LISA SETTE GALLERY Exhibits: TRANSCENDENT GEOMETRIES: ATO RIBEIRO AND CARRIE MARILL WITH ANDY BURGESS

TRANSCENDENT GEOMETRIES: ATO RIBEIRO AND CARRIE MARILL WITH ANDY BURGESS — Transcendent Geometries Ato Ribeiro | Carrie Marill with Andy Burgess Exhibition Dates: March 2 – May 25, 2024 Opening Reception with the artists: Saturday, March 2, 2024 1:00 - 3:00pm In a time dominated by machine algorithms, a return to patterns made by human hands and touched by human bodies can produce transcendent geometries, reminding us of our origins as embodied and sensuous beings. Ato Ribeiro, Carrie Marill, and Andy Burgess work in diverse media, yet each artist employs pattern as an instrument of exquisite narrative and intimate intention. Working within formal geometrical guidelines that often resemble the composition of a quilt – an object used both to warm people and communicate information – Ribeiro, Marill, and Burgess combine tactile materials, mathematical constraints, and the universal need for expression to create intimate graphic explorations in wood, acrylic on linen, and textile collage. Their recent works will be exhibited in a group show at Lisa Sette Gallery from March 2 – May 25, 2024. Ato Ribeiro constructs vibrant compilations of motifs, patterns, and structures that multiply and evolve before the viewers’ eyes. Handmade of salvaged scrap wood – a metaphor for the bodies of historically disadvantaged peoples – Ribeiro’s arrangements of hand burnished wood pieces and right angles form voluminous landscapes of pattern and movement, celebration and remembrance. A collector of symbols and stories as well as wood, Ribeiro formulates these works with reference to his Ghanian background and the diverse cultures of the African diaspora, blending the patterns of Kente cloth and African American quilts – objects worn close to the skin and signifying family, status, and values – as well as the formulations of griot storytelling, woman-led justice work, and his own extensive travels. From this rich personal background Ribeiro draws forth ever more expansive communications of action, intimacy, and family. Ribiero remarks that these works “serve as a reflection of the people, the histories, and the cultural fabrics that I continue to learn from and share in. These works are a collection of stories, fragmented and fused together with room for the addition of narratives to come… This assemblage of histories pays homage to my three-times great grandmother Priscilla (Marshall) Young, interactions with griots, and my desire to share space and stories with Madan Sara in Haiti. The materials that make up these works are the same ones that make up the hard and soft woods hidden behind white gallery walls. Here, they are optimistic for the future because they know from whence they came.”   The artist Carrie Marill speaks of her “love for combining worlds,” and her research and practice examining pattern, color, and form in both folk and fine art result in works that are luminously personal and formally precise. Marill lists the contrasts that inspire her, from “craft and architecture, masculine and feminine, beauty and utility” to “hard and soft, structure and freeform, handwork and mechanization.” In Marill’s recent works, inspired by her study of European modernist architects and folk quilts, the artist delineates these human contrasts in geometrical explorations. The personal characteristics of built spaces and objects are tangible in these works: the simple physique of a chair, the human spaces around which a building is built, the soft precision of a quilt made from textile remnants already worn close for a lifetime.  “I have been looking at architecture and how the patterns found in modern/minimalist architecture utilize similar patterns as found in quilt making. Architecture can create light, airy space out of steel, metal and concrete. Could quilts create a similar effect? What if a building were a quilt? I want to capture that in a painting.”   Similarly, Andy Burgess’s elegant assemblages of found textiles and paper ephemera recall deeply personal architectures: the receding horizons of imaginative cityscapes, the parallel and bisecting lines of books standing vertically in a shelf, or the intricate repeating unit of a quilt square. Burgess explores space and pattern with references to the modernist movement and “the place of collage within that history, exploring the aesthetic legacy of Cubism, Bauhaus, Dada, and Constructivism.”  Yet within these compositional strategies, Burgess values the touch and texture of his materials above all, selecting his compositions from a vast tactile catalog of found materials documenting human lives and the materials we use and discard: “I make art from the most humble and lo-fi materials…found ephemera, discarded papers and card, and recycled offcuts from previous works. The more dejected and rejected, dog-eared and forlorn are my materials, the greater the possibility that a careful repurposing and delicate arrangement of elements can turn the abject into something beautiful and poetic… By making humble and small-scale works from repurposed materials that are full of imperfections; uneven and worn surfaces, tears, fissures, cracks, and fractures, I hope to make a small statement about the continued vitality and significance of the hand-made art object.” Ribeiro, Marill, and Burgess’s generative action through geometrical constraint creates patterns, structures, and moments of introspection, accessing experiences of interior consciousness and human sensuousness. These works evoke an awareness of the shapes and patterns that humans have constructed, touched, broadcast, and lived within for centuries and throughout the world.  Their distinct graphic explorations speak of the shape of human curiosity and variety, and our simultaneous ability to organize the symbols and structures of our lives into lucid moments of sensation and self-knowledge.   To request high resolution images, please contact us at (480) 990-7342 or email us at sette@lisasettegallery.com. For 38 years, Lisa Sette has remained committed to discovering and exposing original, intriguing forms of expression. Lisa Sette Gallery exhibits painting, sculpture, photography, video, installation, and performance pieces from an impressive roster of emerging and established artists, as well as maintaining a clientele of local and international collectors devoted to its founder’s adventurous curatorial vision.   Images 1) Ato Ribeiro Madan Sara, 2023, Repurposed wood, HDPE, wood glue, 48” x 72” x 1.25” 2) Carrie Marill Positive Illusions, 2023, Acrylic on linen, 36” x 30” 3) (left) Andy Burgess The Airfield, 2023, Vintage ephemera and painted paper collage, 4.5" x 3.5" unframed 4) (right) Andy Burgess The Daily Commute, 2023, Vintage ephemera and painted paper collage, 4.5" x 3.5" unframed     LISA SETTE GALLERY 210 East Catalina Drive, Phoenix, Arizona 85012 480 990 7342 map | directions GALLERY HOURS Tuesday – Friday 10am – 4pm Saturday 11am – 4pm And by appointment closed Sunday and Monday #lisasettegallery#fineatmagazine#fineartfun SOCIAL PROFILES

