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

Foreign and Domesticated, Solo 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:

Feb 12 - Mar 12. 2011
Patrick Nickell & April Street. Rosamund Felsen Gallery. Santa Monica. CA. Opening reception Feb. 12. 2011. 5-7pm.

With her own physical movements realized and indexed in paint, April Street makes works that evoke the surrealist automatism of a dreamscape. At the same time, they represent a spontaneous outpouring of social, historical and personal constructions of romanticized subjects and subject matter. Using canvases often imprinted with pattern and natural imagery, and utilizing such varied applications and techniques as paint spills, illusionistic detailing, prismatic color and floral motifs, Street has largely relinquished the paintbrush. Instead, she utilizes her own body as well as worn bed sheets to move paint around the canvas. Displaying a skillful lightness of touch, Who threw that sunset at Me culminates as a series of beautiful, highly mysterious and highly allusive paintings, rich in layered meaning.
For more information, please call the gallery: 310.828.8488

Past Exhibitions and recent Press:

 

"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

2010 exhibitions:

October 1 -October 29. 2010 Slocumb Gallery Group Show East Tennessee State University.

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

April 3-May 1, 2010 opening reception 6-9 pm Souvenirs from Spinning at The Arts,Nashville TN

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

Here Now, Artra Curatorial Invitational Exhibition Curated by Max Presneill, Torrence Museum November 14, 2010 11500 Tennessee Ave. Los Angeles

2009:

Sunken Living Room. Ruth Bachofner Gallery. Bergamot Station, 2525 Michigan Avenue, G2 Santa Monica, CA. a solo exhibition of new paintings by April Street. October 24, 2009 through November 21, 2009.

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.

Looking at Street’s watercolor paintings is like being in the Fantastic Voyage, where you have become tiny and are traveling through the plasma, lymph and transcellular fluids. Membranes give way to sheaths that glimmer translucent fibers. Space opens up to reveal the plains that are journeyed across to reach filaments and fibers. Color and shape are contained in continents of detail while sheer curtains of color stretch into space. There is a memory within the images that is not captured with words, but is with a visceral response. Tracey Harnish. LA Art Diary. 2011