FOR IMMEDIATE RELEASE:Contact: Natalia Pudzisz (natalia@micaela.com)415.551.8118Micaela Gallery49 Geary Street, No. 234San Francisco, CA 94108 USA
January 3, 2009
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CANNON::NORTH::YUN
Opening January 20 | Reception February 5 | Exhibition through February 28
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SAN FRANCISCO, CALIFORNIA - 01.03.09 - (for immediate release) Mica�la Gallery is pleased to present, "CANNON::NORTH::YUN," a group exhibition of new artwork by Gerald Cannon, Jenna North and David Yun. Since their gallery debut (2007's "Compass"), the artists return with a collection of high-minded, visually arresting work, unified by notions of perception and material use of 21st century technologies.
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 GERALD CANNON's code-based works play with our need for aesthetic satisfaction when presented with abstract or representational imageries. An image might have a number of expected strengths: visual narrative, color, balance, masterful execution and good ideas ... but these qualities become trumped by our compulsion to understand (and validate) the art-making process. In a short essay entitled, 'The Uncertainty Principle" Cannon defines his work as addressing questions of our visual reality. By questioning the essence of visual perception, and whether we can be certain of the truth of our perceptions, Cannon challenges us to view his artworks from a wholly satisfied aesthetic, encompassing novelty and irony, and question whether anything more can please the viewer. When Cannon's ideas are affirmed, the artist considers his work successful, and nevertheless continues to provoke the viewer's sensibilities by revealing 'the way the art gets made.' Producing unique multiples, Cannon states he "makes sincere work that intentionally collapses under the weight of its own sincerity."
Hailing from the south, Gerald Cannon
earned his BS and MBA at Auburn University, and his MFA at the
University of New Orleans. An academic and life-long artist, he is
currently Chair of the Visual Art Department at Loyola University.
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 JENNA NORTH continues the theme of perception and process with paintings inspired by global discussions regarding weather and climate. She states, "By now most would agree that humanity has had an impact on the warming of the planet, and that the worst natural disasters have yet to be seen as we watch the wrath of the current hurricanes and the satellite storms creating tornadoes and mass flooding through the Midwest, still, we smile when it's sunny and 78." Influenced by mathematics and science, as well as her perceptions of the world, North's painting uses a systematic and lovingly tedious method to create intricate enamel on canvas works. By controlling her use of paint while simultaneously embracing chance and disorder through the process of gravity, North uses paint pours/pools, heat and expressionistic action painting with her hands. Paradoxically, much of her work is precise and controlled - lines of painstakingly applied individual color meet carefully joined hand painted curves and flourishes. North's visually compelling work combines exacting control with personal intuition, and objectively contextualizes her work within a skillful, formal, and painterly framework.
Born and raised in California, Jenna North experienced the force of tornadoes in rural Kansas while earning her BFA at the Kansas City Art Institute on a merit scholarship. She returned to California to earn her MFA at the San Francisco Art Institute on a full fellowship, and was honored with a 2007 Murphy Cadogan award.
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 DAVID YUN summarizes our presentation of perception and visual imagery with his examination of how photography and video alter the content and manner of our memories. Three intertwined, unique bodies of work comprise his study, and mirror the three stages of memory: Encoding, Storage, and Recall.
"Encoding" examines the first stage of memory making. By erasing most of the background in select photographs, Yun allows the photo's subject and a hint of where they are to remain, to suggest our reliance on photographs supports our memories. In "Storage," Yun examines single frames from found VHS home movies. We assume our memories are eternal, but our lives inevitably change and our relationship with the memories change as a result. For example, why would a home movie of a wedding or the birth of a child lose its value? The VHS form aptly illustrates this with its low fidelity and short lifespan. Yun selected and photographed portions of these tapes where information began to degrade, leaving behind remnants, like a memory, of the original event. Finally, "Recall" examines the idea that organic, unadulterated memory is impossible to achieve, as anything we recall from our past is inevitably colored by experience: how we store memories, and by the relationships we create from one memory to the next. The process of recall manifests itself through Yun's video installation of a floating screen that may be viewed from all sides.
David Yun grew up the son of Chinese immigrants in Livonia, Michigan, a Detroit suburb that holds the title as "The Whitest Large City in the United States." His work spans film/video, photography, social practice, and installation and has been shown around the world at the International Documentary Festival Amsterdam, European Media Arts Festival, New York Asian American Film Festival, Sydney Underground Film Festival, Seoul International Film Festival, and Documenta Madrid. In early 2009, Yun's work will be shown in an exhibition entitled "I Do It for My People" at the Museum of the African Diaspora (MoAD) in San Francisco. He is currently pursuing an MFA degree at the San Francisco Art Institute, and was honored with a 2008 Murphy Cadogan award.
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About Us:
Mica�la Gallery is located at 49 Geary Street, No. 234, San Francisco, CA. Gallery hours are Tuesday through Saturday, 10.30 to 6pm, and by appointment. The closest BART|MUNI stop is the Montgomery Station. Public parking is available at the Sutter/Stockton Garage and the Union Square Garage.
Image credits (left to right): David Yun, Gerald North, Jenna North. All images are courtesy of the artists and Mica�la Gallery, and protected by all copyright/trademark laws everywhere. �1997-2009 mica�la and mica�la gallery are copyright/trademarks of mica�la gallery llc and protected by all copyright and trademark laws everywhere
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