Lisa Sette Gallery Exhibits: Shadow Passes, Light Remains: Binh Danh and Michael Koerner with Benjamin Timpson, January 13, 2024 – February 24, 2024

SHADOW PASSES, LIGHT REMAINS: BINH DANH AND MICHAEL KOERNER WITH BENJAMIN TIMPSON IN THE ATRIUM Shadow Passes, Light Remains: Binh Danh and Michael Koerner with Benjamin Timpson in the Atrium Exhibition Dates: January 13, 2024 – February 24, 2024 Opening Reception with the artists: Saturday, January 13, 2024 1:00 - 3:00pm In the peculiar alchemy of photography, fleeting configurations of light and shadow are transformed into images and objects, capturing a moment, a landscape, a life. In the present moment, when images proliferate and their meanings multiply into an infinity of implications, the experimental photographic works of Michael Koerner and Binh Danh serve as serene documentation of humanity’s deep chemical and mythological lineages. From the aqueous origins of our dark past to the electric thread of current consciousness, we grow in our capability to perceive, comprehend, and transform. Koerner’s poetic chemical assays and Danh’s gleaming testimonial daguerreotypes remind us that we are defined, both physically and philosophically, by values of light and shadow, and that from the shadows of the darkroom, captured light becomes the bright evidence of our existence, humanity, and capability to make and behold beauty. A selection of works by Koerner and Danh will be exhibited at Lisa Sette Gallery along with a single work by Benjamin Timpson, from January 13 to February 24, 2024, with an opening for the artists on January 13, 2024 from 1pm - 3pm. In processing his fascinating tintype plates, artist and chemist Michael Koerner communicates with his lost family in the darkroom; his mother and her family, who were living in Nagasaki at the time of its bombing; his father, who served on a Navy ship during the Bikini Atoll nuclear experiments; and his siblings who perished due to cancer and other genetic anomalies. The voices and traumas of the past inform Koerner’s experiments, illuminating parallels between genetic mutation and the exuberant crystalline fractals that burst unexpectedly from Koerner’s timed chemical exposures. Acid and salt solutions on coated metallic plates result in unpredictable chemical transfigurations, resembling blossoms, clouds, or ghostly limbs, reaching across the photographic surface, transforming the narratives of war and loss into stunning repositories of light and form. Koerner’s works can resemble otherworldly landscapes or radiological medical images, as though with the chemical tools of photography the artist has unlocked a subconscious realm, producing windows into the wordless places of loss, yearning, and hope. In these spaces, which are dense with texture and contrast, Koerner tells the story of war’s effects through generations. “In the darkroom,” says Koerner, “It’s all spiritual and emotional. Eventually, suffering must be processed here.” However, the drive to make art is an equally insistent and powerful force in Koerner’s life, a medium wherein his ancestral cultures, his family’s love, and his own scientific and aesthetic examinations result in prolific and profound works. “There’s beauty in this damage,” Koerner states. In the ethereal reflective surfaces of Binh Danh’s large-scale daguerreotypes, and in the images’ paradoxical subject matter, the viewer is invited to explore the issues of self, creativity, and our simultaneous tendency toward destruction. His portraits of the locations and victims of the Khmer Rouge genocide, many exposed on the delicate surface of a leaf, then transferred to daguerreotype, recall the complex arterial nature of exquisite bas-relief scenes on the temples of Angkor Wat, which are also the subject of several of Danh’s images. “With Angkor Wat,” says Danh, “here is this beautiful architectural achievement of art and religion and Buddhist culture. And it was through the beauty of the Angkor Wat temple that the Khmer Rouge emerged, as the regime