More Please runs at Renann Isaacs Contemporary Art until April
On March 3, Renann Isaacs Contemporary Art held its opening reception for Felice Koenig’s More Please exhibition, including work from the past few years that Koenig describes as a “meditation on obsessive gesture.” Koenig’s art uses layers of acrylic paint, sometimes over a hundred in a single piece, combined into cohesive pieces that display subtle sentiments and serenity.
At first glance, More Please appears to be a collection of unassuming artworks, similar yet unique, each capturing a simple dynamic of colours and shapes. However, Koenig’s art does not depend upon first glances, as closer inspection reveals each piece to be a complex multitude of colours, contributing to its layered textures and serene disposition. Koenig’s art appears to mirror the complexity of life. Just as simplicity is often contrived of intricate origin, each layer of paint contributes to the final completed piece — small decisions that inevitably result in a unified whole, transforming chaotic elements into feelings of peace and tranquility.
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Pieces such as “Double Embrace” and “Love is being there” subtly introduce a particular vibrancy that cannot be noticed from a distance, contributing to the underlying notion that these pieces are not necessarily meant to evoke immediate stimulation. The pieces capture both elements of disorder and unity, only revealing themselves upon further examination.
Overall, Koenig’s exhibition reflects a calm yet satisfying approach to contemporary art, not necessarily evoking new thought or ideas, but rather exploring expression through subtle means. The title More Please almost seems ironic, as Koenig’s art encompasses so much by saying so little.
More Please runs at Renann Isaacs Contemporary Art until April 1.
Photo by Jonathan St Michael