photo credit: Manolo Langis
Art isn’t static, it’s meaning grows and shifts as our lives and spaces change.
Aspire Magazine recently featured our client’s new home in Las Vegas, where the art collection is the focal point.
This collection reflects a deep appreciation for materials rooted in nature, and thoughtfully brings together both emerging voices and established artists whose practices are conceptually rigorous.
One of the privileges of our work is revisiting a collection we’ve built over time and transforming it into a new setting. Our approach here was to re-contextualize existing works while also introducing new pieces that expand upon the client’s collecting goals and respond to the unique sense of place.
Placed in dialogue with one another and with the architecture itself, the artworks create fresh connections and unexpected resonances, transforming the collection into something both familiar and newly imagined.
Artwork: Brie Ruais “Circling Inward and Outward, 128 lbs” 2020 glazed and pigmented stoneware, rocks, hardware. photo credit: Manolo Langis
The dramatic entrance presented an opportunity make a bold statement about the characteristics of the collection. Brie Ruais’ Circling Inward and Outward, 128 lbs with its physicality and expressive gesture, is an example of the focus on material and the evidence of the artist’s hand in many of the artworks in this collection.
N Dash, Untitled, 2021, adobe, acrylic, pigment, silkscreen ink, string, jute, canvas; Lee Ufan “Dialogue” 2017, Acrylic on canvas; Teresita Fernandez “Nocturnal (Constellation Sky II)” 2015,
solid graphite and metallic gold paint on wood panels.
McArthur Binion “DNA:Study/(Visual:Ear)” 2022, ink, oil paint stick, and paper on board.
Nathlie Provosty “Nova” 2022 oil on linen at the end of a gallery wall hallway.
Situated right up next to the Red Rock Canyon National Conservation Area, the home has expansive views of the landscape and the ever changing light. Nathlie Provosty, Helen Pashgian and John Zurier’s works, carefully placed in proximity to natural light become experiential in this context.
Helen Pashgian, Untitled, 2022, cast urethane with artist-made acrylic pedestal; John Zurier “Near the Sea” 2014, Distemper on canvas.
Two works by Clare Rojas and unknown folk art painting.
Many years ago, the collection started with a love of folk art. That interest has grown to include diverse cultural expressions in a wide range of media that expand beyond the historical narrative of folk art traditions.
Clockwise from top left: Miguel Arzabe “Llallagua” 2021 woven acrylic on canvas; Sheree Hovsepian “The State of Nature” 2015 archival dye transfer print, graphite, acrylic, brass nails; Jeffrey Gibson “GET HERE IF YOU CAN” 2023 cold press watercolor paper, archival pigment prints on rice paper, acrylic paint, vintage beaded medallion, glass beads, nylon thread and muslin; Patrick Dean Hubbell “As The Sun Sets, Your Light and Warmth Embrace me” 2023 oil, acrylic, enamel, spray paint, acrylic dispersion on canvas, wood stretcher bar; Stephanie Syjuco “Cargo Cults: Head Bundle (Small)” 2016 pigmented inkjet print.
Walter Price “I was really in the field you just skip Bayless” 2022 acrylic, gesso, Flashe, drawing ink, and graphite on canvas.
Artwork: Brie Ruais “Circling Inward and Outward, 128 lbs” 2020 glazed and pigmented stoneware, rocks, hardware; John Mason “Light Blue Spear” 2014, ceramic. photo credit: Manolo Langis