KP Projects is proud to present Haunted, the latest solo show from Edward Walton Wilcox. Haunted delves into the fantastic and supernatural world of gothic romance, a genre that revolves around supernatural forces, mystery and the duality of light and dark. A mix of alluring and disquieting, the vibrant hues and amorphous forms in Wilcox's paintings melt into prismatic streaks of light. An ambience of darkness pervades as chandeliers and mysterious forces emerge from an unbridled imagination to enchant and beguile. Rich tones of green malachite, sunset reds along with hints of azure and Wilcox's characteristic sepia tones exude a distinct charm of beautiful decay.

A departure from Wilcox's decidedly narrative paintings, this new body of work portrays a visceral expression of memory and emotion that transcends the linearity of storytelling. In a flurry of dripping paint, close ups and obscured angles, each painting is a harmonious balance of abstracted representation.

Wilcox's point of continuity lay in the nuances of visual and emotional perceptiveness, and how that effects a cognizance of the world. Akin to the Neo-Impressionists, the subjective vision of the artist and emotional intensity translates into Wilcox's swirling and dynamic paint application. Architectural forms within the chandeliers also emulate the meticulously detailed spires that frequent Wilcox's hand-carved frames and triptychs.

The romantic gloom that has always been inherent in Wilcox's work now finds a new expression in a subtle and introspective approach. At once bright and charming, dark and brooding, Haunted expresses the melancholic fantasy of windswept moors, darkly lit hallways and glowing chandeliers.

"One late night as a young man, armed with my camera, I wandered down the dimly lit hallways after hours. The only inhabitant was a night porter at the front desk. The chandeliers were turned down half-light as was customary in the late evening. I was captivated by the dim warmth that radiated from the prismed light clusters; like an eerie glow of a pre-Edison world. The walls surrounding these fixtures with their tapestries and warm velvets absorbed the light so thoroughly that all one could see was a parade of chandeliers suspended down a blackened hallway. I lifted my camera and snapped the only picture I would take that night some thirty years ago. The film was developed and the print survived. It was pinned to my studio wall, until through subsequent moves it found its way into a box of inspirational detritus relegated to a storage unit. For decades the photo was lost to me. Upon its re-discovery, came a flush of memory and emotion—a revelation. It occurred to me that I had been painting this lost photograph for decades without realizing it. This haunting, in its simplicity, said everything I was struggling to articulate—a visual cue of romantic gloom that struck the chord of my being." —  Edward Walton Wilcox

KP Projects Gallery is proud to present Looks Good on Paper, featuring work by Hope Kroll and Momentoscope, featuring unique flipbook art of mechanized photographic images in motion by Wendy Marvel and Mark Arnon Rosen.

Combining the printed element of collage with the three dimensionality of assemblage, Kroll's inventive layering of imagery culled from a wide array of antique books is an entirely new approach to found imagery. Assemblage is one of the "bridging concepts" that connect various artistic disciplines while retaining their specificity. While Kroll's source material is gleaned from a multiplicity of texts, including old encyclopedias, medical texts, children's books, popular science, technical manuals, paper dolls and old photographs, the careful juxtaposition of imagery transforms the presupposed chaos of subjects into cohesive compositions that re-imagine patterns in nature and investigate the neurotic processes of humankind. Beyond the diverse assortment of inspirations, Kroll's complex works focus on the source material itself and the history of those objects. Deconstructed and then reconstructed, individually cut imagery each possesses its own unique history, having passed through many hands before being re-contextualized by Kroll. Serving as the canvas for these intricately cut-out assemblages, aged blank paper found in old books lends a natural patina and muted hue to the works. Because of the high quality of the color plates and lithography selected, Kroll maintains the integrity of the original found materials while considering their imagery in an entirely new context. In many cases, elements of the work are lifted off the flat surface to create visual drama to these mis en scene while adding dimensionality and showcasing the highly meticulous nature of her cuttings.

Wendy Marvel and Mark Arnon Rosen bring a sense of nostalgia for the industrial era of the early 19th century and find inspiration in early photography's technological processes. Drawing on Eadweard Muybridge's early stop motion experiments, their meticulously crafted flipbooks recall the bygone era of creating motion through a sequencing of images. Using altered Muybridge motion studies as well as original photography, film, and in some instances hand-painted details, the artists synthesize antique and contemporary imagery. Since the 1860s, inventors like John Barnes, Max Skladanowsky and Herman Casler have developed rotating cylinders that animated a linear sequence of images. Rosen and Marvel source their materials from aerospace junkyards and obsolete equipment to create the custom encasements and mechanisms for each flipbook. Drawing on past advancements while including current video and film capabilities, the artists merge art and science as they investigate the nuances of technology and kinetic imagery. With each custom fabrication, they capture the ingenuous fascination of old-fashioned moving pictures while expressing an innovative personal sentimentality for photographic imagery.

For More Information, please contact Merry Karnowsky at info@kpprojects.net
Press Contact: Jessica O'Dowd jessica@kpprojects.net