Hermes Berrios, "Portrait Of Woman Facing Back" (2024). Chinese Ink on Canvas. 11 × 8 in.
The Contemporary Art Modern Project is excited to announce their return to New York City for VOLTA Art Fair. From September 4th-8th, 2024, Booth 35 will feature a curated selection of work from Joanna Ambroz, Hermes Berrío, Seth Ellison, Michael Sylvan Robinson, and Magadela Zych.
VOLTA New York returns for its 16th edition at its new location, Chelsea Industrial. The 2024 edition speaks to the curatorial themes of collaboration, cultural dialogue and commonality. As a fair that presents the best of contemporary emerging artists, VOLTA features a dynamic program of talks, tours and events that explore these themes whilst posing the question "What's Next?" in contemporary art and art collecting.
The CAMP Gallery's booth tackles these ideas through a realist lens. Joanna Ambroz's bicolored self-portraits bring forth the idea of tension and harmony as two sides of the same coin. Hermes Berrío's approaches the mundane aspects of life, highlighting them as vital, while Seth Ellison's surreal representations tell a tale of a culture of meritocracy. Michael Sylvan Robinson approaches a level of mysticism in their work that embodies the struggle of gender and queerness in a modern society. Magdalena Zych touches on the viscerality of nature's forms, both magnificent and grotesque in their sensual appearance, seeking the true future of a coexistence.
Joanna Ambroz, I Don't Know Yet, 2022. Oil On Canvas. 15 3/4 x 11 3/4 in.
What challenges do you tackle through your art?
Hermes Berrio: Through my art, I explore the complexities of human emotions and the interaction between natural, surreal and urban environments. I often grapple with the contrast between the memories of my childhood in Colombia and the reality of urban life in Miami my home for now. My work seeks to balance these contrasting elements, highlighting both the beauty and the tension that arises from this duality.
Seth Ellison: Throughout my career, my journey has wended through many phases, each marked by shifts in content, style, and process. Yet, the perennial challenge has been striving for authenticity. What that means is banishing the ghosts of my peers, critics, heroes, and even myself (if you can believe it), to get at something utterly inexplicable.
Joanna Ambroz: I confront the passions and pains that accompany us in everyday life. I am fascinated by how we deal with reality, especially in the context of personal experiences and conflicts. I wonder to what how much our stories are universal - maybe what I show from my own past can inspire someone to reflect on themselves. I want to initiate an internal and public dialogue about the contemporary human condition. And make people feel a little less lonely..
Magdalena Zych: The greatest challenge and inspiration for me as an artist is the constant change I experience. Art is a constant in my life, while my feelings and experiences continuously fluctuate. It is important that life and art follow each other, synchronizing together. I see art as my way of being in the world. Through creativity, I experience myself and process the stimuli from reality, embracing what is pleasant and confronting all my fears. In my work, I dare, I stand, I emerge.
(left) Hermes Berrio, (right) detail from Noon at the Pool, 2023. Spray Paint, Paper, Fabrics, Acrylic, Markers and Gold Leaf on Canvas. 51 × 77 in.
What does a typical day look like for you when you're working on a piece?
Hermes Berrio: A typical day starts for me starts pretty early, with my 3 and 5 year old boys jumping in my bed, then a cup of coffee to try to get me going. Off to my studio, where I like to immerse myself in the concept I'm working on, sketching ideas or revisiting notes from the previous day. Once in the studio, the magic starts, sometimes its fluid, sometimes it's not. I take breaks to clear my mind, often stepping outside for a walk, which helps me see the work from a fresh perspective. The day ends with some time spent reviewing what I've done, planning for the next session.
Seth Ellison: My work habits have evolved significantly over time, shaped by a variety of environmental factors. In earlier days, I would juggle five to eight paintings simultaneously-an approach that maintained conceptual coherence while allowing practical advantages like drying time, given my oil-based layering techniques. This chaotic symphony was often accompanied by a sonic barrage of music. Nowadays, I prefer the serenity of working on no more than two pieces in complete silence, which immerses me more deeply into the process.
Joanna Ambroz: I always start with that emotion. Sometimes I'll read something, discover something, see something - this moment of understanding is crucial because it immediately pushes me into action, without any specific plan. Then comes the fine-tuning, when I think a lot and consider every detail. It's like meditation for me, a form of intense concentration on what appears under the brush, akin to writing a diary so that I erase the experience from my mind.
