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  Frédérique Morrel The French artist Frédérique Morrel was horrified to discover that when her grandmother died, all of her handicrafts were thrown away. Since then, she has been pursuing the idea of bringing her grandmother’s works back to life in order to revive the passion that was inherent in them. In the process, she has developed a completely new artistic concept that “ decycles ” unnoticed and unvalued pop artifacts, thus helping them make the transition to a new life cycle.  ** Thankfully, no animals were harmed in the making of  Frédérique Morrel’s art.  The horns and fur are real; the rest is a mix of taxidermy molds and vintage needlework.  While amusing and perhaps a bit shocking, the trophies that adorn the Seventh Floor are “tame” compared to some of Frédérique’s other work which include life size horses, deer, wild boar and even humans (which they call “ ghosts ”.)  If the artists’ goal is to “re-enchant” our world, then

The Best Things To Hold Onto


The Best Things To Hold Onto: Hiejin Yoo @ Half Gallery, NYC

Half Gallery // January 13, 2022 - February 12, 2022
January 25, 2022 | in Painting

Hiejin Yoo takes a multi-sensory approach to her image-making: catching a desert breeze in her scarf at night, the silent soundtrack playing an air guitar at sunset, or the dragging teeth of a comb releasing the perfume of a lawn thick with grass. She believes in the deities of nature - the boundlessness where imagination meets a sky rich with clouds - all though the gentle lens of magic realism. This tact allows the artist to combine sense memory and her own contemporary biography. 


In Sweetness Overloaded, Hiejin harkens back to a painting from her inaugural half gallery exhibition in 2018. The picture in question showed a dark silhouette of Hiejin sitting alone on a rooftop her very first night in America, wondering anxiously what her life might become here. Ten years later we see her intertwined with her husband - flower rings adorning her fingers - content with the “everyday mundane happiness” of existence. Seasons, too, weigh heavily on her landscapes, take Falling into Fall where we witness the veil of summer pulled away like a curtain of parted hair. And everywhere she casts her gaze there seems to be music, be it an electronic keyboard spanning the shore of a distant lake or the sound hole of an acoustic guitar paralleling a curve in the highway. 

Hands! The majority of her paintings feature hands - some disembodied, often ombre - framing the action, yes, but also suggesting the fascination of articulation we find in Bruce Nauman’s studies of twisted fingers and thumbs, a secret sign language. Her palette embraces the exuberance of flowers and blooming trees alike while her subject matter in, say, The Only Child’s Bunkbed Fantasy speaks to an eternal longing which a crescent moon can never shine brightly enough to eclipse.


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