sought above all to return Cambodia to its glory days. In order to do that, they had to remove anyone who did not go along with their ideology. This is a theme I return to: the darkness and beauty in our history.” Danh’s poignant, unflinching memorials capture both the moral collapse represented by Tuol Sleng–a former high school turned Khmer prison and execution site–and the sublime deep forests and structures of Angkor Wat. These works invite the viewer to consider how our existence is part of a larger narrative in human history, one that involves both sorrow and transcendence. When you look at the mirror-like surface of a daguerreotype, Danh remarks, “You become part of the image. You are able to reflect yourself onto this landscape.” The intensely silver surfaces of Danh’s works often seem to result in a vibration of shadow and light around the subject’s edges, as though in the photograph we may finally glimpse the complicated interplay of matter and energy inherent in all life. Whether in the stark chambers of injustice or the luminous expressions of monumental gods, Danh’s images record the hidden magic at play in human endeavors. As we contemplate the machinations of human destruction, we are at the same time living in the shadow of the Buddha’s form, rising up from the forest floor. For both Koerner and Danh, processing darkness into light in photographic work is a strategy for bearing witness to the immense mystery of our human existence, bringing forth from the darkness an opportunity to bask in the light of this moment.  In the Atrium: Benjamin Timpson Benjamin Timpson’s luminous portraits are constructed of butterfly wings, each visage delineated through mysterious patterns and complex interplay of color and iridescence. The delicate biological relics are responsibly sourced by the artist, deconstructed according to their unique markings, then pieced over the artist’s rough sketch on a lightbox. A descendant of Puebloan peoples, Timpson’s transcendent works portray Indigenous women who have been the victim of sexual assault and murder – a population that is four times more likely to experience such violence. Timpson’s newest piece, Melodi, is a composition made from a Jeffrey Wolin photograph taken for his Faces of Homelessness series. Melodi, a survivor of sexual assault and domestic violence, is a 5th generation veteran who now works to advocate for special needs, education, and the Native American community in Chicago, Illinois. Timpson sees these portraits as a metaphor for the significance of individual lives impacted by cultural violence, and as a way of examining the horrors of centuries-long exploitation of Native lands and cultures. Yet Timpson considers his work an act of hope and catharsis. The artist remarks: “The butterfly is appropriate because there’s a metamorphosis that takes place with these portraits; my work is about giving voice to the voiceless, and bringing to light the lives of these women.” To request high resolution images, please contact us at (480) 990-7342 or email us at sette@lisasettegallery.com. For 38 years, Lisa Sette has remained committed to discovering and exposing original, intriguing forms of expression. Lisa Sette Gallery exhibits painting, sculpture, photography, video, installation, and performance pieces from an Images 1) (left) Binh Danh Untitled #19, from the series, "Aura of Botanical Specimen", 2023, photogram on Daguerreotype, 5" x 7" plate size, 11" x 9" unframed, Unique 2) (right) Michael Koerner Brothers #0655, from the series My DNA, 2018, collodion on tin, 6 x 8" unframed, Unique 3) Benjamin Timpson Melodi, 2023, butterfly wings on glass, wood, electrical components, 24" x 18" portrait, framed within custom programmable LED light panel, Unique LISA SETTE GALLERY 210 East Catalina Drive, Phoenix, Arizona 85012 480 990 7342 map | directions GALLERY HOURS Tuesday – Friday 10am – 4pm Saturday 11am – 4pm And by appointment closed Sunday and Monday #lisasettegallery#finertmagaize#fineartphotofun SOCIAL PROFILES

