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Dallas Art Fair

Booth A3

April 20 – 23, 2023

Rodrigo Facundo, Manimal, 2020. Watercolor on 300 gr. cotton paper, 35 7/8 x 45 1/4 in.

Rodrigo Facundo, Manimal, 2020. Watercolor on 300 gr. cotton paper, 35 7/8 x 45 1/4 in.
 

Thomas Glassford, Untitled (silver mirror), 2010. Mirrored plexiglas and anodized aluminum, 96 1/8 x 47 1/4 x 3 7/8 in.

Thomas Glassford, Untitled (silver mirror), 2010. Mirrored plexiglas and anodized aluminum, 96 1/8 x 47 1/4 x 3 7/8 in.

Thomas Glassford, Untitled, 2022. Blown glass, stainless steel, 134 x 16 x 16 in. 

Thomas Glassford, Untitled, 2022. Blown glass, stainless steel, 134 x 16 x 16 in. 

Thomas Glassford, Untitled [cherry - pink], 2019. Lacquer on MDF, 40 3/8 x 31 1/4 x 2 in.

Thomas Glassford, Untitled [cherry - pink], 2019. Lacquer on MDF, 40 3/8 x 31 1/4 x 2 in.
 

Marco Maggi, 352 stops, 2022. Cut and fold on three hundred fifty two 35 mm papers, 48 x 36 in.

Marco Maggi, 352 stops, 2022. Cut and fold on three hundred fifty two 35 mm papers, 48 x 36 in.
 

Marco Maggi, 352 stops, 2022. Cut and fold on three hundred fifty two 35 mm papers, 48 x 36 in. 

Marco Maggi, 352 stops, 2022. Cut and fold on three hundred fifty two 35 mm papers, 48 x 36 in. 
 

Sandra Monterroso, Como la serpiente, la cochinilla y la indigófera nos devuelven la luz. [Like the serpent: the cochineal and the indigofera give us back the light], 2023. Wool rug dyed with cochineal, cotton cloth dyed with indigo, acrylic, neon, 97 1/4 x 20 1/2 x 1 3/4 in. 

Sandra Monterroso, Como la serpiente, la cochinilla y la indigófera nos devuelven la luz. [Like the serpent: the cochineal and the indigofera give us back the light], 2023. Wool rug dyed with cochineal, cotton cloth dyed with indigo, acrylic, neon, 97 1/4 x 20 1/2 x 1 3/4 in. 
 

Sandra Monterroso, La paradoja de sanar Nº 2 [The paradox of healing Nº 2], 2023. Cochinilla, Indigo, acrylic, cotton paper, 26 x 16 3/4 in.

Sandra Monterroso, La paradoja de sanar Nº 2 [The paradox of healing Nº 2], 2023. Cochinilla, Indigo, acrylic, cotton paper, 26 x 16 3/4 in.
 

Sandra Monterroso, La paradoja de sanar Nº 1 [The paradox of healing Nº 1], 2022. Cochinilla, Indigo, acrylic, cotton paper, 26 x 16 3/4 in. 

Sandra Monterroso, La paradoja de sanar Nº 1 [The paradox of healing Nº 1], 2022. Cochinilla, Indigo, acrylic, cotton paper, 26 x 16 3/4 in. 

Pedro S. de Movellán, SHEAR, 2023. Sitka spruce, aluminum, stainless steel, 12 in. Max Height x 14 in. Max Swing, Edition of 3. 

Pedro S. de Movellán, SHEAR, 2023. Sitka spruce, aluminum, stainless steel, 12 in. Max Height x 14 in. Max Swing, Edition of 3. 
 

Pedro S. de Movellán, TRIAXIAL V2, 2023. Sitka spruce, aluminum, stainless steel, 15 in. Max Height x 16 in. Max Swing.

Pedro S. de Movellán, TRIAXIAL V2, 2023. Sitka spruce, aluminum, stainless steel, 15 in. Max Height x 16 in. Max Swing.
 

Pedro S. de Movellán, AXON, 2023. Anodized aluminum, painted aluminum, stainless steel, 59 in. Max Height x 59 in. Max Swing. 

Pedro S. de Movellán, AXON, 2023. Anodized aluminum, painted aluminum, stainless steel, 59 in. Max Height x 59 in. Max Swing. 
 

John Sparagana, Time of tantric stutter. Dick Tracy Variation #1 remix, 2022. Archival inkjet prints, sliced and mixed on paper, mounted on dibond aluminum, 70 5/8 x 55 3/4 in. 

John Sparagana, Time of tantric stutter. Dick Tracy Variation #1 remix, 2022. Archival inkjet prints, sliced and mixed on paper, mounted on dibond aluminum, 70 5/8 x 55 3/4 in. 
 

Pedro S. de Movellán, ZEPHYR MAQUETTE, 2022. Black and gold anodized aluminum, stainless steel, brass, 20 1/2 x 23 in. 

Pedro S. de Movellán, ZEPHYR MAQUETTE, 2022. Black and gold anodized aluminum, stainless steel, brass, 20 1/2 x 23 in. 
 

Elias Crespin, Trianguconcéntricos Cuivre, 2021. Copper, nylon, motors, computer, electronic interface, 19 7/8 x 17 1/8 in., Edition of 3. 

