Black Hole, 2015
Cary Hulbert
Black Hole, 2015
Digital print with photogravure, Paper size 18” x 12.5”
Blueclouds
Cary Hulbert
Blueclouds
Digital print with photogravure, Paper size 17” x 12.5”
Blue Planets, 2015
Cary Hulbert
Blue Planets, 2015
Digital print with photogravure, Paper size 17” x 12.5”
Landscape, 2015
Cary Hulbert
Landscape, 2015
Digital print with photogravure, Paper size 17” x 12.5”
Space, 2015
Cary Hulbert
Space, 2015
Digital print with photogravure, Paper size 17.5” x 12.5”
Wormhole
Cary Hulbert
Wormhole
Digital print with photogravure, Paper size 18” x 12.5”
Untitled (gold), 2016
Cary Hulbert
Untitled (gold), 2016
Digital print with photogravure, Paper size 23 1/4" x 37"
Daedalus, 2017
Cary Hulbert
Daedalus, 2017
Digital print, silkscreen, and hand marbling, Paper size 22" x 30"
Voyage, 2017
Cary Hulbert
Voyage, 2017
Digital print, silkscreen and hand marbling, Paper size 22" x 30”
Game of Life, 2016
Cary Hulbert
Game of Life, 2016
Digital print with photogravure, Paper size 20” x 14.5”
Item 11, 2018
Simone Schiffmacher
Item 11, 2018
Beaded Sheet with TreSemme Logo over Object, 8x11x6
Sheet 1, 2015
Simone Schiffmacher
Sheet 1, 2015
Beaded Sheet with Shell Logo over Object,13x8x4
Sheet 1 (detail)
Simone Schiffmacher
Sheet 1 (detail)
Sheet 2, 2015
Simone Schiffmacher
Sheet 2, 2015
Beaded Sheet with Venus Logo over Object, 12.5x16x10.5
Sheet 3, 2015
Simone Schiffmacher
Sheet 3, 2015
Beaded Sheet with Starbucks Emblem over Object, 13 x3x2.5
Sheet 4, 2015
Simone Schiffmacher
Sheet 4, 2015
Beaded Sheet with Texaco Logo over Object, 17x5x2
Sheet 5, 2017
Simone Schiffmacher
Sheet 5, 2017
Beaded Sheet with Coke Zero Logo over Object, 9x8x5.5
Sheet 6, 2017
Simone Schiffmacher
Sheet 6, 2017
Beaded Sheet with Dunkin Donuts Logo over Object, 7x10.5x11
Sheet 7, 2018
Simone Schiffmacher
Sheet 7, 2018
Beaded Sheet with Shell Logo over Object,13x8x4
Sheet 8, 2018
Simone Schiffmacher
Sheet 8, 2018
Beaded Sheet with Tinder Logo over Object, 7.5x6x7
Sheet 9, 2018
Simone Schiffmacher
Sheet 9, 2018
Beaded Sheet with Always Logo over Object, 19x6x6
Sheet 10, 2018
Simone Schiffmacher
Sheet 10, 2018
Beaded Sheet with Pillsbury Doughboy over Object, 8x19x2
Loves me Loves me not from Rearranging my Furniture series, 2017
Farnaz Shadravan
Loves me Loves me not from Rearranging my Furniture series, 2017
Wood and fabric, 35”x40”
Autumn in Tehran  from Rearranging my Furniture series, 2017
Farnaz Shadravan
Autumn in Tehran from Rearranging my Furniture series, 2017
Wood and fabric, 15”x15”
Reminder Series, 2004
Farnaz Shadravan
Reminder Series, 2004
Engraved refrigerator door, 30”x30”
Reminder Series, 2004
Farnaz Shadravan
Reminder Series, 2004
Engraved refrigerator door, 30”x52”
Common Cross, from Rearranging my Furniture series, 2017
Farnaz Shadravan
Common Cross, from Rearranging my Furniture series, 2017
Wooden chairs, Tara and Massoud Nabavi Collection
Reminder series, 2004
Farnaz Shadravan
Reminder series, 2004
Engraved and acid etched refrigerator door, 30”x60”

Axis Gallery is pleased to present “Off Axis,” an exhibition of work by Cary Hulbert, Simone Schiffmacher, and Farnaz Shadravan. The work view from April 6 through April 29, with a reception with the artist on Saturday, April 14, from 6:00–8:00pm. The three artists participated in this summer’s 13th Annual Axis Gallery National Juried Exhibition, juried by Yerba Buena Center for the Arts curator Lucía Sanromán. Axis members selected Hulbert, Schiffmacher, and Shadravan to show additional pieces based on the high quality of their work.

