WE ARE DELIGHTED TO INVITE YOU TO OUR DUAL EXHIBITION, “CHAOS AND HARMONY” AND DEAN AVISAR’S “DIALECTICA,” PREMIERING ON JANUARY 25. THE GALLERY’S 770 M2 SPACE TRANSCENDS ITS PHYSICAL BOUNDARIES, BECOMING A CANVAS WHERE DESIGN HERITAGE AND CONTEMPORARY INNOVATION INTERSECT. THIS CREATES A NEXUS OF TEMPORAL AND SPIRITUAL DIALOGUE.
“CHAOS AND HARMONY” PRESENTS A CURATED COLLECTION OF INFLUENTIAL DESIGNERS, RANGING FROM EUROPEAN VISIONARIES TO JAPANESE/AMERICAN AND BRAZILIAN MODERNISTS. THIS COLLECTION SPARKS A CONVERSATION THAT BRIDGES THE GAP BETWEEN THE MATERIAL AND THE ETHEREAL. IT BLENDS THE STARK BRUTALISM OF THE GALLERY’S PHYSICALITY WITH THE FINESSE OF DESIGN MASTERPIECES AND ART.
SIMULTANEOUSLY, “DIALECTICA” BY DEAN AVISAR INHABITS THE GALLERY’S WALLS TO EXTEND THIS CONVERSATION AND DIALOGUE. HIS ARTISTIC EVOLUTION FROM PHOTOGRAPHY TO MULTIDIMENSIONAL ART FORMS IS A TESTAMENT TO THE GALLERY’S ETHOS OF TRANSCENDING CONVENTIONAL BOUNDARIES. AVISAR’S WORK DELVES INTO THE DUAL NATURE OF THE HUMAN EXPERIENCE, BALANCING EMOTION AND LOGIC, SPIRITUALITY AND RATIONALITY. THIS EXPLORATION IS A JOURNEY FROM INDIVIDUAL INTROSPECTION TO UNIVERSAL CONNECTION.
“DIALECTICA” ENRICHES “CHAOS AND HARMONY” BY ADDING A PROFOUND LAYER OF LIGHT, CREATING A HOLISTIC NARRATIVE THAT RESONATES NOT JUST WITH A PHYSICAL PERCEPTION, BUT WITH A DEEPER CONNECTION. THE EXHIBITION SERVES AS A GUIDING LIGHT, SEAMLESSLY FUSING THE BOLD AESTHETICS OF THE GALLERY MASTERPIECES. IT BLURS THE LINES BETWEEN TRADITION AND INNOVATION, RAWNESS AND REFINEMENT, CHAOS AND ORDER, INVITING VIEWERS INTO A MEDITATIVE STATE WHERE CREATION TRANSCENDS PHYSICAL FORM AND TOUCHES THE SPIRITUAL ESSENCE.
THE PROCESS OF CONCEPTION IN “DIALECTICA” EMERGES FROM AVISAR’S CAPTURE OF MOMENTS THAT RESONATE WITH A UNIQUE BLEND OF EMOTION, MESSAGE, AND BEAUTY. HIS WORK IS A MIRROR FOR SELF-REFLECTION, A SPACE WHERE TRUTH AND CONNECTION THRIVE, REPRESENTING A REALM TO FLOURISH BEYOND THE SELF. THIS EXHIBITION MARKS AN EVOLUTION IN AVISAR’S ART MEDIUMS, SHOWCASING NOT JUST FINE ART PHOTOGRAPHY BUT ALSO SCULPTURES, VIDEO ART, AND NEW EXPLORATORY FIELDS. EACH MEDIUM IS A DIFFERENT PATHWAY TO UNDERSTANDING THE DIALOGUE BETWEEN HIS CREATIONS.
SCENERS GALLERY, WITH “CHAOS AND HARMONY” AND “DIALECTICA,” INVITES YOU TO A SPACE WHERE PAST, PRESENT, AND FUTURE COALESCE INTO A SINGLE POINT OF REFLECTION.
