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


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.
