SATURDAY, 8 SEPTEMBER
Off Ma Meds, 2018, 90” x 58”, Oil, tar and china marker on canvasMAYSHA MOHAMEDI: OAR TATIG
OPENING RECEPTION SATURDAY 8 SEPTEMBER, 6-9PM
The Lodge is pleased to present Oar Tatig, an exhibition of new paintings by Iranian-American artist Maysha Mohamedi. Oar Tatig is an acronym that stands for the phrase "Open and Receptive to All That is Good."
The exhibition features new work that evolves Mohamedi's idiosyncratic gestural language, formally drawing upon the calligraphic line of her ancestral language, Farsi - a language rich in metaphor and poetic suggestion, serving to symbolize the lens through which Mohamedi represents the internal world of her gender, her species, and her self.
Depicting her negotiation of two cultures, the works present motifs of figuration and abstraction. Using her trademark palette of primary colors and an unorthodox collection of mark-making, Mohamedi references fate, play, and dominance - ideologies central to the Iranian mind. Underscoring these works is Mohamedi's training in chemistry and the greater biological sciences, as she hand collects beach tar from the beaches of Santa Barbara and distills this blackest of black substances into paint -- humorously circumventing the painter's creed to never use black straight from the tube, the artist endeavors to tap her original source: Mother Earth.
Maysha Mohamedi is an Iranian-American painter who lives and works in Los Angeles. Her studio is located in the Fashion District in Downtown LA but she uses materials from all over: from beach tar that she collects with her sons on the beaches of Santa Barbara to tubes of Middle Eastern paint imported from her mother country of Iran. She has exhibited widely in New York and Los Angeles, including exhibitions at The Hole, The Pit and Steve Turner Contemporary. She is also a founding member of the Los Angeles art collective, Binder of Women. Maysha is the recipient of several award and residences, ranging from a National Science Foundation Fellowship in Tokyo, to an AICAD New York Studio Residency. Her work has been profiled in the LA Times, The Huffington Post, SF Arts Quarterly and The Conversation Art Podcast.
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Binder of Women presents – Heat Wave & Reaching Point Break
Opening Reception: Saturday August 18th, 6-9pm
Exhibition Dates: August 18th – September 15th
Binder of Women is excited to announce Heat Wave it’s first collective show in San Francisco, and Reaching Point Break, a concurrent show curated by members of Binder of Women at Guerrero Gallery in San Francisco. Heat Wave and Reaching Point Break reflect Binder of Women’s intent to highlight a growing number of important artists. These side by side shows allow Binder of Women to present multiple iterations of work and foster an continually evolving roster of Binder of Women affiliates/participants/artists/cohorts/comrades(?).
Heat Wave features work by artists Michelle Blade, Claire Colette, Yasmine Diaz, Jamie Felton, Kysa Johnson, Lindsey Lyons, Bruna Massadas, Maysha Mohamedi, Erin Morrison, Laurie Nye, and Anna Schachte. Referring to the new wave of feminism as well as the pattern of weather which deviates from the norms of the specific climate, this Heat Wave brings a slew of Los Angeles artists to the cooler environs of San Francisco for this summer show.
Reaching Point Break features work by artists Rema Ghuloum, Kristy Luck, Chinwe Okona, Sarah Thibault, and Ginger Wolfe-Suarez. Point Break is surfing terminology for the moment when a wave breaks after hitting a point of land jutting out from the coastline, creating an almost perfect surfable wave. The selection of artists above create work that in some way refers to hitting a point of transformation from one phase to another, personally, collectively, and/or in nature. Reaching Point Break will take place in a gallery adjacent to the main gallery.
Binder of Women (BOW) is an artist-run project comprised of artists Hayley Barker, Michelle Blade, Claire Colette, Jamie Felton, Kysa Johnson, Lindsey Lyons, Bruna Massadas, Maysha Mohamedi, Erin Morrison, Laurie Nye, and Hilary Pecis.
Conceptualized in Los Angeles in 2017 by painter Hilary Pecis, BOW is an independent platform for contemporary artists to share their work. This is a unified move to empower female artists, expand their reach, broach the topic of equality and consent in the art world, and take action to grow the number of works by female identifying artists in contemporary art collections. BOW’s inaugural project was a collective folio of limited edition works on paper by each of the ten establishing artists. A folio release party was held at The Pit, Glendale, CA, in December 2017, and a limited number of folios are still available at thebinderofwomen.com.
Today we’d like to introduce you to Maysha Mohamedi.
Every artist has a unique story. Can you briefly walk us through yours?
I am an Iranian-American artist. I grew up on the California Coast in a small town called San Luis Obispo. I come from a long line of creative people: my grandmother is a painter and my mother is a designer; my father can build anything. My first language was Farsi – a language rich in metaphor and poetic suggestion – thus the lens with which I first interpreted the world greatly amplified the already-psychedelic point of view of a child. Representing an internal world (my own, my gender’s, my species’) in abstract and unexpected ways, primarily through paint on a canvas, is the long-running thesis of my studio.
Please tell us about your art.
I make large-scale, colorful, abstract paintings that include illustrative and representational moments. Formally, I pull inspiration from the iconic calligraphic line of my native language of Farsi. The content of my work is drawn from what I know to be true in my everyday life: the experience of being a woman, mother, wife and Iranian in my American world. My work originates out of a deep connection with myself, but I make this work for the people.
Given everything that is going on in the world today, do you think the role of artists has changed? How do local, national or international events and issues affect your art?
Artists have a unique power to explore, provide commentary and elicit engagement around social and cultural issues with more flexibility in intention and execution than a journalist might; it’s not a new responsibility. I primarily make abstract work that can be influenced by our current political climate, however sometimes I will punctuate this abstraction with an explicitly political sculpture. For example: my recent sculpture “Surfing the Apocalypse” shows four different deadly dinosaurs surfing a great wave. Each dinosaur is painted in colors and patterns symbolizing the flags of the following four countries: North Korea, Russia, Iran and the United States.
How or where can people see your work? How can people support your work?
My solo show opens at The Lodge in Los Angeles on September 8th, 2018.
View my biography and link to the documentary HERE