Chased in to the Dark

AmberSena

Mostra realizzata in collaborazione col progetto“Girls“ di Peter Simon Mühlhäußer

Introduction graciously written by:Eileen Guggenheim, Ph. D.History of Art, Princeton UniversityChair, Board of Trustees, New York Academy of Art

Accesso Galleria’s current exhibition features the work of Amber Sena and Peter Mühlhäußer, artists who met while students at the New York Academy of Art and subsequently married.

:KHQ�%UDG�%UXEDNHU��$FFHVVRŒV�GLUHFWRU��ƂUVW�VDZ�3HWHUŒV�VFXOSWXUHV��Ŕ%R\Vŕ�DW�WKH�$FDGHP\�IRXU�\HDUV�DJR��KH�ZDV�VWUXFN�LPPHGLDWHO\�E\�WKH�ƂQHQHVV�RI�WKHLU�execution as well as their fresh and unorthodox use of material (aluminium). In these sculptures, Mühlhäußer upends viewers’ expectations; instead of the conventional portrayal of children as innocents, he presents them–unsettlingly–DV�őPLQLŒ�DGXOWV�FDSDEOH�RI�FRPPLWWLQJ�D�YDULHW\�RI�GHFLGHGO\�őXQ�FKLOGOLNHŕ�DFWV�

Brubaker found a similar technical brilliance in Sena’s two-dimensional work. Here, the skill exhibited in oil and acrylic as well as charcoal and pastel is ma-tched by a dazzling intensity, a kind of ‘micro’ observation of animals and nature that reveals the beauty embodied in both.

Brubaker has noted, “few artists today have as much of the ‘hands-on’ as these DUWLVWV�ŕ�,QGHHG��WKLV�H[KLELWLRQ�UHFRJQL]HV�WKDW�ZRUN�OLNH�6HQDŒV�DQG�0¾KOK¦X¡HUŒV�-- painstaking, laborious, and brilliant in terms of its skill, quality, and content—will have much to add to the diverse dialogue that makes contemporary art so vital today.

Below are excerpts from a recent conversation with the artists.

When you met at school, what did you see in each other’s work?

3(7(5��7KH�ƂUVW�ZRUN�,�VDZ�E\�$PEHU�WKDW�WUXO\�VWUXFN�PH�ZDV�WKH�PDVVLYH�GUDZLQJ�HQWLWOHG�Ŕ:DU�$JDLQVW�&KDQJHŕ��D�FKDUFRDO�RQ�SDSHU��,�IHOW�,�KDG�WUXO\�IRXQG�P\�2D match, having always struggled with two-dimensional painting and drawing.

$0%(5�� ,Q� WKH�EHJLQQLQJ�RI�P\�ƂUVW� VHPHVWHU� �3HWHU�KDG�DOUHDG\�EHHQ�DW� WKH�school for one year), everyone was talking about “the talented sculptor from *HUPDQ\ŕ��:KHQ�,�PHW�3HWHU��RI�FRXUVH�,�WKRXJKW�KH�ZDV�FXWH��EXW�WKH�ZRUN�KH�was producing was both super-challenging technically and completely original. While most of us were using models, Peter used only his imagination and yet had D�UHPDUNDEOH�XQGHUVWDQGLQJ�RI�WKH�KXPDQ�ƂJXUH��/DWHU�,�ZDV�DPD]HG�WR�GLVFRYHU�WKDW�KH�KDG�RQO\�EHJXQ�VFXOSWLQJ� WKH�ƂJXUH�VLQFH�KH�DUULYHG�DW� WKH�$FDGHP\��Prior to that, he had done only some stone carving.

Are your work routines similar?

PETER: I commute to my studio and need to spend a good chunk of time there EHFDXVH�LW�WDNHV�D�JRRG�ZKLOH�WR�JHW�LQWR�WKH�ŔPRGHŕ�RI�DSSURDFKLQJ�P\�SLHFHV��I feel there is a dialogue I must share with each piece. Amber, on the other hand, needs her studio and material set up in perfect order to begin. In contrast, I can simply block out the world around me and just focus on the process alone.

AMBER: Generally, I start in the early afternoon drawing or painting. We prepare and eat dinner together, and sometimes I will continue working afterwards – late into the night at times. We have found a rhythm that works well for us, each FRYHULQJ�DUHDV�DQG�UHVSRQVLELOLWLHV�ZKLFK�WKH�RWKHU�ƂQGV�IUXVWUDWLQJ��,W�HQDEOHV�XV�WR�ZRUN�PRUH�HIƂFLHQWO\�LQ�WKH�HQG�

How do you impact one another’s work and how do you manage feedback?

