11 YEARS - Anniversary Group Show: December 6 - 23, 2014

11th year Anniversary Exhibition

Ron Athey / Josh Bolin / Daniel Brice / Thomas Burke / Carole Caroompas / Cole Case / Alec Egan / Samantha Fields / Bob Flanagan and Sheree Rose / Tim Forcum / Eric Freeman / Sush Machida Gaikotsu / Margaret Griffith / Dion Johnson / Ali Kheradyar / Patrick Lee / Joe Lloyd / Zachari Logan / Bob Mizer / Matthew Penkala / Nancy Riegelman / Chad Robertson / Joe Schmelzer / Nicolas Shake / Aaron Sheppard / Arne Svenson / Christian Tedeschi / Tom of Finland / Mark Dean Veca / Wayne White / Jessica Wimbley


Western Project proudly presents our 11th Year Anniversary Exhibition marking a decade and a year of programming. As one of the pioneer galleries of the Culver City arts district, the show will include gallery artists and some special guests; each an irregular, unruly and often impolite force of nature, all burdened with the disease of individual thinking and a call to find a greater depth of human experience. We celebrate with abandon and humor, knowing our job is yet unfinished.

Samantha Fields: 2013 COLA Individual Artist Fellowship Recipient

COLA Exhibition: May 19 to July 7, 2013
Opening Reception for the artists: Sunday, May 19, 2:00 - 5:00 PM Los Angeles Municipal Art Gallery, Barnsdall  Park: 4800 Hollywood Blvd.
Los Angeles, CA 90027 | 323.644.6269

Samantha Fields, Eugene 2 (DETAIL), 2013, acrylic on paper, 54 x 42 inches
Samantha Fields, Eugene 2 (DETAIL), 2013, acrylic on paper, 54 x 42 inches

COLA  2013

City of Los Angeles Individual Artist Fellowships Visual Arts Exhibition

Sunday, May 19, 2 to 5 p.m. Opening Reception Hosted by the Los Angeles Municipal Art Gallery Associates

Awarded each year by City of Los Angeles Department of Cultural Affairs (DCA), the C.O.L.A. Fellowships honor a spectrum of the City's most exemplary mid-career artists and support the symbiotic relationship between LA, its artists, its history, and its identity as an international art capital. The 2013 C.O.L.A. award recipients in the visual arts are: Lisa Anne Auerbach, Krysten Cunningham, Ramiro Diaz-Granados, Samantha Fields, Judithe Hernández, Carole Kim, Nery Gabriel Lemus, Rebeca Méndez, and Rebecca Morris. For more information about the C.O.L.A. Exhibition and Performances, please visit culturela.org.

 Read more about the COLA 2013 recipients and exhibition: HERE

Samantha Fields, Stop, (DETAIL), 2013, acrylic on canvas, 28 x 34 inches
Samantha Fields, Stop, (DETAIL), 2013, acrylic on canvas, 28 x 34 inches

Samantha Fields in "Dangerous Beauties" Opening May 5, 2013

May 5 - July 31, 2013  Sturt Haaga Gallery, Descanso Gardens, La Cañada Flintridge comeandsee_tear-copy

"Dangerous Beauties," an exhibition of artwork and living plants exploring the theme of the danger of confusing "beauty" with "goodness," opens with an artists reception at 4 p.m. Sunday, May 5, in the Sturt Haaga Gallery at Descanso Gardens. The public is invited. The show continues through July 31.

Nature doesn't attach value judgments to its workings, but people do. Trees, flowers, foliage, entire landscapes are judged by people to be beautiful. The same holds true with works of art.

The goal of "Dangerous Beauties" is to present works of nature and works of art that are, in formal terms and on the surface, quite beautiful. But there is a twist: Behind their surface beauty, these plants and artwork reveal a darker side.

The exhibition will include artwork by: Daniel Beltrá, Fatemeh Burnes, Merion Estes, Samantha Fields, Mark Licari, Michael Light, Eve Luckring and Constance Mallinson. Artworks include paintings, photographs, prints and fabric collage.

The artworks will address views of the world seen from afar and from above, as well as close-up. Often resembling an abstract modern art masterpiece, the viewer may think they are just looking at an arresting pattern. But after learning what is depicted, these artworks reveal a second and more perilous or even haunting aspect of their beauty. The subjects are diverse, including oil spills, wildfires and other scenes of devastation.

The plant component of the exhibit addresses the poisonous, the invasive, the nettlesome, the offensive, the intoxicating, the painful and the outright carnivorous. This will be achieved using living terrariums and container gardens placed throughout the galleries. Among other plants included are Austrocylindropuntia (Eve's needle), Euphorbia (crown of thorns), Sansevieria (African spear), Kalanchoe (Pencil milk bush), Ilex (Holly), Zamia, Floridana, Dracaena, Codieaum (Croton) and Pachypodium.

"Dangerous Beauties" reminds us that successful stewardship of the natural world requires our attention to details and a thoughtful reading of what is occurring around us. Beauty is only dangerous if we dwell on the surface of things, without fathoming its depths.

