Nayda Collazo-Llorens in “How Far Is In-Between”

Nayda Collazo-Llorens (Puerto Rico) joins Lisa Beck, Popel Coumou, and Dona Nelson in the exhibition “How Far Is In-Between.” The exhibition, which opened on April 2, remains on view through May 7, 2022, at Keijsers Koning gallery space (at 214 Projects, 150 Manufacturing Street, Suite 214) Dallas, Texas.

Description: “How Far Is In-Between” is a group exhibition of four female artists using abstraction as a form to discover the planes of composition through form, light, and structure. The exhibit will feature the works by Lisa Beck, Nayda Collazo-Llorens, Popel Coumou, and Dona Nelson. While working in different mediums from painting, collage, sculptural to photography the artists express their view through rhythm and form.

Beck will explore and emphasize the inherent qualities of the materials used, along with the shapes that give the impression of a celestial landscape. The elegance of the colors is contrasted with the brute presence of materials such as burlap and crushed metal that allow for the play of control and the uncontrollable to interact. The interaction of opposites is a general theme within her work, as she uses it to push beyond the confines of the structure of a canvas.

Collazo-Llorens is engaged in an interdisciplinary practice incorporating multiple mediums and strategies. The works that are selected for this exhibition bring together the sentiment of control and the organic. A visual exploration on the complexities of the mind and the fragmented manner, in which people perceive the world around them.

Coumou work evokes a sense of space that is recognizable, yet illusionistic. She uses hard lines of abstraction and plays with shadows and light to form a new universe that evokes a sense of space and triggers the imaginative. Her constructions question the notion of the material and pushes the senses past the flat and inert material it is built from.

Nelson takes on the canvas and uses its structure as a tool allowing her to explore the material interdependence of the “front” and the “back” of her paintings. The result is an expressive moment of color and mark making, throwing in the wind any assumption the viewer may have about how these paintings are approached. Nelson defines and directs her work, and the audience becomes part of its entanglement with humor, sensitivity, and brutal honesty.

[Detail of “Geo Dis/connect #2” by Nayda Collazo-Llorens.]

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