Gail Severn Gallery

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Robert McCauley

Mixing Metaphors


November 19 - December 22, 2007


Dramatic oil paintings depict the relationship of animals and the balance of nature. Storytelling draws reference from early North American history. McCauley's animals interact in human-type behaviors and suggest nature as nurturing and reflective.






November 19 - December 22, 2007


Group landscape exhibition capturing the transformation of nature with oil on canvas paintings by Connie Borup and Greg Stocks, watercolors by Divit Cardoza and pastels by Bruce Park.




Telling Stories


November 19 - December 22, 2007


Exploring art as a means of communication through a variety of techniques and media. Judith Kindler, Gay Odmark, Brad Rude, Squeak Carnwath and David Bates.





Jack Spencer


August 29 - October 7, 2007


Photographer Jack Spencer's current body of work explores the landscapes of the American west and mid-west. His flawless mixed media photographs portray haunting images of wild horses, powerful western storms, and historic structures. This self-taught photographer from the South is on a constant quest for beauty, to capture a moment that once frozen in time evokes emotion and allows the viewer to create a story about the piece. Images of subjects such as a wild buffalo grazing in the Tetons, a lone tree surrounded by land and clouds, and a looming storm in the distance are all perfectly captured and printed in Spencer's world-famous photographs.





Marcia Myers

Recent Frescoes


August 29 - October 7, 2007


Marcia Myers rich, colorful frescoes link the ancient and contemporary worlds. The Roman wall paintings at Pompeii and Herculaneum are the basis for Myers' Mediterranean hued paintings in which she successfully creates a rich contemporary surface while using this ancient technique of applying colored pigments to a plastered surface. Myers not only incorporates the old technique, but the archaeological sense as well in the names of her pieces using titles like "Scavi," Italian for excavation, and "Frammento del Muro," meaning wall fragment. The paintings are highly focused on blocks of color, concentrating on ruby reds, creamy whites and bright aqua, while hints of these colors appear scattered throughout the textured fresco surface.





Tony Berlant

When God Was a Woman


August 29 - October 7, 2007


Found pieces of printed tin are the starting point for Tony Berlant colorful collaged pieces. Inspired from early family trips to the California and Arizona deserts, Berlant gained a strong appreciation for Native American art and its' geometric designs, which he has incorporated into sculptural images of landscapes and flowers. Hundreds of pieces of tin in various shapes, sizes, colors and patterns are carefully and thoughtfully applied in deliberate patterns. Steel brads, which are as much a part of the artwork as the tin, affix the pieces to a wood panel. Within the piece of tin are fragments of images; a wisp of hair, a moose's antler, a tuft of green grass, or a block of color. Taking a step back from the piece unveils the intended image in its entirety while a treasure trove of tiny details lie within.





David deVillier

Those Who Follow Fate


August 1 - August 28, 2007


David deVillier's colorful paintings, framed in bold yet complimentary steel frames, are splashed with fanciful images of instruments, birds and women. Within the paintings, you can expect to find anything from a flute perched atop a lone chair, to a multi-colored bird wearing bright red stilettos. DeVillier's imaginative works and titles are satiated with emotionally driven messages while at times being sharply humorous and full of wit.





Lynda Lowe

Not Yet Spoken


August 1 - August 28, 2007


Lynda Lowe's layered details and stunning surfaces draw the viewer in to discover the quiet presence of data between layers of vibrant color. The delicate images, inspired by the artifacts Lowe has encountered and collected in her many travels, include items such as ancient pots, exotic florals and Asian antiquities. Etched in the surface of her rich colors are numbers, words, mathematical equations and geometric shapes. The information scratched into palettes of ruby red, Sahara sand and sapphire evoke a philosophical and spiritual sense.




Squeak Carnwath

A Matter of Record


August 1 - August 28, 2007


The thoughts and events of everyday life are the driving force behind Squeak Carnwath's latest body of work, "A Matter of Record." In her bright colors and familiar imagery, Carnwath gives voice and form to the kinds of deeply affecting experiences that many of us find difficult to articulate. Powerful, spirited and at times humorous, Carnwath includes bold words and symbolic imagery, such as vinyl records that symbolize an entire generations history.


In this show we are also exhibiting tapestries, with which a unique innovation has been used, bringing to the time-honored medium of tapestry a new computerized method that captures minute details of the artist's design. This new technique allows the design to be woven directly with no alteration from the weaver. As such, the artist maintains control over the final work and ensures that the result is an authentic expression of the artist's intentions.





Gwynn Murrill



August 1 - August 28, 2007


With life-size and majestic cats, Gwynn Murrill has successfully conveyed her appreciation of felines into her current show of bronze sculpture. Although she casts sculptures of many animals, cats are Murrill's favorite due to their ability to gracefully take on numerous forms, which poses an exciting sculptural challenge. Wandering through Gwynn Murrill's show of bronze cats, you feel as though you are observing a wildlife preserve filled with resting felines.