The Sturt Haaga Gallery is open from 10 a.m. to 4 p.m. Tuesdays through Sundays. Descanso Gardens is located at 1418 Descanso Drive, La Cañada Flintridge, CA 91011. Admission is $8 general, $6 seniors/students with I.D., $3 children 5 to 12; children 4 and younger free. Information: (818) 949-4200 or www.descansogardens.org

About Descanso Gardens: Established as a public garden in 1953, Descanso Gardens is located at 1418 Descanso Drive, La Cañada Flintridge 91011. The Gardens are open 9 a.m. to 5 p.m. daily except Christmas Day. Descanso Gardens is accredited by the American Association of Museums.

 

Samantha Fields, ArtScene, March 2012

March 2012 ArtScene by Marlena Donohue

BeCarefulWhat-YouWishFor-LargeEmail
BeCarefulWhat-YouWishFor-LargeEmail

Imagine how the world looks as you drive in a moderated rain and see your environment through wet glass as you drive relentlessly from the eerie glow of busy streetlights to the quiet darkness of some shrouded woods. That is the way it feels to see the airbrush perfect paintings of Samantha Fields. Fields takes literally thousands of photos of locales – urban, unpeopled – and archives these for later culling to become the subjects of these canvases. "Subject" must be used gingerly here as the manner in which Fields reconstitutes the scenes has the minutest relationship to the L.A. sunsets or the forested spaces in the record. She has mastered pigment so that she achieves these animate, moist surfaces recalling something akin to Renaissance varnishing, but then hides what she depicts in an almost milky veil. The effect is precisely like the world viewed in motion and through liquid. This tension makes for images that hang between things we know and things barely recalled. The paintings are able to call up something so specific and loaded as city lights seen from afar (with all the alienation that urban trope raises in us) and something so generic as the inscrutable constancy of nature; this has been done so much that Fields' credit is the freshness and believability she can still wrest fro this betwixt-between format and its related speculations (Western Project, Culver City)

Samantha Fields: Be Careful What You Wish For : New Paintings and Works on Paper

For Immediate Release: SAMANTHA FIELDS

Be Careful What You Wish For: New Paintings and Works on Paper February 18 – March 24, 2012

Opening Reception: Saturday, February 18, 6:00 - 8:00 PM

 

Western Project is proud to present Be Careful What You Wish For, a new body of work by Los Angeles artist, Samantha Fields. Traditionally, the artist begins by researching weather and landscape phenomena, photographing hundreds of shots for the perfect image to paint. In this most recent body of work the artist has culled from over five years of archives, of ‘failed’ images, those where the camera did not pick up what she intended due to heat, water, or movement, and those where she is in the scene rather than reporting from afar. This marks a distinct shift in point of view, from observational to experiential. Additionally, the work is conceptually tied by the idea of chance rather than systematic investigation. The theme of the unexpected vs. study is important for the artist as it moves the work into a more subjective arena, though not with out ironies; Nature is observed through veils: a camera lens, car windshields, or dense fog. As the artist is immersed in her surroundings, very few clear details are apparent; traffic headlights are soft focused in the rain, a spectacular Los Angeles sunset/cityscape is blurred by movement, and a deer amongst the trees is a monumental but momentary vision. There is never pictorial clarity. It is the sense of movement, or glimpse of a scene or shrouding atmosphere that creates a mysterious quality, as an enigmatic memory or recollection. As most of the works have a large scale, the pictures are cinematic, historically linked to 19th and early 20th century paintings of the West by artists such as Albert Bierstadt and Thomas Moran. While these two artists painted theatrical works, Fields’ airbrushed paintings reference the camera ready culture of the 21st century. By using such momentary glimpses, another paradox exists in the work; technological speed and the sense of silence, and/or stillness. Her painting of the sunset from Beverly Blvd in Los Angeles hints at the continual rotation of the earth, while another work of a log on the misty forest floor quietly points to the organic cycle of life and death. Both urban and forest images though observed through a lens, are painted with innate reverence, similar in tone as the writings of Waldo Emerson or Henry David Thoreau. Each work of Fields’ is a moment of experience, private awe of the fleeting present caught in the reflection of wet city streets and obscured mountain forests.

Fields is currently in, No Object Is An Island, at the Cranbrook Art Museum, Detroit,  Painting (Los Angeles) at Another Year in LA, 10 Years LA @ Foundation Kaus Australis, The Prospectus, Los Angeles. She has exhibited at Kim Light/LIGHTBOX Gallery, Melanee Cooper Gallery in Chicago, The Armory Center for the Arts in Pasadena, Solway Jones Gallery in Los Angeles, Dirt Gallery in Los Angeles, POST Gallery in Los Angeles, Domestic Setting Gallery in Mar Vista, California, Suzanne Hilberry Gallery in Detroit, Lemberg Gallery in Birmingham, Michigan, The Jones Center for Contemporary Art in Austin, Texas, and Galerie Enholm Englehorn in Vienna, Austria. Her work has been reviewed in the Los Angeles Times, ArtWeek, Art in America, The Detroit News, The Detroit Free Press and the Cleveland Plain Dealer.