PETER: I would say we push each other to become better. We check in on one another, especially towards the end of the process in order to make sure we both have nothing to add or edit in the other’s works. This can be challenging to our artistic egos but it also helps bring us to the next stage of growth.

AMBER: Peter and I work together very peacefully as long as we are involved in completely different tasks! There are times when I am struggling in a painting to ŔƂQG�P\�ZD\ŕ�WKURXJK�LW��,I�KH�MXPSV�LQ�DW�WKDW�WLPH�WR�RIIHU�LGHDV��,�XVXDOO\�WRVV�him out of the studio! Most times however, his critiques are just what I need to FRQƂUP�VRPHWKLQJ�RU�WZHDN�DQ�DUHD�RI�D�ZRUN�WKDW�QHHGV�FODULƂFDWLRQ��+H�NQRZV�what I’m trying to convey so well that his ideas are often the missing puzzle pieces.

How has you marriage enriched your thinking and your work?

PETER: I need Amber by my side in order to stay sane and healthy, to put the brakes on my workaholic tendencies. She helps me to keep a better life balance. $PEHU�FDWFKHV�PH�ZKHQ�,�ƃ\�WRR�KLJK�RU�RII�FRXUVH��6KH�JURXQGV�PH�

AMBER: For one thing, my marriage to Peter has helped me to be more discipli-ned in the practice of my art. Peter motivates me to have a strong work ethic. Sharing an artists’ working environment within the home makes our connection more intimate than simply living together as husband and wife. For us, home is where the ideas which inspire our souls are implemented. Processes may fail, frustrations may arise, but then, too, victories are celebrated – together.

Introduzione gentilmente scritta da: Eileen Guggenheim, Ph. D.History of Art, Princeton UniversityChair, Board of Trustees, New York Academy of Art

/ŒDWWXDOH�HVLEL]LRQH�GL�$FFHVVR�*DOHULD�PRVWUD� LO� ODYRUR�GL�$PEHU�6HQD�H�3HWHU�Mühlhäußer, due artisti che si sono conosciuti quando studiavano alla New York Academy of Art e si sono successivamente sposati.

Quando Brad Brubaker, direttore di Accesso, vide per la prima volta la serie Ŕ%R\VŔ�GL�3HWHU����DQQL�ID�DOOŒ$FDGHPLD��IX�FROSLWR�WDQWR�GDOOD�ƂQH]]D�GHOOD� ORUR�esecuzione quanto dall’uso fresco e poco ortodosso del materiale (alluminio). Nelle sue sculture, Mühlhäußer rovescia le aspettative dello spettatore; invece di rappresentare bambini innocenti, li presenta come ‘mini’ adulti capaci di com-piere una varietà di atti decisamente non infantili.

Brubaker ha ritrovato questa brillantezza tecnica anche nel lavorobidimensionale di Sena. Qua, l’abilità nell’uso di olio e acrilico, carbone e pa-stello è uguagliata dall’intensità accecante, una sorta di ‘micro’ osservazione di animali e natura che rivela la bellezza di entrambi.

%UXEDNHU� KD�RVVHUYDWR�� ŔSRFKL� DUWLVWL� VRQR�FRV®� FRLQYROWL� FRPH� ORURŕ�� (� LQIDWWL��quest’esibizione riconosce che il lavoro come quello di Sena e Mühlhäußer – scrupoloso, laborioso e brillante in termini di abilità, qualità e contenuto – avrà molto da offrire al dialogo che rende oggi cos’ vitale l’arte contemporanea.

Di seguito alcuni estratti di una recente conversazione con gli artisti.

Quando vi siete conosciuti a scuola, cosa avete visto nel lavoro dell’al-tro?

PETER: Il primo lavoro che ho visto di Amber, che mi ha veramente colpito, era XQ�GLSLQWR�HQRUPH�WLWRODWR�Ŕ:DU�DJDLQVW�FKDQJHŕ��XQ�FDUERQH�VX�FDUWD��6HQWLL�GL�aver trovato la mia coppia 2D, avendo sempre lottato con la pittura e il disegno bidimensionale.

