On View: Clare Rojas at Gallery Nicolai Wallner
by Nastia Voynovskaya, Hi Fructose, April 08, 2013
Known for her character-driven paintings — with their autumn hues and patterns inspired by folk art forms — Clare Rojas has taken a radically new direction in her past few exhibitions. The artist opened a solo show at Galleri Nicolai Wallner in Copehagen on April 5, presenting a new body of abstract, geometric works with no narrative elements to be found. Experimenting with angular shapes and negative space, Rojas’ new paintings cultivate the same kind of warmth present in her representational work. These pieces test the artist’s ability to transmit moods and feelings without relying on characters to show us the way. Take a look at some photos of the works in the exhibition courtesy of Henrik Haven and check out the show through May 18.
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Clare Rojas: Pith
by Andrew Berardini, Art Review, November 29, 2012
Edwin Abbott’s novel Flatland (1884) has the singularly wonderful subtitle A Romance of Many Dimensions. Clare Rojas’s title for this expedition, the simple, monosyllabic Pith, sensually refers to the soft spongy tissue of plants and animals (particularly the white flesh of the sweet orange), but also to the essential essence of things, their soul even. Her paintings have all the flatness and many-dimensioned romance of Abbott’s curious novel, enriched by infinite depth of pure colours.
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Clare E. Rojas: Spaces in Between
Art+Auction, December 2012
The exhibition of nine new oils on canvas represents a radical change in direction for the San Francisco–based artist, whose work is often classified, along with that of her husband, artist Barry McGee, as a part of the Mission school of painting. Known for her folk art– inspired work, Rojas has now created boldly colorful, architectural oil paintings that evolved from time spent contemplating the corners of various rooms. “The works explore the beauty found when taking time out of one’s life just to think,” says the gallery’s assistant director, Emanuel Aguilar. On the surface, the new, minimal paintings (all 2012) seem less personal than earlier Rojas works, which were heavy on storytelling. Yet here, through the slightly imperfect edges and visible brushstrokes in the paintings, we witness the artist in the process of reflection. Considering the departure from the figures for which she is beloved, collectors from across the United States responded extremely well to the new abstractions: Five of the nine paintings, priced from $10,000 to $30,000, sold soon after the show opened, and holds were placed on the remaining four well before it closed. Coinciding as it did with Expo Chicago, the exhibition drew a good number of collectors new to the gallery from the greater Midwest, particularly Detroit.
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Inside the Artists' Studio: Clare Rojas, The Bard
by Lauren Goodman, 7X7SF, November 20, 2012
Only a half-dozen square, colorful, precise paintings are left behind, stacked amid brushes and Solo cups, at Clare Rojas’ sun-drenched Dogpatch studio, its walls hung with prepped linens to begin a new body of work.
“I just shipped out my show ‘Spaces in Between’ to Chicago’s Kavi Gupta Gallery, so there is not much art left,” explains the petite brunette with a Louise Brooks bob.
The small abstracts that remain are based on “a tension of balance and a love affair with color, as my work is going deeper into this inner psychological space,” says Rojas. They represent Rojas’ major and recent shift from a more folksy, narrative style of painting “based on empowering women”—including “Male Preserve,” a body of work dedicated to the male nude, which was presented at the SFMOMA Artists Gallery at Fort Mason in 2010.
While liberated of narrative in her current visual work, storytelling is still familiar territory for Peggy Honeywell, Rojas’ country-singing alter ego, who will perform at her husband Barry McGee’s exhibit at Berkeley Art Museum on Nov. 16.
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14 Must-See Painting Shows: October 2012
by Steven Zevitas, Huffington Post, October 16, 2012
In San Francisco, be sure to catch the soon to close exhibition of legendary Bay Area-artist Roy De Forest at Brian Gross Fine Art, as well as the just opened show of new paintings by Martin McMurray at Gallery 16. My old friend Laurie Reid has a show of new work up at Stephen Wirtz Gallery. Laurie’s fluency with the temperamental medium of watercolor led to her inclusion in the 2000 Whitney Biennial. In her latest work, watercolor continues to be the medium of choice, but, working on linen instead of paper, she has introduced new ideas into her practice, the result of which is work that delicately hovers between painting and sculpture.
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Clare Rojas, Kavi Gupta Gallery
by Robin Dluzen, Visual Art Source, October 2, 2012
When talking about what’s in Clare Rojas’ newest paintings in “Spaces in Between,” one must first address what isn’t in them. Rojas’ previous practice, showcased throughout the “Beautiful Losers” exhibitions of the mid-2000’s, was marked by tapestry-inspired patterning, folk figures and thoughtful feminism. Where there was once an emphasis on narrative content, illustrative representation and an outsider aesthetic, now there are big, Modernist abstractions: minimal, flat and quiet.