Laura McPhee

River of No Return


July 1 - July 29, 2007


Acclaimed photographer Laura McPhee bases her photography series on a dilemma. "River of No Return" is no exception, and highlights the juxtaposition of individualism versus community, and development versus preservation in the American West. This powerful traveling exhibition of haunting, large-scale color photography captures conflicting ideas of land use and landscape across remote areas of Central Idaho. McPhee spent two years in the Sawtooth Mountains attaining these sprawling, cinematic images of picturesque landscapes in coexistence with humanity and development. "River of No Return" is currently on display at The Guggenheim, Shanghai, was recently featured at the Boston Museum of Fine Arts and will be showing at the Boise Art Museum later this summer.




Michelle Haglund & Christopher Reilly


July 1 - July 29, 2007


A love of nature and serenity are the inspirations behind Chris Reilly and Michelle Haglund's luxurious encaustic paintings. The work is tranquil, yet spiritual and enchanting in the soft depictions of blossoms, buds and maples. Subtle features in the under layers of encaustic give way to a rich surface filled with color, light and detail, ultimately invoking a sense of peace.




Rene Rickabaugh

Recent Paintings


July 1 - July 29, 2007


These incredibly detailed small-scale, still-life paintings are splashed with color. Intricate patterns of meticulously applied gouache on paper weave through images of bright fruit and baskets. The amount of detail found in a postcard size piece is tantamount to that found in many large-scale paintings and with gouache being one of the most difficult mediums, the work becomes greatly impressive. Recognized as one of the finest artists in the Northwest for the last 35 years, Rickabaugh's attention to imaginative detail and design draw the viewer in for an intimate look at his exquisite paintings.





Julie Speidel



July 1 - July 29, 2007


A collection of unique bronze and glass sculpture, Julie Speidel's exhibition titled "Sibu," a creator god from the Andean people of Peru, draws inspiration from sacred and spiritual locations around the world. The vision of this exhibition is to pay tribute to these sacred places and their power to link the world of senses to the world of nature, human history and the spirit. Speidel's early experiences in travel and culture have strongly influenced her work, from the megaliths of Europe to the Buddhist Caves of China. Her contemporary forms are iconic and figurative, yet saturated with ancient influence.




Eloquent Flower XI


May 15 - June 25, 2007


In its 11th year, Eloquent Flower is a group exhibition of contemporary artists. Intended as a celebration of Spring, an extrinsic dialog emerges between each artist and their personal depiction of the flower. The artists present us with unique perspectives of the traditional symbol of spring and countless other concepts, like beauty, sensuality, and vitality: Donald Campbell's color-pencil studies of fresh flowers from Florentine street markets, Kenna Moser's delicate renderings of flowers covered with resin, Michelle Haglund and Christopher Reilly's calm and spiritual encaustic paintings, David Giese's sculptures of fictionalized artifacts unearthed from canonic worlds, Gary Nisbet's bright collages of domestic patterns and materials of everyday life, Lynda Lowe's highly-refined paintings combining art and science to explore the mystery of life, Rene Rickabaugh gouache paintings of still-life adorned with intricate, imaginative detailing, Morgan Brig's intimate, playful copper and enamel wall sculptures, and Jack Spencer's large-scale, hand-finished photographs of sensual and ethereal flowers and petals.




3-Person Show: Bo Bartlett, Michael Gregory, and James Lavadour


March 8 - April 10, 2007


Bo Bartlett, Michael Gregory, and James Lavadour are three of the foremost American painters. Large-scale paintings make ordinary, everyday life seem quite extraordinary. New to the gallery, Bo Bartlett is one of the most renowned painters of American Figurative. Painting in the realist tradition of Winslow Homer and Andrew Wyeth, Bartlett creates paintings of idealistic, heroic, mysterious, even haunting figures. These Rockwell-esque figures seem caught in a moment of drama, but the plot is only partially revealed. The viewer is left to guess at the gravity of the unfolding scene within and beyond the picture plane.


While Bartlett creates icons out of his figures, Michael Gregory paints icons of the American Landscape. Silos, barns, homesteads sit as lone icons of the great expanse of the American landscape. Gregory's realist landscapes, where homesteads exist in a distant middle-ground underneath romantic skies, are metaphors for the struggle of American ideals: the balance between nostalgia and hope, pioneer spirit at the risk of isolation and beauty within the mundane.


