KinoSaito Spring Opening Reception

Come join us at KinoSaito for our 2023 grand reopening, with a reception of our 3 new exhibitions: Kikuo Saito: Pictorial Clay, Patrice Renee Washington: Tendersweet, and Murray Hochman: New Dimensions. Small snacks and refreshments will be served, and the Coffee Bar will be up and running.

RSVP Recommended

KIKUO SAITO: PICTORIAL CLAY
Kikuo Saito completed two cycles of pictorial ceramic wall plaques at the Clayworks Studio in Lower Manhattan in 1980 and 1984. As a young artist while still in Japan, Saito had the opportunity to make raku pots, but otherwise had little exposure to working with ceramics. At Clayworks, Saito was provided with fresh wet clay slabs that were about three quarters of an inch thick and roughly two by two feet. He incised, gouged and gently folded edges of the slabs, taking advantage of the differences in the clay as it dried to make a variety of marks and cuts. As his work continued, Saito applied liquid clay slips and glazes.
PATRICE RENEE WASHINGTON: TENDERSWEET
This presentation showcases Washington’s new series of ceramic sculptures inspired by the modular construction of funerary urns and Nkisi N’Kondi Central African power figures. The free-standing works visualize intricately carved African braiding styles such as cornrows, bantu knots and thick braids inlaid in heavily glazed and polished surfaces. Their titles reference precious stones, connecting braiding techniques with the sanctity of the natural world. Washington’s examination of symbols and signifiers of Black power is also evident in the Delftware-inspired tile paintings that rework existing narratives of the medium by illustrating scenes that centralize the experience of Black characters.
MURRAY HOCHMAN: NEW DIMENSIONS
For nearly 60 years, Murray Hochman has explored the possibilities of light, color, geometry and gesture, using lacquer spray paints and solvents to build subtle, richly layered surfaces on canvas and paper. The last several years have been a period of intense experimentation, including the use of new materials. This exhibition of Hochman’s newest work also includes sculpture, his first foray into the third dimension since his study of ceramics in graduate school. In a series created from materials collected at the local dump, he turns plastic waste into arresting assemblages—sumptuous wall reliefs and free-standing sculptures—along with glittery still lifes. The results range from the playful to the sublime, underscoring the tension between the discarded base materials and their seemingly alchemical transformations. This transformation is filtered through Hochman’s acute perception of surface and lifelong exploration of materials.