Unedited conversations between artist in a productive critique  discovering  thesis and processes behind the work.











For August, Joseriberto Perez, Olivia Ramos, and Jeffrey Millett, contribute their discussion about their practice. Conversations also extend to local work, this month being Guccivuitton's exhibition of sculptures by Chayo Frank, and Jenna Balfe's performance People/Trees/Here.

Joseriberto Perez

Oil on Linen, 2014

8 x 10"

Conversation between Perez and Ramos


July 11, 2014

Kennedy Park, Coconut Grove

(David Bennet, Cristalle Caceres, Bhakti Baxter, Ganesha Michael Shapiro, Jenna Balfe, Dennis B. Fuller, Doug Webber, Mauricio Abascal, Katie Stirman, and Ewa Josefsson)


Conversation between Perez and Ramos

Chayo Frank


June 28 - August  09, 2014





Guccivuitton is proud to announce Chayo Frank: Sculptures, 1969 - 2012.  This exhibition is a survey of abstract ceramic sculptures beginning with his early output in the late 60s through to his re-entry into artistic practice in the early 2000s and on to the present day.


In 1967, Chayo Frank graduated from the University of Oklahoma with a degree in architecture.  His father, owner of Amertec-Granada Inc., offered the recent grad a dream opportunity: to design and build the company's office building.  At age 23, fresh from having studied under master innovator of American  organic  architecture,  Bruce  Goff,  unburdened  by  fear,  yet  fully  aware  of the pragmatic necessities of his father's business, Frank set off to build the Amertec Building, which is now widely considered to be a hidden, yet truly unique architectural landmark of Miami.  Completed around 1969 and constructed utilizing a building technique that involves spraying concrete over "metal cages" of curved    reinforcing    bars    and    wire    mesh,    Frank's    Amertec   Building   is   an   uncompromising bio-mechanical assemblage of inverted anatomical appendages, ribbed conduits, psychedelic swirls and ocular accents.


During the construction of the Amertec Building, Frank also began sculpting in clay which he found intuitive  for  exploring  the  abstract  in  three  dimensions. At  times,  Frank  used  the  traditional technique  of  glazing  and  firing  his  sculptures,  but  soon  found  that  with  painting  the surface and adding  extraneous  elements  as  ornamentation  he  was  able  to  give  an  individualist  breath  to  the works, reminiscent of flora and fauna.  Like his approach to the Amertec building, the most prominent feature that dominates his sculptural output throughout the years has been a studied and playful commitment to bio-organic forms.   In any given work by Frank, one notes a rhythmic, often melodic methodology, creating an anatomical logic that would lead one to perceive them as an individualistic organisms, with mysterious yet vitally functional limbs, centers of sentience and sensory organs akin the exoticism found in Indonesian sea slugs.


While sharing affinities with other 20th century pioneers of organic aesthetics such as Gustav Klimt, Antoni  Gaudí,  Max  Ernst  and  Javier  Senosiain,  along  with  70s  Sci-fi  illustration  artists  like  Dan McParlin, H.R. Giger and Chris Foss, to ceramic sculptors like Ron Nagel and Ken Price, Frank's work is divergent  and  unique  in  its  exploration  of  tropicality. Distancing  himself  from  any  conceptual discourse  or  narrative,  tropically  is  the  one  theme  that  Frank  openly  assigns  to  his  sculptural entities. Being a Miami resident since the 60s, Frank has immersed himself in the tropical flora and fauna  that  can  exist  here  in  South  Florida  and  it  radiates  from  the  curves,  crevices,  colors  and organelles  in  his  sculptures. This  lifelong  romance  with  and  exploration  of  tropicality  is  what contextualizes Frank as an essential, though often overlooked, innovator of aesthetics and form here in South Florida and makes his oeuvre ripe for re-examination.