“ONE MAN ONE HEART” BY DEAN AVISAR PRESENTS A GRID OF BLUE-TONED PANELS, EACH SEEMINGLY UNIQUE IN TEXTURE AND COMPOSITION, REMINISCENT OF A PATCHWORK. CYANOTYPE IS A PHOTOGRAPHIC PRINTING PROCESS THAT PRODUCES A CYAN-BLUE PRINT, AND THE VARIATIONS IN TONE AND INTENSITY WITHIN EACH PANEL SUGGEST INDIVIDUALITY WITHIN UNIFORMITY, POSSIBLY ALLUDING TO THE INDIVIDUAL HUMAN EXPERIENCE WITHIN THE COLLECTIVE EXISTENCE.
THE TITLE ITSELF, “ONE MAN ONE HEART,” SPEAKS TO A FUNDAMENTAL UNITY OF HUMANITY—A SHARED HEART THAT BEATS WITHIN EACH PERSON. GIVEN AVISAR’S DEEP ENGAGEMENT WITH KABBALISTIC STUDIES, EACH PANEL MIGHT REPRESENT A SINGLE SOUL OR AN ASPECT OF THE SPIRITUAL HUMAN CONDITION, WITH THE OVERALL COLLECTION DEMONSTRATING THE INTERCONNECTEDNESS OF THESE SOULS. THE BLUE HUES ARE EVOCATIVE OF BOTH THE SKY AND THE SEA, ELEMENTS OFTEN ASSOCIATED WITH DEPTH, INFINITY, AND THE SUBCONSCIOUS.
AVISAR’S BACKGROUND IN FASHION PHOTOGRAPHY, PAIRED WITH HIS SPIRITUAL JOURNEY THROUGH KABBALAH, INFORMS THE AESTHETIC OF THIS WORK. THE PANELS MIGHT BE SEEN AS WINDOWS OR PORTALS, EACH OFFERING A GLIMPSE INTO A DIFFERENT SPIRITUAL DIMENSION OR EMOTIONAL LANDSCAPE. HIS TRANSITION FROM CAPTURING EPHEMERAL BEAUTY TO SEEKING LASTING, PROFOUND CONNECTIONS IS REFLECTED IN THE UNIFORMITY OF THE PANELS, WHICH NONETHELESS EACH HOLD A UNIQUE STORY, A SNAPSHOT OF THE HUMAN SPIRIT.
THE PLACEMENT OF THESE CYANOTYPES AGAINST A STARK, TEXTURED WALL IN A SEEMINGLY INDUSTRIAL SPACE FURTHER CONTRASTS THE ETHEREAL QUALITIES OF THE BLUE PRINTS WITH THE GRITTY, PHYSICAL WORLD. THIS JUXTAPOSITION CAN BE INTERPRETED AS A VISUAL METAPHOR FOR AVISAR’S BELIEF IN THE TRANSFORMATIVE POWER OF ART TO ELEVATE THE EVERYDAY AND TO FIND UNITY IN DIVERSITY. THE DISPLAY OF THESE WORKS TOGETHER ON A LARGE WHITE FRAME REINFORCES THE IDEA OF UNITY AND CONNECTEDNESS, SUGGESTING THAT WHILE EACH INDIVIDUAL EXPERIENCE IS DISTINCT, THEY ARE ALL PART OF A LARGER, COHESIVE HUMAN EXPERIENCE.
THIS SERIES LIKELY INVITES VIEWERS TO REFLECT ON THEIR INDIVIDUALITY AND AT THE SAME TIME, ON THEIR PART IN THE COLLECTIVE HUMAN HEART—THE SHARED EXPERIENCES, EMOTIONS, AND SPIRITUAL JOURNEYS THAT BIND PEOPLE TOGETHER. AVISAR’S BELIEF IN THE ABILITY OF ART TO FOSTER SOLIDARITY AND CELEBRATE THE DIVERSITY OF LIFE IS PALPABLY EXPRESSED IN THIS COHESIVE YET VARIED COLLECTION OF CYANOTYPES.