On display are a mere seven paintings - five in the main gallery and two in the side room - but not for lack space to hang more. In the past it was not uncommon to see Rojas’ works hung salon style, gathered in tight groupings or amongst elaborate murals. Here, the abundance of that practice has given way to deliberate autonomy, sparsely installed so as to highlight the space in between, as the exhibition’s title suggests.
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Artist Spotlight: Clare Rojas
by Dolan Geiman, Daily Dolan Geiman, September 24, 2012
Many of you may be familiar with San Francisco artist Clare Rojas‘ incredible paintings and installations that could be described as traditional-Bavarian-craft-meets-street-arts, a one of a kind style she put on gorgeous display at the Museum of Craft and Folk Art in San Francisco a few years ago. However, in a new and interesting twist, Rojas presents a suite of geometric abstractions on view at Kavi Gupta Gallery here in Chicago. Staying true to her subdued color palette of muted solid tones, Rojas seems to be channeling Russian Suprematist painting (think Malevich) and filtering it through her singular, modern-folk style. Foregoing the figurative and representational elements of her previous work, Rojas still somehow manages to produce work undoubtedly hers – a true testament to her unique talent and vision. Highly recommended viewing if you’re here in Chicago!
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Clare Rojas explores abstract 'Spaces in Between,' through her paintings, and through her musical persona, Peggy Honeywell
by Joe DeCeault, WBEZ, September 19, 2012
Artist Clare Rojas is in town this week to open a month-long exhibition of her paintings titled “Spaces In Between.”
But Rojas’ work isn’t confined to the visual arts alone. Back in 1999, she created the musical persona Peggy Honeywell. “Honeywell” is much more than a mere art “character” for Rojas: It’s a bona fide one-woman band. Rojas has put out two sultry, country-inflected folky albums under the Peggy Honeywell moniker, and often incorporates the Honeywell character into her art exhibits.
Rojas joined Morning Shift to discuss her growth as an artist, and about the journey she’s been on for the past decade plus. She'll also performs songs from her Honeywell catalog.
Rojas’ exhibit runs September 21 through October 21 at Kavi Gupta Gallery in Chicago.
Clare E. Rojas, Believe Me
by Karsten Lund, Flavorpill, July 14, 2009
flavorpill
Tuesday, July 14, 2009
Art
Clare E. Rojas: Believe Me
For her second exhibition at Kavi Gupta Gallery, Clare Rojas returns with a carefully conceived installation of her distinctive gouache paintings, merging a rustic folk-art style with the self-assured polish of a savvy illustrator. Her works have the feeling of fairy tales, with birds, animals, and shifty-eyed humans appearing as players in obscure but fateful undertakings. And, in classic fairy-tale form, there's also a darker side to the plucky proceedings, hovering like an ominous shadow. Ranging in scale from intimate to muralsized, Rojas' paintings are presented here within a larger hand-crafted environment; smaller works hang from a row of pegs against a blue-painted wall, decorated with wooden moldings, while a nearby bookshelf sports a rogue's gallery of head-and-shoulder portraits.
– Karsten Lund
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Art in Review: Clare Rojas
by Roberta Smith, New York Times, December 10, 2004
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Clare E. Rojas
by Susan Snodgrass, Art in America, October 2009
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Clare Rojas:
by Cherie Louise Turner, art ltd., March 2012
Once again, Bay Area-based painter and musician (under the name Peggy Honeywell) Clare Rojas delivers. But here- in her third solo show at Gallery Paule Anglim- even more so, because it's in somewhat unexpected territory. Rojas is best known, and widely celebrated, for her graphic folk art-inspired figurative narratives, which are heavily focused on feminism and domestic life; however ten of the 11 new paintings (all 2012) on show are total abstractions. As with past work- which has long been associated with the SF Mission School (think Barry MgGee, Chris Johanson)-these paintings feature flat solid color, clean edges, and geometric lines and shapes, all finely edited down to only the most essential elements ( not to be forgotten, Roja's formal training is in printmaking). These works have stylistic predecessors..........
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Interview with Clare Rojas
by Chris Lux
Clare Rojas is painter, musician, and writer, living in San Francisco. She records and performs music under the name Peggy Honeywell. Rojas has exhibited internationally, showing paintings, installations, and performances. She is, needless to say, a very busy woman. She also has an amazing family to top it off.
After recently visiting Clare’s studio, I was struck by how her collection of work together forms an expression for a thing difficult to articulate, navigate, or portray: the vibrancy of human feelings and interactivity in a vast, engulfing world.
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