Elias Crespin, Trianguconcéntricos Cuivre, 2021. Copper, nylon, motors, computer, electronic interface, 19 7/8 x 17 1/8 in., Edition of 3. 
 

Jorinde Voigt, Immersion IV (7), 2018. Ink, India ink, copper leaf, pastel, oil pastel, pencil on paper, 40 1/8 x 26 in.

Jorinde Voigt, Immersion IV (7), 2018. Ink, India ink, copper leaf, pastel, oil pastel, pencil on paper, 40 1/8 x 26 in.
 

Jorinde Voigt, Immersion IV (9), 2018. Ink, India ink, gold leaf, pastel, oil pastel, pencil on paper, 40 1/8 x 26 in.

Jorinde Voigt, Immersion IV (9), 2018. Ink, India ink, gold leaf, pastel, oil pastel, pencil on paper, 40 1/8 x 26 in.

Press Release

Sicardi | Ayers | Bacino is pleased to announce our participation in the Dallas Art Fair at the Fashion Industry Gallery in Dallas, Texas from April 20-23, 2023. In Booth A3, the gallery will present a group exhibition featuring contemporary artists Elias Crespin, Rodrigo Facundo, Thomas Glassford, Marco Maggi, Sandra Monterroso, Pedro S. de Movellan, John Sparagana, and Jorinde Voigt.

Elias Crespin [b. 1965, Venezuela/Lives in Paris] creates electrokinetic mobiles, suspended geometric structures whose sophisticated spatial fluidity is activated by mathematical algorithms he designs, reflecting his years as an engineer and his engagement with the legacies of such Venezuelan kinetic masters as Jesús Rafael Soto and Gego. He uses intuition to choose among different forms, materials, and textures, and then, through thoughtfully designed computer programming, adds a succession of gentle movements and morphs - his brushstrokes - making the elements continually shift and mutate in a cyclic geometric choreography, a dance that brings us to the contemplation of form in space and time.

Rodrigo Facundo [b. 1958, Colombia] draws upon his diverse training in a variety of mediums including photographic techniques, sculpture, electronics, assembly, metallurgy, weaving, ceramics, metal forging, miniatures, the production and manipulation of felt, and graphic production as he approaches his practice. His most recent body of work features paintings and watercolors that represent his technical mastery of the mediums and his conceptual finesse in creating complex paradisal visions of nature and humanity that artfully weave together conflicting images within the realm of fantastic beauty.

Thomas Glassford [b. 1963, USA/Lives in Mexico City] uses everyday materials - ranging from gourds to broomsticks, anodized aluminum to melamine plates - to create architectural or installation-scale works reminiscent of Minimalist sculpture and Op Art paintings of the 1960s. His new blown-glass suspended sculpture is a continuation of his recently completed commission Dueling Pendants for the San Antonio, Texas courthouse.

Marco Maggi [b. 1957, Uruguay/Lives in New York] takes everyday objects such as photocopy paper, aluminum foil, and apples as the foundations for his meticulously-rendered sculptures and drawings that explore the relationship between information and knowledge in our contemporary world. In 352 Stops, Maggi presents us with 352 photo slides that each contain unique designs hand-cut with surgical exactitude. His decision to use this medium references the manner in which one would have mechancially clicked through slides in a projector, frame by frame, a manner of looking now antithetical to the cursory glances given in a screen-dominated world.

Sandra Monterroso [b. 1974, Guatemala] explores the dynamics of indigenous culture in the postcolonial era, gender issues, and other constructs of power across multiple media including tapestry, painting, video, installation, and performance. Her new works in textile and paper utilize traditional methods of dyeing and weaving in reference to her indigineous Maya Q'eqchi ancestry, as is characteristic of her practice.

Pedro S. de Movellan [b. 1967, USA] draws upon the influences of his architect father and abstract painter mother in the creation of his kinetic sculptures, which perfectly balance both parents' influences in their precise construction and their refined and detailed, yet unpredictable, movements. Employing great technical mastery, de Movellan designs sculptures set into motion by wind and air, inspired by those elements in nature which are subject to the movements of air, including the weather, birds, and trees.

John Sparagana [b. 1958, USA] pulls imagery from pop culture and his personal history to construct works on paper in a strategic cutting and mixing method that has been the basis of his work for the last twenty years. This method systematically deconstructs and reconstructs the image, often fusing together multiple source images, creating a tactile surface that visually stimulates the eye with optical effects.

Jorinde Voigt [b. 1977, Germany] observes and explores the inner processes of perception in relation to various aspects and subjects such as affects and emotions, imagination, memory, sensory experience, natural and cultural phenomena, scientific data, interpersonal actions, and relationships. Often using as her starting point a musical composition or a philosophical text, she creates complex systems of charts, diagrams, and thought models to map the natural rhythms that govern our experience of reality through the media of drawing, painting, collage, and sculpture.

 

Location: 

Fashion Industry Gallery
1807 Ross Ave
Dallas, TX 75201
Booth A3


VIP Preview Day: 

Thursday, April 20, 12-8pm - by VIP ticket only


Fair Dates: 

Friday, April 21, 11am-7pm

Saturday, April 22, 11am-7pm

Sunday, April 23, 11am-5pm

 

Purchase tickets here: Dallas Art Fair Tickets