“KING OF CUPS” EMERGES AS A TEXTURALLY RICH, ABSTRACT ALUMINUM SCULPTURE, EVOLVING FROM A TWO-DIMENSIONAL FINE PHOTOGRAPH THAT CAPTURES MULTIFACETED DEPTH AND LIGHT INTO A THREE-DIMENSIONAL EMBODIMENT OF LIFE. THE SCULPTURE’S SURFACE IS ADORNED WITH A SERIES OF PROTRUSIONS AND INDENTATIONS THAT ECHO THE FRAGMENTED WISDOM AND UNDERSTANDING INHERENT IN THE KABBALISTIC CROWN, KETER EMANATION, WHICH IS A REFERENCE TO THE TEN SEFIROT OF THE KABBALAH.
.THIS PIECE TYPICALLY SYMBOLIZES THE EQUILIBRIUM OF EMOTIONS, WISDOM, AND THE PROFOUND JOURNEY OF INNER-SELF REFLECTION. THE CHAOTIC, YET METICULOUSLY CONTROLLED FORMS WITHIN THE CAST MIGHT SYMBOLIZE THE DUALITY OF MASTERY AND HUMILITY IN CONFRONTING THE SUBCONSCIOUS. CRAFTED FROM ALUMINUM, THE ARTWORK EXUDES A CONTEMPORARY, INDUSTRIAL AURA, WHILE THE HAND-SCULPTING IMPARTS AN INTIMATE TOUCH, FUSING MODERNITY WITH THE ETERNAL. THE METALLIC GLOSS OF THE ARTWORK ENGAGES WITH AMBIENT LIGHT, CASTING DYNAMIC SHADOWS AND HIGHLIGHTS THAT METAPHORICALLY CONTRAST THEMES OF ILLUMINATION AND OBSCURITY, SERVING AS BEACONS FOR KNOWLEDGE AND THE MYSTERIOUS. THIS SCULPTURE CONCEPTUALLY EXPLORES THE INTERPLAY BETWEEN INDUSTRIAL AND SPIRITUAL REALMS, THE CONTEMPORARY AND THE ARCHAIC. THE REFLECTIVE PROPERTY OF THE ALUMINUM NOT ONLY INTERACTS WITH THE PHYSICAL LIGHT BUT ALSO PLAYS ON THE CONCEPT OF INTROSPECTION, ENCOURAGING VIEWERS TO CONTEMPLATE THEIR OWN INNER WISDOM AND EMOTIONAL SOVEREIGNTY. THE JUXTAPOSITION BETWEEN THE SCULPTURE’S SMOOTHNESS AND THE ROUGH BACKDROP ACCENTUATES THE ARTWORK’S INHERENT THEMES OF DUALITY AND HARMONY—THEMES THAT ARE FUNDAMENTAL TO AVISAR’S OEUVRE.
THIS VIDEO PROJECT UNFOLDS IN THE DEPTHS OF THE OCEAN, CAPTURING A MESMERIZING SCENE 15 METERS UNDERWATER DURING THE NIGHT. THE PRIMARY AIM IS TO CONVEY A POWERFUL MESSAGE: THAT THE BRIGHTEST LIGHT CAN BE FOUND IN THE DARKEST DEPTHS.
IN THE VIDEO, THE PITCH-BLACK WATER SETS THE STAGE AS FISH EMERGE, REFLECTING THE LIGHT DIRECTED AT THEM FROM TWO FLASHLIGHTS. THE ABSENCE OF EXTERNAL EFFECTS OR RETOUCHING ENSURES AN AUTHENTIC PORTRAYAL OF THE UNDERWATER WORLD. AS THE FISH GRACEFULLY MOVE IN HARMONY WITH THE DIVERS, A CAPTIVATING DANCE UNFOLDS, SHOWCASING A SERENE CONNECTION BETWEEN HUMANS AND NATURE.