Magdalena Zych: I am fascinated by biology, corporeality, and building relationships with nature. That's why an important part of my creative process involves taking walks, spending time by the river, and in the forest-this is usually how I begin working on a painting. Shapes observed in nature, combined with the emotions I experience, become the starting point for a sketch. Once it becomes clear to me which sketch or concept I want to work on, I head to my studio in Warsaw in the late morning, where I spend time until evening-sometimes painting for many hours, other times searching for the right color palette, working on a sketch, or simply listening to music, which can also be part of the creative process.
(left) Joanna Ambroz, (right) detail from We Don't Have A Depression, We Just Have A Deviation (2023). Oil on Canvas. 31 1/2 × 15 7/10 in.
What is your relationship with New York City like?
Hermes Berrio: New York City is both a muse and a challenge. Having studied at New York University, I've experienced the city from multiple angles-its energy and diversity are endlessly inspiring, providing a constant stream of ideas and perspectives. However, it can also be overwhelming-finding peace amid the chaos is a daily struggle, but it's one that fuels my creative process. The city's contrasts, its beauty and its roughness, echo in my work and keep me grounded in a reality that is both vibrant and unforgiving.
Seth Ellison: Every artist worth their salt knows that it's essential to have some kind of connection to New York City, whether through location, galleries, shows, or other relational aspects. I actually chose my graduate program in Philadelphia to remain close to New York City, and I will probably always live nearby to continue my career pursuits. I've visited NYC all my life, soaking up its museums, exhibitions, and general culture, which has always reinvigorated my practice.
Joanna Ambroz: I grew up in Poland watching films that showed life in New York. Because of this, I carry a huge nostalgia for what I saw on screen - the hustle and bustle, the people pursuing their goals, the big spaces. I hope to have more and more personal connections with New York City!
Magdalena Zych: A few years ago, I had the chance to visit New York during a trip to the United States. My days in NY were filled with visits to museums and galleries that I had always dreamed of seeing. It was at MoMA that I first saw the works of one of the most important painters to me - Joan Mitchell. The visit to NY remains an unforgettable inspiration for me. I recall the extraordinary contrast between the intensity and hustle of the city and the calm and contemplation of art in the galleries, along with the deep emotions it evoked in me.
A double-question about inspiration: what has been your long-term inspiration, and what has inspired you recently?
Hermes Berrio: Long-term, my inspiration has been rooted in my life as a father and an artist in Miami and my memories of Colombia-its lush landscapes and the vibrant culture of my childhood have always stayed with me. Recently, I've been inspired by Miami's urban settings, particularly in Little River, the neighborhood where my studio is located. The reality that comes from it, gives me new ways to explore contrasts in my work.
Seth Ellison: My long-term inspiration has always been the place I grew up, West Virginia. It is a place that has been relegated to the margins of American history and culture, a position that left me with a sharp awareness of my own identity and its connection to it. Much of my work centers around my experience there, whether for good or ill, and it's been a lens through which to understand global conditions of poverty, isolation, bigotry, loneliness, and manipulation. Recently, however, as my work becomes more formal, I'm inspired less by narratives and more by materials and processes of creation and how they inform meaning. For example, I'm using spray paint now, which completely removes the personalization of the mark inherent in oil paint. It's a completely different dynamic that really excites me.
Joanna Ambroz: My long-term inspiration comes from personal experience - in paintings and books I comment on what I have experienced. Much of my work is autobiographical, based on desires, obsessions and mourning and grief. Now I have been inspired by the concept of the Shadow according to Carl Gustav Jung and Desire according to Jacques Lacan. I started thinking about how often what someone promised us becomes our subconscious desire. In childhood, women were promised protection and men were promised power, wealth and influence. As adults, unable to fulfil these desires, we find ourselves lost, not knowing how to move on.
Magdalena Zych: I am constantly inspired by biology, corporeality, the relationship with nature, and the exploration of what lies within the subconscious. I draw from the language of surrealism and abstraction. Shapes observed in nature, processed through my emotions, and placed in a world of fantasy, become an invitation to play with the imagination.
Over the past few months, being pregnant, I experienced an extraordinary inspiration on both a physical and emotional level. Each of the paintings I created this year, in its own way, tells the story of the experience of expecting a child. Now that I have become a mother, a new chapter of emotions and sensations is opening up for me, and my art will follow this.
Over the past few months, being pregnant, I experienced an extraordinary inspiration on both a physical and emotional level. Each of the paintings I created this year, in its own way, tells the story of the experience of expecting a child. Now that I have become a mother, a new chapter of emotions and sensations is opening up for me, and my art will follow this.