Catch The Lisa Sette Gallery: Nature & Structure Kim Cridler, Mayme Kratz, & Marie Navarre March 6, 2021 – May 1, 2021!!!

URE & STRUCTURE KIM CRIDLER, MAYME KRATZ, & MARIE NAVARRE — Nature & Structure Kim Cridler, Mayme Kratz, & Marie Navarre March 6, 2021 – May 1, 2021 Opening Reception: TBD Celebrating a season of renewal and a long-anticipated transition toward new patterns of being, Lisa Sette Gallery’s spring exhibition, Nature & Structure, features works that involve the natural world as both symbol and science: human representations of nature become a vital means of transmitting information toward future generations. Marie Navarre’s serenely inquiring photographic constructions, Mayme Kratz’s glowing resin castings, and Kim Cridler’s steel vessels all illuminate the contradictions at play in a moment of dramatic environmental and social change.  Capturing timeless, universal scenes, such as the abstract pattern of a flock of birds traversing the sky, a spray of branches in early bloom, or horizons unmoored from specific times and places, Marie Navarre’s photo constructions resemble the Japanese haiku form that inspires her. Working with vast collections of images of natural phenomena captured on her travels, Navarre conjures images that appear to be from just outside the realm of human observation. Navarre’s prints are often collaged and hand-stitched over backgrounds of satin-like Gampi paper, enigmatic photographic constructions that document the implications of a moment in nature and in time. “I have this trouble of being a photographer but wanting to make the photographs into something else. I still think like a photographer even though in some ways I’m sabotaging the way that photography works. I still begin my artmaking process by making pictures. I don’t know how to begin without the photograph.”   Mayme Kratz is an artist and advocate for the flora and fauna existing within the high deserts of the Southwest. Kratz draws inspiration from the stark beauty of these environments, memorializing not only the botanical treasures that she finds on her restless travels across Western landscapes, but also the overlooked minutiae: In Kratz’s cast resin forms, a handful of gravel or small burrs may be transformed into a likeness of the vast swirling galaxies from which it originates. Kratz captures the ephemeral radiance of these harsh environments and the delicate calibrations of fragile ecosystems. They also provide her with material: seedpods, insect wings, cactus roots, bleached animal bones, leaves, grasses and flowers. Kratz’s precise formal designs lead the viewer to contemplate the infinitely large, calling to mind the cosmos of stars and planets, as well as the impossibly small, alluding to cellular and crystalline structures.   Kim Cridler’s steel vessels are made up of the angular forms and facets of fabricated metal, but among these angles are unexpected organic treasures: berry-like jewels, beeswax, and horsehair. The juxtaposition of materials allows Cridler to explore vessel forms as a means for holding memory and meaning. “I was making raised hollow ware, like that made by Paul Revere, and was fascinated with the kind of work that carried a lot of sentimental value in families. I learned about my family through these types of things… The reason they were important was the family connections, the memories and the sentiment that invested in the objects, not how they were used. I started making objects that were stripped down, torn apart, because I wanted to get the emotional charge these things carry.” Navarre, Kratz, and Cridler convey a relationship between human aesthetic, practice, and biological patterns beyond our control, holding specific memories of our world while introducing the possibility of existence within changed landscapes.   Essay and images copyright Lisa Sette Gallery. To request high resolution images, please contact us at (480) 990-7342 or email Ashley Rice Anderson at sette@lisasettegallery.com. For over 35 years, Lisa Sette has remained committed to discovering and exposing original, intriguing forms of expression. Lisa Sette Gallery exhibits painting, sculpture, photography, video, installation and performance pieces from an impressive roster of emerging and established artists, as well as maintaining a clientele of local and international collectors devoted to its founder’s adventurous curatorial vision. Images: 1) Marie Navarre, find us soon, 2020, archival digital print on Surface Gampi, Rives BFK, 25.5" x 25" unframed, Edition of 5, 2AP 2) Mayme Kratz, Blue Moon 5, 2020, resin, seeds, bones, shells, Hollyhock blossoms, Cicada wings on panel, 36" x 36" 3) Kim Cridler, Hare, 2020, steel, brass, chrysoprase, 33" x 26" x 17"   LISA SETTE GALLERY 210 East Catalina Drive, Phoenix, Arizona 85012 480 990 7342 map | directions GALLERY HOURS Tuesday – Friday 10 – 5 Saturday 12 – 5 and by appointment closed Sunday and Monday SOCIAL PROFILES       #lisasettegallery#fineartmagazine#artfun

