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Tennae Maki
Tennae Maki is a PhD candidate at the University of Leeds, where she is researching artist autonomy and commons-based peer-production.
Arcmanoro Niles: You Know I used to Love You but Now I Don’t Think I Can: There Ain’t No Right Way to Say Goodbye Again
By Tennae MakiArcmanoro Niles begins each work of art with a problem he wants to solve. His skill as a painter is technical, his intention deeply personal. In his exhibition, You Know I Used to Love You but Now I Don’t Think I Can: There Ain’t No Right Way to Say Goodbye Again, he presents his ongoing investigation into what might seem like a forgone question: how can one articulate feeling in place of meaning?
Angela Heisch: Low Speed Highs
By Tennae MakiContained biospheres of land, sea, and outer space make up the paintings in Low Speed Highs, Angela Heisch’s current show at Pippy Houldsworth Gallery in London. The works represent a break away from the tradition of landscape painting, wherein Jung’s dueling archetypes of anima and animus seem to be contained, as well. These pieces picture an optical balance of interlocking gradient shapes rendered in an architectural vernacular that recalls Zaha Hadid’s physical structures.
Perle Fine: A Retrospective
By Tennae MakiAn underlying current of profound emotional intelligence is palpable in the retrospective of her work at Gazelli Art House. Exhibiting the many liberties Fine took in terms of scope and artistic range, the works independently represent near case studies in objective expression. There are paintings with shades and shapes of blue, as well as carefully drawn grid lines across a plane of yellow. Each piece demonstrates that during her fifty-year career, she was more interested in unlocking the depths of feeling, rather than the weight of materials.
Aziz + Cucher: You’re Welcome and I’m Sorry
By Tennae MakiTime plays a funny role in Aziz + Cucher’s latest exhibition, You’re Welcome and I’m Sorry, at Gazelli Art House. The show features new works on canvas and a sampling of multimedia pieces that span their thirty30-year collaboration. It isn’t so much of a retrospective as it is a kinetic force that distills a shared ethos within layers of satire. Installed across two floors, the works seem to suggest that there is a glitch in the fabric of society, where someone keeps alternating between pressing the fast-forward and rewind button.
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