Resume : Juan Fontanive

Juan Fontanive was born in 1977 in Cleveland, Ohio. He graduated from the Royal College of Art in 2006 and currently lives and works in New York City.

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Education

2006 M.A., Animation, The Royal College of Art, London.

1999 B.A., English and Textual Studies, Syracuse University, New York.

One Person Exhibitions

2008 Tin Tan, Riflemaker Gallery, London.

2006 Paper Films, Riflemaker Gallery, London.

Selected Group Exhibitions

2011 Precarious Interchange, Waxy Pith, Brussels, Belgium.

7+1, Bushwick Open Studios, NY, New York.

Trompe Le Monde, Occupy Space, Limerick City Gallery of Art, Ireland.

2010 For The Sake of the Image, Jerwood Gallery, London.

2009 Obsession: contemporary art from the Lodeveans Collection, Stanley and Audrey Burton Gallery, Leeds, UK.

Zoo Solo Works, Zoo Art Enterprises, London.

2008 Indica, Nyehaus Gallery, New York, NY.

2007 Ingenuity, The Gulbenkian Foundation, Lisbon.

2006 Magnetic Vision, Kinetica Museum, London.

Riflemaker becomes Indica, Riflemaker Gallery, London.

Sensory Material, Bonhams, London.

photoLondon, The Royal Academy of Art, London.

The Show, Royal College of Art, London.

2005 Dead Aim, Riflemaker Gallery, London.

Under Five's, 39 Space, London.

60 Seconds, The Gallery Southwark Park, Bermondsey, London.

Typography and Gridlock, Hockney Gallery, Royal College of Art, London.

MAN Group Drawing Prize Exhibition, Royal College of Art, London.

Awards

2004 Desmond Preston Prize for Drawing.

1999 Louise Wetherbee Phelps Award for Writing.

Publications

2009 Obsession: Contemporary Art From The Lodeveans Collection, catalog.

2008 Ingenuity, The Gulbenkian Foundation, Lisbon, Portugal, catalog.

2007 Andrew Wilson, "Yesterday, Today, Tomorrow," Art Monthly, March 2007.

2006 Ian White, "Frames Per Second," Art Review, March 2006.

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Often recycling the mechanical parts of found clocks and pushbikes as the portable containers of his 'animations', Juan Fontanive's interest lies in the beauty of sequential and repetitive movement. Hand drawn characters, human and typographical, occur in a cranky flip-book module powered by oxide. Pages fall in neat layers in the manner of a paper fountain, somewhere between film and sculpture - there is no 'screen' as such. His filmstock is often pulped card or metal leaves. -Riflemaker Gallery 2006

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