Lisa Sette Gallery in Phoenix, Arizona show ZuLu pottery, November 2-2019, January 4 2020

ZULU! CONTEMPORARY MASTER ZULU POTTER  MNCANE NZUZA

ZULU! Contemporary Master Zulu Potter Mncane Nzuza Vessels From the Far Away KwaZulu-Natal Province of South Africa Travel to Modern Desert Venue for Exhibition at Lisa Sette Gallery in Phoenix, Arizona Image  Mncane Nzuza, photographed in KwaZulu-Natal province, South AfricaExhibition November 2, 2019 - January 4, 2020 Private Lecture Event with Douglas Dawson Ethnographic Expert Specializing in African, Asian, and Pre-Columbian Ceramics Saturday November 9, 2019 from 1:00-2:00pm Public Opening Reception  Saturday November 9, 2019 from 7:00-9:00pm It is difficult to conceive of two more disparate situations; a sophisticated, urban, contemporary art gallery in Phoenix, Arizona and a traditional compound of earthen structures at the end of a road in a remote corner of KwaZulu-Natal province, South Africa. Surprisingly, however, these two contrasting circumstances of life on earth are closely linked by the common, intrinsically human impulse of aesthetic appreciation. In this case, regarding the hand-built clay vessels of Zulu potter Mncane Nzuza, whose work is both distinguished among her Zulu culture, and widely recognized in contemporary Western circles. From November 2, 2019 to January 4, 2020, Lisa Sette Gallery will exhibit a collection of Nzuza’s remarkable clay vessels. Mncane Nzuza lives in South Africa in a kraal—the ancient, traditional compound of round, earthen houses, and she is 69 years old. Her grandmother was a potter who instructed Nzuza as a child in the labor-intensive and matriarchal world of Zulu ceramics. Traditional Zulu pottery created today links to deep cultural pathways: the blackened earthenware vessels function as potent connectors between ancestors and the living. Most are made for either brewing or serving a mild beer, which is communally consumed at important occasions. While Zulu potters work within this specific canon, there is considerable avenue for individual expression, and creating distinguished pottery is a primary vehicle for women to assert and increase prestige within Zulu society. Nzuza’s pots, which are exceptionally accomplished both technically and aesthetically, are a testament to this dynamic. LISA SETTE GALLERY 210 East Catalina Drive, Phoenix, Arizona 85012  480 990 7342  map | directions GALLERY HOURS Tuesday – Friday 10 – 5  Saturday 12 – 5  and by appointment  closed Sunday and Monday #fineartmagazine

LISA SETTE GALLERY THE DOORS OF PERCEPTION Opening Saturday, May 11th from 7pm - 9pm

AT THE DOORS OF PERCEPTION — OPENING RECEPTION:  Saturday, May 11th, 2019 from 7pm - 9pm