Where Bartlett and Gregory paint within the realm of realism, James Lavadour paints the landscapes with elements of reality (eroding cliff bands, hydrology, and hillsides that disappear into ravines), but his art diverges into abstraction. His oil on wood paintings do not replicate the landscape, rather they embody the same energy, the same spiritual occurrence of jagged mountains and unspoiled valleys, some of abstracted tranquil scenes and others of worlds on fire. While Lavadour's art does not deal directly with his Native American identity, his art is an expression of his life and, intrinsically, the contemporary Native American and Reservation culture. These three artists create art, distinctly American, and distinguished in their individual approach.




Judith Kindler



March 7 - April 10, 2007


Judith Kindler creates art by layering encaustic painting over digital photography and then inscribing, burning drawings and texture into the outer surface. It is a process of exploration and experimentation. The photographs are of young girls or women or of wild animals that capture either a telling glance or a revealing gesture. Over the photographs, Kindler builds up a narrative of symbols and iconography with her paintings and mark making. She draws envelopes around running horses, strings tangled between birds, branches wrapped around the feet of a little girl, or vines growing outward from another girl. The objects she draws are symbols: bottles represent illusion, birds represent the voyeurism of the viewer, cages represent social conditioning and so on. It is an iconographic system Kindler creates to delve into universal conditions. The intertwined layers of photography and painted-symbols work together to unveil emotions, fears, insights, premonitions, and intellectual struggles. The very combination of the materials creates depth; the delicacy and clarity of the photograph is seen beneath the transparent layers of wax. The encaustic is layered over the photography like Kindler's revelations on the struggles of life are poised over reality.





Gary Komarin

Mexican Thoughts


March 7 - April 10, 2007


The gallery's premiere solo-exhibition with Gary Komarin. Gary Komarin's exhibition of mixed media on canvas paintings is the contemporary evolution of Abstract Expressionism. A former student of Phillip Guston, now internationally shown, Komarin is a storyteller of color. Raw canvases are filled with outbursts of color and spontaneous lines and shapes. Surreal objects, items covered in plaster and paint that he collects in his studio are mysterious and indefinable: "If I knew what the objects were, I wouldn't paint them." Objects emerge and disappear out of the large color-fields. Amidst clumps of plaster, splattering of paint, and the childlike, unconscious creation of line there is the carefully controlled drawing with paint. In an unresolved, unsettled world on canvas there is the moment, the occurrence of clarity and control, where the artist has pulled back from the frenetic and physical process; we get to experience a brief moment of calm. The titles, like The Disappointed Mistress, allude to sequences from poems, tales, and myths but are never coherent in connection to what is happening on the surface of the painting. Komarin's paintings contently reside in the realm of the unknown and inexplicable.




Michael Gregory



February 3 - March 6, 2007


Celebrated painter, Michael Gregory, introduces his new, large-scale oil on canvas paintings of the American landscape. Silos, barns, and homesteads sit as lone, isolated, icons on the vast expanse of the Great Plains. Rather than orienting his canvases in the traditional horizontal manner, Gregory's pieces are vertical to "de-emphasize the landscape as a subject and draw attention to the human presence." The barns and homesteads sit back on the horizon where the sky and earth converge. His use of middle-ground creates a startling psychological state. While these are landscapes, they are defiantly not about place, not about the Great Plains nor specific leaning buildings; these are places intended as metaphor, a metaphor shared by our collective cultural consciousness, a metaphor for the struggle of American ideals: the balance between nostalgia and hope, pioneer spirit at the risk of isolation, beauty versus dispair. Gregory remembers when we first landed on the moon; the initial images sent back were disquieting for their sense of isolation and loneliness despite the triumph and adventure of the moment. As in his painting "Fable," where a house sits alone, far from anywhere but underneath a beautiful, starlit night, Gregory wants to acknowledge the inherent, dichotomous existence of despair and hope.




James Cook


February 3 - March 6, 2007


Nationally recognized for his painterly, impasto oil on linen paintings that capture mountains, rivers, hillsides, cliff-faces, evergreens, and aspens. Cook's grasp of abstract composition and color theory elevates his work beyond sheer landscape. A lone yellow aspen on a steep hillside full of blue pine trees is a function of composition - a pure play of color normally reserved for abstract expressionists - but as the viewer steps away from the canvas the vigorous marks of oil paint focus into well-observed, powerful scenes of the Western landscape. As well, the artist and gallery have published a catalogue of the exhibtion.




Victoria Adams

Refugia - Recent Works


December 27 - February 1, 2007


Nationally celebrated in museum collections, Victoria Adam's latest oil, wax on linen paintings continue her work of treating the environment as a subjective experience. Steeped in the tradition of classic, romantic landscapes, Adams' imagined vistas are concerned with weather systems, cloud banks, and storms that move and hover over land, waterways, and oceans. In this new body of work she has lowered the horizon-line on the picture-plane to depict a deeper sense of space and to "intensify the drama of the light falling on the land."

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Gail Severn Gallery