DIALECTICA IS AN ART PROJECT THAT EXPLORES THE INTERPLAY BETWEEN THE BODY AND SOUL, BLENDING CONTRASTING ELEMENTS TO UPLIFT EACH OTHER. INVESTIGATING THE DUAL NATURE OF THE HUMAN MIND, IT CONSIDERS THE CREATIVE AND SPIRITUAL RIGHT HEMISPHERE ALONGSIDE THE LOGICAL LEFT, WHICH DEALS WITH REALITY AND SELF-ACTIONS. AS INDIVIDUALS, WE NATURALLY POSSESS BOTH BODY AND SOUL. DIALECTICA’S ESSENCE LIES IN FINDING A HARMONIOUS BALANCE BETWEEN THESE ASPECTS, ALLOWING FOR SEAMLESS MOVEMENT BETWEEN THE REALMS OF BODY AND SOUL.
EMOTIONALLY DRIVEN, DIALECTICA AIMS TO FOSTER HEALTHY CONNECTIONS, ACTING AS A MIRROR FOR SELF-REFLECTION. DESPITE HUMAN NATURE LEANING TOWARDS SELF-CENTEREDNESS AND SELF-CARE, THE PROJECT CREATES A SPACE WHERE TRUTH AND CONNECTION THRIVE BEYOND SUCH MOTIVES. IT REPRESENTS A REALM WHERE GENUINE CARE FOR OTHERS FLOURISHES, FREE FROM EXPECTATIONS, STEMMING FROM A PURE DESIRE TO SUPPORT SOMEONE ELSE.
THE ‘PRESENCE’ EXHIBITION SPOTLIGHTS THE IMPORTANCE OF INNER CONSCIOUSNESS IN CONTEMPORARY REALITY.
DEAN, THE ARTIST, SEEKS TO INTIMATELY EXAMINE, PEEL, AND REVEAL HIS INNER SOUL THROUGH A PERSONAL STORY PRESENTED IN A SERIES OF PHOTOGRAPHS—A DOCUMENTATION OF HIS SELF-PROCESS.
DEAN’S EXPOSURE TO KABBALAH AND SPIRITUALITY PROMPTS AN EXAMINATION OF HIS INNER MIRROR, EMBRACING ALL FACETS OF HIMSELF—PLEASANT AND LESS PLEASANT. THIS WILLINGNESS TO FACE, CLEANSE, AND OBSERVE INTO HIS SOUL FOSTERS A PROCESS OF GROWTH AND MATURITY.
“ONLY WHEN YOU GO THROUGH A PROCESS OF MAKING PEACE, ACCEPTING ALL SIDES AS PART OF YOURSELF, DO YOU HAVE THE OPPORTUNITY TO FULFILL AND EXPRESS YOURSELF AT THE HIGHEST LEVEL. IN THE JOURNEY OF SPIRITUAL GROWTH, WE MUST NAVIGATE THROUGH DARKNESS.”
THE RESULT IS 15 BLACK-AND-WHITE FILM PHOTOGRAPHS, CAPTURING THE ESSENCE AND VALUE OF HIS EXPERIENCE—FORGING A CONNECTION AND HARMONY BETWEEN THE SPIRITUAL AND MATERIALISTIC WORLDS, BLENDING TRADITIONAL TECHNIQUES WITH MODERN INNOVATION.
“A CONSTANT PROCESS OF LEARNING. AS AN ARTIST, YOU DON’T ALWAYS KNOW WHY YOU’RE DOING WHAT YOU’RE DOING OR WHAT THE RESULT WILL BE. YOU’RE JUST PRESENT IN THE MOMENT, WITHOUT ASKING. IN THE END, UNDERSTANDING WHAT YOU CREATED MAKES THE OUTCOME MORE POWERFUL AND REAL. PHOTOGRAPHY IS MY WAY OF EXPRESSING GIVING, UNITY, AND LOVE—A CHANNEL TO THE MATERIAL WORLD.”