Magdalena Zych, Deep Cuts, 2023. Oil on Canvas. 19 3/4 x 15 3/4 in.
Who do you create for?
Hermes Berrio: I create for anyone who is open to experiencing the tension and beauty that life offers. My work is for those who seek a deeper connection to both the natural or surreal world and the urban environment, and who appreciate the layers of meaning that can be found when these worlds collide.
Seth Ellison: I don't really create for anyone. I am not an ad agency that targets a certain demographic, though I know many artists who do, which makes them very financially successful-and more power to them. I, on the other hand, have a compulsive need to express my obsessions and desires, and if that resonates with anyone, including myself, all the better.
Joanna Ambroz: I create for myself, to release the thoughts that absorb me. Art allows me to cope with life, in 2020 I painted about mourning the death of my mum, and for 5 years I did a book about her illness called "Come, I will show you my knives" (PL - Chodź, pokażę ci moje noże). For me, art is an inner game of discovery - when painting, I don't quite know how to name my thoughts. It is only when the painting is completed that it becomes a statement of an issue that has been worked through. I often hear that my works have a strong tension and emotional charge, in which people find a part of themselves. This is extremely uplifting for me, because initially I am trying to understand myself, to name the event, and then I can help others discover them own stories. I am glad that my art is thought-provoking and, for some, becomes a bridge that connects people to their inner experiences and their pasts.
Magdalena Zych: I create from a deep, inner need-to process emotions and imaginations, to build relationships with the world, with other human and non-human beings. Painting is my way of being in the world, so I certainly paint for myself. However, I believe that art comes to life in contact with the viewer, so I also paint for every person who is sensitive and open to my art. I love meetings and conversations with those who visit my exhibitions and studio. I am always open to interpretations of my paintings and curious about the feelings they evoke in others-this is a great source of motivation for me.
(left) Michael Sylvan Robinson, (right) detail of Green God's MIdlife Rite of Passage, 2024. Textile Collage with Hand-Stitching, Sequins and Beading on Canvas.36 × 24 × 1 1/2 in.
What is an unexpected benefit of being an artist, in your opinion?
Hermes Berrio: An unexpected benefit is the way art allows you to connect with people on a profound level. It opens doors to conversations and relationships that might never have existed otherwise. The ability to express complex emotions and ideas through a visual medium can resonate with others in ways that words sometimes cannot.
Seth Ellison: To me, there is something completely astonishing about the surprise of where an artwork can take you. Ordinary life has rules and set times for things, but in art, those constraints are thrown out the window. I am able to release my rational mind from its duties and allow the subconscious to step in and reveal its inner workings. Things emerge, like very personal symbols or even vulnerable, embarrassing revelations. It's as if there's a force or entity that wants to come into being, and you are there to facilitate that. I believe that's why they say each work of art has a life of its own. It's a revelatory process of self-becoming.
Joanna Ambroz: It forces me to self-reflect and allows me to better understand human. In addition, it allows me to explore the world in the footsteps of other artists when travelling, I always visit galleries and museums, read biographies and wonder if the lives of people today are different from those who lived 100 or 200 years ago.
Magdalena Zych: As an artist, through my creative work, I continually build self-awareness and gain a better understanding of what I am currently experiencing. My paintings become a kind of record, a journal that allows me to revisit what I went through in the past. Each painting reflects many thoughts and processed emotions. Through my art, I gain a deeper understanding of the present and the past.
Michael Sylvan Robinson: Being an artist (and an academic) is always about learning. Being an artist gave me unexpected investment in research and my own pursuits of learning.
Seth Ellison, Huntington DMV, 2024. Oil On Canvas Mounted On Wood Panel. 12 x 16 in.
Can you tell us something about your relationship to realism?
Hermes Berrio: Realism in my work is not just about accurate representation but about capturing the essence of a moment or feeling. It's about finding truth in the details and using those details to evoke an emotional response. My relationship with realism is rooted in this search for authenticity, whether it's in the depiction of a landscape, the materials that I use in my work or the expression of a human emotion.
Seth Ellison: Realism is an art movement that originated in the 1800s. I prefer the non-historical term representationalism, because my art has been, for the most part, anchored to ambiguous narratives as well as certain personal and archetypal symbols. However, if we apply the historical term of Realism to my art, it still makes sense, because much of my work focuses on marginalized groups, which I try to give similar weight to as the grand history paintings and allegories that preceded the movement.
Joanna Ambroz: Realism, especially the human body and face, is a starting point for me, a pretext for considering form and deconstruction. I am interested in how reality can be constructed using shapes that, through our knowledge and perception, begin to remind us of something. My work often balances on the border between realism and abstraction, trying to capture not only the visible but also the unconscious.