AMBER: All’inizio del mio primo semestre (Peter era già da un anno a scuola), tutti parlavano dello scultore tedesco talentoso. Quando ho conosciuto Peter ho chiaramente pensato che fosse carino, ma ho anche subito notato quanto il suo lavoro fosse tecnicamente impressionantedel tutto originale. Mentre quasi tutti usavamo modelli, Peter usava solo la sua LPPDJLQD]LRQH�DYHQGR�XQD�FRPSUHQVLRQH�QRWHYROH�GHOOD�ƂJXUD�XPDQD��0L�VRQR�VWXSLWD�TXDQGR�KR�VDSXWR�FKH�DYHYD�FRPLQFLDWR�D�FLPHWDUVL�FRQ�OD�VFXOWXUD�ƂJX-rativa all’Academia. Prima aveva fatto solo opere in pietra.

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PETER: Io ho bisogno di molto tempo prima di avvicinarmi alle mie opere. Prima si deve instaurare una sorta di dialogo tra me e il mio lavoro. Amber invece ha bisogno di uno studio e di materiali in perfetto ordine per poter cominciare. Io al contrario, posso bloccare tutto ciò che mi circonda e concentrarmi solo nel processo.

AMBER: Io di solito comincio a disegnare nel pomeriggio. Prepariamo la cena in-VLHPH�H�D�YROWH�LR�FRQWLQXR�D�ODYRUDUH�GRSR�ŏ�VSHVVR�ƂQR�D�WDUGL��$EELDPR�WURYD-to un ritmo che funziona bene per entrambi, ognuno copre delle responsabilità FKH�OŒDOWUR�WURYD�IUXVWUDQWL��&L�SHUPHWWH�GL�ODYRUDUH�SL»�HIƂFDFHPHQWH�

Che impatto avete nel lavoro dell’altro e come gestite il feedback?

PETER: Direi che ci sproniamo reciprocamente. Ci controlliamo, soprattutto ver-VR�OD�ƂQH�GHO�SURFHVVR�SHU�HVVHUH�VLFXUL�FKH�QRQ�FL�VLD�QLHQWH�GD�DJJLXQJHUH�R�PRGLƂFDUH�QHO�ODYRUR��4XHVWR�SX´�HVVHUH�GLIƂFLOH�GD�JHVWLUH�SHU�OŒHJR�DUWLVWLFR��ma ci porta ad un livello più alto di crescita.

$0%(5�� ,R�H�3HWHU� ODYRULDPR�SDFLƂFDPHQWH�VROR�VH�DEELDPR�FRPSLWL�FRPSOH-tamente diversi! Ci sono momenti in cui devo lottare per trovare la mia strada attraverso un quadro. Se lui viene a darmi idee in quel momento, lo butto fuori dallo studio! Di solito però, le sue critiche sono quello che mi servono per con-IHUPDUH�LO�PLR�ODYRUR��R�SHU�PRGLƂFDUOR��/XL�VD�FRV®�EHQH�TXHOOR�FKH�YRUUHL�WUD-smettere che a volte le sue idee sono i pezzi persi del mio rompicapo.

Come ha contribuito il matrimonio al vostro modo di pensare e al vostro lavoro?

PETER: Ho bisogno di Amber per poter essere sano e sensato, per frenare le mie tendenze maniache nel lavoro. Mi aiuta a mantenere un equilibrio nella vita. Am-ber mi afferra quando volo troppo alto o fuori corso. Mi riporta a terra.

AMBER: Per prima cosa, il mio matrimonio con Peter mi ha aiutata ad essere più disciplinata nella mia arte. Peter mi motiva ad avere un’etica di lavoro forte. Con-dividere un ambiente di lavoro artistico a casa ci rende più intimi rispetto all’es-sere semplicemente marito e moglie. Per noi, casa è dove le idee che ispirano le nostre anime sono implementate. I processi possono fallire, ci possono essere momenti di frustrazione, ma poi, anche le vittorie si festeggiano – assieme.

/LWWOH�%LOO\ŒV�/RQHO\�)ULHQG��� olio e acrilico su legno, 30 x 30 cm

Sink or Swim - olio e acrilico su legno, 45 x 35 cm

Epidemic - olio e acrilico su legno, 62 x 45 cm

Gunpowder Gray - olio e acrilico su legno, 45 x 35 cm

Expelloit - olio e acrilico su legno, 30 x 30 cm

Plentiful - carboncino e pastello su carta, 122 x 61 cm

Grandeur - 15 x 15 cm

Beehive - 30 x 22 cm

Blessings - 40 x 50 cm

/X[XU\�RI�$GRUQPHQW�,,10 X 10 cm

Scent of Indulgence -25 x 25 cm

The Order of Things -12.5 x 12.5 cm

Pollinate - 30 x 25 cm

Chosen - 20 x 20 cm

/X[XU\�RI�$GRUQPHQW��10 X 10 cm

Tutti i disegni sono a carboncino e pastello su carta montati su una base in legno

