.  I use acrylic paint, varnishes, resin, plaster and photographs as the structural realization for a subject as formless and transitory as memory.  The concept of travel and memory are embedded in the current series of mixed media paintings – layered earthy, dark colored background with graphite drawn trees and foliage and an overlay of concrete.  My work seeks to simulate the impermanence of memory, the fleetingness of its existence in mixed media installations, creating structures that translate the mind’s formless but living past into physical material and sensation and transforming space that poetically simulates a timeless place for recollection and dreams.

Artist website: www.honeuichen.com

Image Caption: Untitled, 8” x 8”, acrylic, image transfer and concrete on panel, 2014

January 20 – March 7, 2014
Rechnitz Hall
DiMattio Gallery – Second Floor

Jacob Landau (1917-2001), printmaker, painter, humanist, and teacher was an artist whose works explored the basic themes of human existence and morality with an insight that was both passionate and indignant. He was born in Philadelphia, PA, where he began as an illustrator, but he lived most of his adult life in Roosevelt, NJ. Here he immersed himself in the town’s thriving artistic community, along with such noted artists as Ben Shahn, and began a distinguished career as professor at Pratt Institute, Brooklyn, NY. The art he created gained him an impressive reputation, with many of his works included in the permanent collections of the world’s finest museums, such as the Metropolitan Museum of Art, the Philadelphia Museum of Art, the Museum of Modern Art (New York, NY), the Hirshhorn Museum (Washington, DC), as well as the National Gallery of Art in Washington, DC. He also received numerous honors, including fellowships from the Guggenheim and Ford Foundations.
In retirement he became Professor Emeritus at Pratt and received an honorary Doctorate in Fine Arts from Monmouth University in 1996.

In 2008 the Jacob Landau Institute donated more than 300 of the artist’s prints, drawings and paintings to Monmouth University.  Jacob Landau: Selected Paintings from the Monmouth University Permanent Art Collection will feature approximately twenty original paintings.

Image Caption: Satanic Wheels, Watercolor, 36 1/4″ x 50 3/4″

January 21 – April 10
Ice House Gallery
Opening Reception: Thurs. February 5, from 5:30 – 7:00 p.m.
Illustrated Lecture: Wilson Hall Auditorium, 4:30 – 5:30 p.m.

I begin by taking photographs of interiors such as warehouses, storage spaces, junkshops and basements; places where everything is jumbled, disorganized and filled with piles of random stuff.  From these photographs I construct a view and then start to draw freehand.  I don’t make sketches or project images to make the drawings.  Once I put lines on the surface I don’t erase or remove them.  If I want to change the drawing I just add more lines on top of the existing ones. These ‘mistakes’ that I make in the process of my drawing appear as double or multiples lines as I apply ‘corrections’. They reflect the accumulation of time, and how my perception has changed and become less clear over time.
Most of the drawing installations are site-specific.  I usually visit the site before I start the piece and take measurements of the space where I will install the work.  Usually I have vague ideas about how the whole installation will sit in the space, but most of the decisions I make happen during the process of making the piece in the studio.

Most of my drawing installations are also room scale, so I work section by section in my studio and don’t usually get to see the entire drawing until I have finish installing it. The whole piece is attached to the wall with the same black masking tape that I use for the drawing. I give each Mylar sheet a number and make a map of the drawing that shows which number goes where, so installing the whole piece is just like a putting together a really big puzzle.

I am mostly attracted to representing claustrophobic environments and defunct objects. At the beginning, it started as more of a formal interest – I was attracted to these massive piles of things, and the anonymous, decontextualized quality they had.  I wanted to make still life drawings that were about perception and mark-making rather than the narrative of the objects themselves.  But the more I worked with claustrophobic spaces, I stared to realize that these are the spaces hidden within our lives.  We have so many things that we forget about. We struggle for space for ourselves and for the things we own.  Now I am interested in these as lost spaces.

My work deals with memory and perception within cluttered spaces. I begin by photographing interiors such as basements, workshops, and storage spaces, places where everything is jumbled and time becomes ambiguous without the presence of people. From these photographs I construct a view and then I draw freehand without erasing. As I correct “mistakes” the work results in double or multiple lines, which reflect how my perception has changed over time and makes me question my initial perception. Paradoxically, greater concentration and more lines make the drawn objects less clear. The more I see, the less I believe in the accuracy or reality of the images I draw.

Artist Website: heeseopyoon.com/

March 27 – April 4, 2014
Rechnitz Hall’s DiMattio Gallery
Opening reception: Friday, March 27, from 7:00 – 9:00 p.m.

Featuring the work of Monmouth University graduating seniors who will receive their degrees in Graphic Design and Animation.

April 10 – 18, 2014
Rechnitz Hall’s DiMattio Gallery
Opening Reception: Friday, April 10, from 7:00 – 9:00 p.m.

Featuring the work of Monmouth University graduating seniors who will receive their degrees in Fine Art and Art Education.

Rechnitz Hall’s DiMattio Gallery and Ice House Gallery
April 26 – May 1st 2015
Opening reception: Sunday, April 26, from 1:00 – 4:00 p.m.

Featuring the select works by Monmouth University students in Photography, Graphic Design, Animation and Studio Art.