Painting Group Show, Ruth Bachofner gallery, Bergamot Station, 2525 Michigan Avenue, G2 Santa Monica, CA 90404 February 28, 2009 through April 11, 2009

In the Wave Of my Eyes an exhibition of new paintings by April Street
November 1, 2008 through December 18, 2008
at The Arts Co, 215 fifth Ave. North Nashville TN 37291 More information: 877-254-2040

Foreign and Domesticated, at Ruth Bachofner Gallery, Bergamot Station, 2525 Michigan Avenue, G2 Santa Monica, CA 90404 January 19, 2008 through March 1, 2008

The Dominant Planets Of
High Energy Constructs in Chinatown Los Angeles presents The Dominant Planets Of - a group exhibition of paintings and drawings by Searcy Benson, Kadar Brock, Kent Hammond, Paola Ochoa, and April Street. The Dominant Planets Of brings together five emerging artists who work with extraordinary freedom, mixing ideology and tradition, as well as engaging with archetypal and personal dialogues of social, political, and art historical concern.
April 7 - May 12, 2007

 

recent exhibitions and press:

March 2, 2010 through April 18, 2010
Contemporary Women's Exhibition Curated by Terri Jordan, Customs House Museum

Saturday, April 3, 2010 opening reception 6-9 pm Souvenirs from Spinning at The Arts Co 215 fifth ave north Nashville TN

Twenty -Two Women March 12- April 23, 2010, Group Exhibition for the Susan G. Komen Foundation

Here Now, Artra Curatorial Invitational Exhibition Curated by Max Presneill, Torrence Museum November 14 & 15, 12–5pm 11500 Tennessee Avenue, Los Angeles For more information: http://www.artrala.org/

Ruth Bachofner Gallery is pleased to present Sunken Living Room, an exhibition of new paintings by April Street.
October 24, 2009 through November 21, 2009.
"Sunken Living Room" features large-scale paintings ranging from the undulating density of lively hatching to a complete lack of hierarchy between foreground and background. The paintings swim in an enigma of what was executed on the surface. Each painting is drizzled with the familiar and the unknown making her work irreducible to abstraction. Street veils her canvases in a gorgeous tangle of maneuvers: what is intimately offered to the eye is a garden of perspectives, pushing up through the grounds of Op Art to root them in the contemporary world of image making. Her forms reveal themselves in stages, like the dissection of a conversation. The painting's watercolor bloom affects and washes of acrylic seem poised for a struggle between the devised plottings and free formed areas. Street's paintings are comprised of intimations, mysterious personal allusions, mirages, and movements. Street's prismatic animations vibrate with a humming energy that could burst off the wall.

for more information: Ruth Bachofner Gallery, Bergamot Station, 2525 Michigan Avenue, G2 Santa Monica, CA 90404 http://www.ruthbachofnergallery.com/index.asp

"April Street's paintings thrive on layering, a single painting offers an eclectic set of references including Arturo Herrera,... Helen Frankenthaler, Crisp lines of bulbous cartoon characters become semi transparent abstractions. The repetitious whipping of vines reference digital responces to the stylized flora of Art Nouveau. This Lush mania is placed over a ground of soft stains."- Christopher Russell, Artillery Magazine,vol 1 no. b summer 2007

 

Recent Press:

NY Arts Magazine January/February 2009 issue wrote about my paintings in the article: Shape-Shifting by R. B. Saul.

.http://www.nyartsmagazine.com/index.php?option=com_content&task=view&id=376731&Itemid=757

April Street’s paintings bubble over like an interpretation of lyrics, made richer by years of poetic flexibility and lubricous perceptions. Her paintings embed watercolor bloom effects that appear to be dredged through gauzy light, reminiscent of a 70s album cover, fashioned by a transported courtly Fleming on acid. These trippy surfaces connote a cut-and-paste methodology, and yet, are an intricate record of her impressions. By simultaneously combining macro and micro perspectives, Street’s psychedelic organizations become an elastic maze of diverse configurations. These configurations form and disinform her imaginative landscapes through her codependent patchworks and shape-shifting narratives.
Even as her colors boldly depart from naturalism, Street’s illusory plots and plights consistently concoct objects tangible and figurative, yet heterarchical—not hierarchal—making them irreducible to abstraction. Comprised of intimations, mysterious personal allusions, mirages, and movements, each painting is drizzled with familiarity and mystery, unfolding and dissolving over time, slipping through the grasps of rational comprehension. Within the convergence of figure and space, fact, and interpretation, Street takes the peculiarities of paint and boils it all down to an intimate flurry, a whirlpool of hypnotic defects, willing to ambulate freely through unrelated perspectives.