Entrando nella galleria ebbi subito un lieve giramento di testa. Dovevo im-maginarlo, viste le informazioni ricevute al riguardo. Erano immagini peri-colose, che sia lui che lei avevano confezionato per attirarci in trappola. Ne fui immediatamente ed irresistibilmente carpito. C’erano queste ragazze dalle forme adolescenziali ma dai volti più maturi del loro corpo. Dagli sguardi interrogativi e allo stesso tempo consapevoli. In pose singolari che mi rimandavano ad esperienze passate come se fos-sero schede di memoria ricostruite in 3d. Mi avvicinai cercando di toccarne OD�VXSHUƂFLH��YROHYR�YHULƂFDUQH�OD�FRQVLVWHQ]D�H�OD�ULVSRVWD�DO�WDWWR��OHYLJDWH�come fossero di bronzo. O forse erano di bronzo. Mi avevano infatti lasciato quella strana sensazione di caldo e freddo insieme che solo quel materiale DUFDQR�ULXVFLYD�D�GDUH��(SSXUH�OH�ŔJLUOVŕ�GL�3HWHU�UHVWDYDQR�O®�LQ�DWWHVD��6HP-bravano preda di un blocco solo temporaneo, pronte a riprendere le loro azioni ad un solo cenno dell’Attivatore. Un pulsante premuto ed il movimen-to sarebbe ripreso portando con sé il normale e l’osceno, il dolore e l’estasi. Continuavo a girar loro intorno, attratto da quei particolari anatomici per-fetti, incredulo della loro immobilità. Avevano equilibri precari, sospensio-ni, accovacciamenti e distensioni ma sempre, sempre, quello sguardo che mi inquietava. Non erano felici, ma non erano neppure tristi. Forse atten-devano semplicemente il loro destino e forse non era esattamente quello che avrebbero voluto. Ma era loro. Ed a poco a poco mi resi conto che si stavano impadronendo della mia attenzione, che stavano rovesciando la prospettiva e che quello che si doveva interrogare sul suo futuro ero io, ero io che cominciavo a contorcermi e sospendermi come loro. Non riuscivo a capire bene se fosse realtà o allucinazione. Riuscii però a girarmi ed en-WUDUH�QHOOD�VWDQ]D�VXFFHVVLYD��/D�VHQVD]LRQH�GL�WUDQFH�FRQVDSHYROH�QRQ�PL�abbandonò affatto. Adesso i miei occhi sembravano trasformati in un ob-biettivo da macro e riuscivo a vedere particolari che non avrei mai potuto notare da solo. C’erano degli animali, gli animali di Amber, evidentemente. Ma solo in alcuni frame di una specie di video che la mia mente stava gi-rando potevo vederli interamente, per il resto erano frammenti, particolari, ƃDVK��/D�PLD�DWWHQ]LRQH�VL�SRVDYD�VX�TXHVWH� LVWDQWDQHH�YHGHQGR�GHWWDJOL�cui non avevo mai posto la giusta attenzione. Scoprivo una bellezza che mi HUD�ƂQ�O®�VIXJJLWD��4XHL�SHOL��TXHL�QDVL��TXHOOH�IRUPH��IRVVHUR�FRORUDWH�R�LQ�un bianco e nero pazzescamente verosimile, mi rivelavano verità nascoste H�ƂQLL�GL�SHUGHUH�OD�PLD�XVXDOH�FRJQL]LRQH�GHO�UHDOH�SHU�HQWUDUH�LQ�TXHVWD�QXRYD�GLPHQVLRQH�SHWHUDPEHULVWLFD��,Q�XQ�PRPHQWR�GL�ƂQWD�OXFLGLW¢�FKLHVL�da bere, pur sperando che nessun liquido ingerito mi riportasse alla mia FRQGL]LRQH�SUHFHGHQWH��3HUFK«�LQƂQH�DYHYR�FDSLWR���HUR�YLFLQR�DO�VXEOLPH�e non me ne sarei più voluto distaccare. Rimasi ancora per lunghi minuti in ammirazione estatica, poi uscii sulla strada. Un signore mi toccò la spalla, PL�ƂVV´�XQ�DWWLPR�QHJOL�RFFKL�H�PL�FKLHVH�����VFXVL��VL�VHQWH�EHQH�"��/R�JXDU-dai a mia volta, sorpreso, e risposi : - mai stato meglio, grazie-

Mi allontanai con un sorriso compiaciuto.