Magdalena Zych: I see realism as the pursuit of an objective truth about reality through imagery. The starting point for most of my compositions is a keen observation of reality, an analysis of the biological details of plants and the body. Because of this, I feel a certain connection to the realist method at the beginning of the creative process. However, in my artistic practice, I reject the notion of seeking objective truth in favor of subjectively building relationships with the beings I depict in my compositions. In this way, my work becomes a personal exploration rather than a mere representation of reality.
Michael Sylvan Robinson, Oracle of the Fairies, 2024. Textile Collage Sculpture with Hand-Beading and Embroidery. 21 x 9 x 10 in.
Do you have any favorites from the rest of the artists in the booth? Why?
Hermes Berrio: I appreciate the work of all of the artists in the booth. They challenge traditional boundaries and bring something fresh to the table. I'm drawn to the pieces that offer a unique perspective or use materials in unexpected ways. Artists that convey complex emotions with subtlety and skill are always at the top of my list because they push me to think differently about my own work, this group exhibit is full of these.
Seth Ellison: I am so immersed in painting that it's really a joy to see what others working with different materials are up to. I think that's why Michael Sylvan Robinson's work caught my eye-his beautiful way of collaging 2-D and 3-D elements defies traditional formatting. There is a real elegance to his work that, for me, hearkens back to the aesthetic sensibilities of the Victorian aristocracy.
Joanna Ambroz: Everyone is special, bringing their own unique perspective and voice to the table. Each of us tells our human story in a way that reflects our individual experiences, emotions, and backgrounds. Though we come from different places and have varied life experiences, we find common ground in our shared passion for expressing the human condition.
Magdalena Zych: I see the exhibition at the booth as a narrative where different artistic perspectives collide. Each piece brings a unique form of expression, with color playing the most important role - a medium of expression that is especially close to my heart. I'm particularly impressed by the thoughtful use of color by the artists in the booth and how curator Gabe Torres has managed to craft a compelling story through it.
Let's say you're hosting a dream art dinner party-who are you inviting, what are you serving, where are you hosting, and what's playing on the speakers? (Or stereo? Records, streaming, etc.)
Hermes Berrio: I would invite artists like Frida Kahlo and Jean-Michel Basquiat, whose work embodies raw emotion and cultural commentary. The dinner would be held in my studio, where the walls are covered with works-in-progress. I'd serve a mix of Colombian cuisine, arepas, ceviche, and a few fusion dishes that reflect the blending of cultures. Music would be classic salsa, to inspire conversation and creativity.
Seth Ellison: For the sake of brevity, I'll only pick three: Vincent van Gogh, Picasso, and Philip Guston. Can you imagine the conversation at that table? All three had such overwhelming passion and bombastically interesting worldviews-plus they were all literally willing to throw down over art. You wouldn't know if you were going to leave with a black eye or a missing ear! After the dust had settled, it would be on to critiques-and then, obviously, more fighting, with plenty of raucous jazz fueling the fire!
Joanna Ambroz: I serve food in two colours: red and blue. Strawberries, watermelon, cherries and raspberries dominate the table. There's also red wine, prepared beetroot and batatas for the vegans, raw steak tartare for the meat-eaters. Appetisers include red caviar and roasted peppers, and for dessert, blue jelly and berry cakes.
The speakers mix music sung by Brigitte Bardot with tracks from Sexy Sushi. Fifteen people are invited, including Paulina Ołowska and Ewa Juszkiewicz, each person can bring two more. It's intended to be tasty and invite you to dance afterwards!
Magdalena Zych: If this is a dream dinner, then I assume anything is possible, right? If so, the most important guest at my dinner would be Hilma af Klint, a Swedish painter and a precursor of abstract art who lived and worked at the turn of the 20th century. Her work feels incredibly relevant and deeply significant to me.
I imagine hosting this dinner during the summer solstice by the lakeside, in a forest clearing. My guests and I enjoy fresh summer fruits and wine as we stroll through the woods, observing and immersing ourselves in the surroundings. The sounds of the water and the evening birds provide the perfect accompaniment. Together, we savor and share this extraordinary experience.
I imagine hosting this dinner during the summer solstice by the lakeside, in a forest clearing. My guests and I enjoy fresh summer fruits and wine as we stroll through the woods, observing and immersing ourselves in the surroundings. The sounds of the water and the evening birds provide the perfect accompaniment. Together, we savor and share this extraordinary experience.