Sanromán wrote that the pieces she chose for the juried show, “give evidence of more connected and hopeful ways of being in the world, where the creation of art itself is a form of resistance. Enmeshed in the quotidianity of making, the artists…beautifully inhabit the in- between space of communication.” Axis itself, she writes, “provides an example for a way of doing things—through collective support rather than individual gain—that is counter to the current national sentiment.” “Off Axis” further demonstrates Axis Gallery’s commitment to creating an environment which functions outside the usual commercial sphere and to exhibiting high quality contemporary art.

ABOUT THE ARTISTS

Cary Hulbert is a visual artist primarily working in installation and printmaking. She has exhibited her work both nationally and internationally, including shows at the Fisher Landau Center (NYC), Liu Haisu Art Museum (Shanghai), The Jewish Museum (NYC), Ortega y Gasset Projects (NYC), IPCNY (NYC), and Taimiao Art Gallery (Beijing).

Cary earned her BFA from Montserrat College of Art in 2007, and her MFA from Columbia University in 2016.

Of her work, Hulbert says:

My work is an investigation into the future memory of a lost natural world and asks if such a loss is regretted or embraced. Sculpted rocks surround animals with LED eyes and moving jaws, 3D printed animals and objects. Materials such as mirrored plexiglass, faux fur, and foam become installations and sculptures to bring these worlds to life. Together these pieces explore boundaries between actual and virtual, between natural and artificial, helping envision what civilization will look like when our current natural environment no longer remains.

Along with installation I draw on my background in printmaking by creating works on paper that push the boundaries of traditional printmaking techniques. My prints start as digital colleges made from fragments of imagery found online and my photographs.

Layered with multiple techniques such as silkscreen, photogravure, flocking, foil, and laser engraving, I push printmaking out of its comfort zone. Exploring the merging of the traditional with new technologies they comment on an age where anything is accessible, but where nature is only a depiction, far removed from its original organic traits. Acting as an imagined response to a world irreparably altered by humans and made up of natural/technology hybrids and technological band-aids, my work is not meant to be a possible human response or solution; it’s meant to be a glimpse into a future that is derivative of our time.

Simone Schiffmacher has an MFA from Cranbrook Academy of Art in Fiber and a BFA at the Cleveland Institute of Art in Fiber and Material Studies. Simone has had her work displayed in group shows at the Arts Benicia, Foundry Art Centre, Ann and Norman Roulet Student +Alumni Gallery, Cranbrook Museum of Art, Maryland Federation of Art Circle Gallery, Five Points Gallery, the Detroit Artist Market, Kaufman Gallery and Reinberger Galleries. Her work has been mentioned in “Simone Schiffmacher – San Antonio,” ““In Place”:The Art of Revitalizing a Mall and a Community,” “Student Independent Exhibition at Cleveland Institute of Art surpasses last fall’s faculty show” as well as “CIA’s student show departs from conventionality.” She has had artist lectures at Say Si, the Detroit Artist Market, Delta Community College, and Cleveland Museum of Art. Simone has been awarded; Open a New Year Honorable Mention, Cranbrook Academy of Art Scholarship Finalist, the 3th Hal and Cyndy Goodwin Award, Barbra L. Kulhman Foundation Scholarship, the 4th Hal and Cyndy Goodwin Award, as well as the Wenda von Weise ’75 Memorial Scholarship.

Schiffmacher says about her work:

Brand identity is an abstract concept that blurs the consumer’s ability to compare products because it obscures functionality. With the draping of sheets over objects, these corporate sheets loose their ability to display the functionality of the objects. While the objects are indefinable, the sheets are meticulously constructed by stringing beads into a net form of loops; this action emphasizes the corporation’s obsession with constructing brand identity and demeaning the products functionality.

The placement of logo suggests product on the abstract beaded sheet making the logo the key element to understanding the object. While the logo alters the read of the object, one attempts to imagine what is underneath. Through the confusion of the object one becomes frustrated with the inability to define the object pointing to the intangibility of the product. This intangibility becomes reinforced with the placement of logo speaking about the identity that surrounds logo and its intangible form. By focusing on the sheets rather than the objects my work displays the hierarchy of brand identity in our contemporary time.

Farnaz Shadravan was born and raised in Iran. She was trained as a Manuscript Illuminator of the Koran. Originally arriving in the United States in 1979, she was deported back to Iran in 1981. She returns to America in 1986, graduates from Art School-University of Utah in 1990 and from UCSF School of Dentistry in 1994. She has also had extensive training in Printmaking and Sculpture at San Francisco Art Institute and private workshops.

Shadravan writes:

I am drawn to Art making for my love of storytelling. Often I work with found objects, I add my mark to objects that have stories of their own. Being a dentist I use my dental drill to make these marks. The scars and lines that are left on objects over the years mix with my lines and create a language that tells our shared stories.