AT THE DOORS OF PERCEPTION Opening Saturday, May 11th from 7pm - 9pm The full realm of the human psyche exists beyond the technological shackles and mundane logistics so pervasive in the early 21st century.  The artists of “At the Doors of Perception”, a group exhibition at Lisa Sette Gallery opening May 11, 2019, employ various mediums to present artworks as potential methods to escape the confines of the conforming ego and self-conscious brain, and access radical aesthetic and psychic transformation in worlds beyond the sublunary. Brian James Culbertson creates portraits of subjects under the influence of psychotropic drugs; Culbertson’s startling photographic prints themselves are developed in a wash of these chemicals: “The incorporation of medication used to alter the chemistry of the mind into my salted paper print process yields unpredictable results from print to print - just as it does with our own bodies.” In sculptural form, Julianne Swartz’s contribution to “At the Doors of Perception” presents a demure first impression. Her sculpture, Lull, consists of a precise and neatly-executed wooden box. When the gallery-goer ventures to open its top, a mysterious and strangely familiar soundtrack emits from the darkness within. The artist has remarked “I am interested in the intersection of the physical and non-physical, and making what is not physical somehow palpable.” The non-physical in Swartz’s work is as varied as the physical facts of the universe—light, memory, sound, kinetics, the passing of time and a sense of place. Works by James Turrell document his ongoing celestial and earthworks project at theRoden Crater site. In “At the Doors of Perception,” Turrell’s aerial view of the project site is executed on mylar, and overlaid with the artist’s architectural markings. Turrell’s project embodies the artist’s power to break free from the confines of conventionally-received time and space, and think in terms of of the galaxies and millenia contained in the human psyche. Philip Augustin’s stark, revelatory bichromatic images originate from photographic processes, but serve as vessels, in which each viewer may find both problem and resolution. Elizabeth Stone creates assemblages of discarded 35 mm slides and large-format film produce dream-state horizons and unknown landscapes, radical alloys of light and dark that generate immersive sculptural photographs. “I consider both the ‘negatives’ and ‘positives’ … Structures become apparent reminiscent of the buildings from my dreams as I wander from room to room. Landforms also emerge from the edges and I think about how we define the landscape. The transition zones transfix me.” The team of Kahn/Selesnick and the French photographer Gilbert Garcin both start from the construction of fantastic aesthetic realms and alternate mythologies. Then, in their distinct ways, the artists tenderly insert human subjects to these strange new worlds. In this manner, human perceptions are tested against the hypotheses of different chronological and physical schema. Human experience on earth is both echoed and distorted in these charming and troubling photographs; we sense the possibility of countless previously unconsidered dimensions within our own worldly experience. “At the Doors of Perception” will include works by Philip Augustin, Brian James Culbertson, Binh Danh, Gilbert Garcin, Máximo González, Carrie Marill, Marie Navarre, Luis González Palma, Fiona Pardington, Hunt Rettig, Gregory Scott, Kahn/Selesnick, Doug and Mike Starn, Elizabeth Stone, Julianne Swartz, and James Turrell. LISA SETTE GALLERY 210 East Catalina Drive, Phoenix, Arizona 85012  480 990 7342  map | directions GALLERY HOURS Tuesday – Friday 10 – 5  Saturday 12 – 5  and by appointment  closed Sunday and Monday #finartmagazine

Lisa Sette Gallery: Claudio Dicochea: Forbidden Futures, July 5 - October 29, 2016

PRESS RELEASE: CLAUDIO DICOCHEA: FORBIDDEN FUTURES —

Claudio Dicochea:  Forbidden Futures Exhibit July 5 - October 29, 2016 Opening Reception  Saturday, September 10, 2016 7:00 - 9:00pm Flourishing in the desert for over three decades, Lisa Sette Gallery represents the works of a diverse and expansive range of artists whose investigations in some way touch on the realities of the urban Sonoran desert. The experience of living at a cultural and geographical intersection is reflected in works from around the globe that are both conceptually fertile and thoughtfully crafted. This summer’s solo exhibit of the electrifying, philosophically-charged paintings of Claudio Dicochea: Forbidden Futures exemplifies the gallery’s intrepid commitment to challenging, compelling, and culturally pertinent artwork. LISA SETTE GALLERY 210 East Catalina Drive, Phoenix, Arizona 85012 480 990 7342 map | directions GALLERY HOURS Tuesday – Friday 10 – 5 Saturday 12 – 5 and by appointment closed Sunday and Monday SOCIAL PROFILES       #fineartmagazine