/D�YLVLWD���Chased in to the Darkdi Sergio Tossi

I immediately turned my head when I walked into the gallery. I should have been expecting it, especially after the information I had received. The haunting photographs I had seen have an ability to lure the viewer into a trap and I was irresistibly hooked!

Peter’s sculptures are a series of girls with teenage bodies but with faces much more mature; each girl has questioning eyes that show such aware-QHVV�LQ�VXFK�VSHFLƂF�SRVWXUHV�WKDW�XSRQ�VHHLQJ�WKHP�WKH\�WRRN�PH�EDFN�to memories of past experiences. They had a feeling of being real, actual living memories - almost in 3D. I moved in to take a closer look and to touch their surfaces because I wanted to see what the felt like and to understand the material. I thought to myself that maybe they would feel smooth like bronze - I was not sure - bronze or not? They actually left me with that weird hot and cold VHQVDWLRQ�WKDW�RQO\�WKDW�RQO\�EURQ]H�FDQ�JLYH��3HWHUŒV�ŔJLUOVŕ�ZHUH�WKHUH��appearing temporarily paused, waiting for a signal from their master to continue on with their activities. A pushed button and then movement would have started, taking away the normal and the obscene, the pain and the ecstasy. I continued walking around them, attracted by the surprisingly perfect anatomy of their bodies, wary of their stillness. They had dubious balance, suspension, squatting and distension but they always, always had a disquieting look. They weren’t happy, but they weren’t sad either. Maybe they were just waiting for their destiny but maybe their destiny wasn’t at all what they had expected? But it was theirs just the same. I slowly realised that they were taking over my full attention, that they were turning my perspective and that the one that should be questioning his future was me and not the girls, it was now me who had started to twist and suspend - just as they were doing. I couldn’t understand if it was real or an illusion. I remained in this trance as I entered the next room to see Amber’s work. My eyes had turned into macro lenses and I could see details I would have never seen by myself before. There were animals, evidently Amber’s animals. But I could see them completely only in the frames of the video WKDW�ZDV�SOD\LQJ�LQ�P\�PLQG��WKH�UHVW�ZHUH�IUDJPHQWV��GHWDLOV�D�ƃDVK��,�ZDV�totally drawn by snapshots where I could see details that had never been given the proper attention before. I discovered a beauty that I had missed up to that particular point. Those hairs, the noses, the shapes, whether in colour or in an insanely real black and white. They revealed to me hidden truths that made me lose my usual sense of reality and took me to what I FDOO��WKHŔ3HWHUDPEHULVWLFŕ�GLPHQVLRQ��,Q�D�PRPHQW�RI�IDOVH�FODULW\�,�DVNHG�IRU�something to drink hoping that nothing, whatsoever, could remove me from P\�SUHYLRXV�VWDWH��,�KDG�ƂQDOO\�XQGHUVWRRG�DQG�,�ZDV�FORVH�WR�WKH�VXEOLPH�and I didn’t want to detach from that feeling. I remained, for long time, in static admiration eventually leaving the gallery. A man touched my shoulder, stared for a moment and asked me: -excuse me, are you okay?-. I looked at him surprised and answered: - I have never been better, thank you.

The visit - Chased in to the Darkby Sergio Tossi

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EDUCATION

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2006 Earned degree in Secondary Education, New Mexico ���������������������� +LJKODQGV�8QLYHUVLW\���/DV�9HJDV��10

2003 BFA (Bachelor of Fine Arts), New Mexico Highlands � � 8QLYHUVLW\�/DV�9HJDV

EXHIBITIONS

2013 Accesso Galleria “Chased Into the Dark “ - Pietrasanta, IT� � Ŕ8UEDQIXVHŕ�*URXS�([KLELWLRQ�ŏ�%HUOLQ��'( Art Karlsruhe, International Art Fair - Karlsruhe, DE

2012 Accesso Galleria Summer Exhibition – Pietrasanta, IT 3-person Group Show, Janine Bean Gallery – Berlin,DE� � Ŕ6RPDWLF�6KLIWŕ�JURXS�VKRZ�,VODQG�:HLVV�*DOOHU\��1<� � $UW�1DSOHV��,QWHUQDWLRQDO�$UW��$QWLTXH�)DLU��1DSOHV��)/����������������������������Ŕ$QLPDO�/RYHŕ�JURXS�H[KLELWLRQ�.UDLQH�*DOOHU\�ŏ�1<

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WORK

2010-12 CE Drawing Instructor, The New York Academy of Art Continuing Education – New York, NY

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Accesso Galleria

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