Gail Severn Gallery

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Marks and Conversations III


October 7th thru December 22nd 2011


Contemporary painting and sculpture that uses the written word and mark making to create visual activity that stimulates and encourages a deeper exploration.  Seven internationally renowned artists offer a personal language for the viewers’ consideration. Squeak Carnwath combines text and images on abstract fields of color to express sociopolitical and spiritual concerns. Raphaëlle Goethals’ encaustic paintings include many layers of translucent wax to explore underlying references to ancient script and marks. New York artist, Gary Komarin’s abstract painting style allows the viewer to embrace bold colors and shapes. Kris Cox’s meticulously layered and finely sculptured surfaces on panel,  provide a juxtaposition of calculated references mixed with metaphor and color. Belgium artist Cole Morgan creates two-dimensional paintings that bend reality into three dimensions. Sculptors


Margaret Keelan, Julie Speidel and Jun Kaneko are all recognized world wide for their unique language of surface marks and patinas. Using Sculptural form and painterly surfaces to tell stories that go beyond the physical presence of each sculpture and that often reference historical and ethnic undertones.  Jun Kaneko, whose sculptures are in Museums and private collections world wide, presents large sculptures that show his mastery of ceramics on a scale that defies imagination. Margaret Keelan creates weathered, wood-like figures entirely of clay whose effect is striking. Julie Speidel showcases her geometric yet organic bronze and stone sculptures that reference ancient cultures such as Celtic, Chinese and the stones sculptures on Easter Island.

A Sense of Place XVI - Part II


October 7th thru December 22nd 2011


This Group Landscape show celebrates its 15th year of honoring a wide range of artists that are inspired by landscape. Working in a variety of mediums from oil painting to photography this exhibition explores artist’s personal interpretations of their relationships with the landscape. Nationally recognized artists Victoria Adams, James Cook, Theodore Waddell, Laura McPhee and Michael Gregory.

Nature-  Part II


October 7th thru December 22nd 2011


These artists contribute to an exhibition reflecting nature. Ed Musante creates an aviary with his paintings of birds on cigar boxes.  Christopher Reilly shows the delicate and powerful sides of nature with his textural encaustic paintings. Brad Rude combines wild and domestic animals and man made objects to bring an uneasy harmony in his sculptures. Allison Stewart’s mixed media paintings of flowers bring activity to an otherwise stationary entity. Robert McCauley explores animals and nature by depicting birds, animals, fish and other creatures in different ways and different circumstances. Jane Rosen, nationally recognized for incredibly sensitive sculpture, is comfortable working in molten glass. She visits Pilchuck in the Pacific Northwest to utilize the master glass studios for the exacting creation of her glass sculptures. But it is stone carving that the art world associates with Rosen. She has developed a masters sense of less is more in her subtle but powerful stone sculptures.

James Cook


Sept 1, 2011 - October 2, 2011


Using thick oil paint to create his colorful scenes of a flowing trout stream and expanse of trees, James Cook’s impasto technique creates a surface full of movement and texture. Inspired by the medium itself, Cook strives for a compositional sensation that sets off a whole series of thoughts about a place, a time, or a memory of a landscape. With his newest body of work revisiting Silver Creek in Idaho, Cook revels in the growing expanse of the landscape as we follow the river bends and fields deep into the distant mountain range.

Christopher Reilly


Sept 1, 2011 - October 2, 2011


Christopher Reilly's encaustic work is intriguing, yet quiet and peaceful. Ethereal light emanates from the center of the pieces, drawing you in. Surrounding the light, are metaphors for the cyclical nature of all life forms. Tree limbs reach out in varying stages of budding growth and quiet decay. Butterflies, frogs, and dragonflies entice one into a meditation of what could be. Creating his work by adding and removing layers of paint filled wax and resin, Reilly's construction and deconstruction of the encaustic on panel is emblematic of the circle of life itself.

Eloquent Flower XV


Morgan Brig • Betsy Eby • Michelle Haglund • David deVillier • Michael Gregory • Hung Liu • Lynda Lowe • Kenna Moser• Carolyn Olbum • Christopher Reilly • Rene Rickabaugh • Jack Spencer • Allison Stewart


May 27 - June 27, 2011


In it's 15th year, the group exhibition “Eloquent Flower ” is a celebration of Spring by our contemporary artists.  An extrinsic dialog emerges between each artist and their personal depiction of flowers.  These artists present us with unique perspectives of the traditional symbol of spring and countless other concepts, like beauty, sensuality, and vitality.  Each of these artists evokes responses and emotions through their work. Chris Reilly and Michelle Haglund's spiritual and organic encaustic paintings play off the ethereal reality of Jack Spencer's photographs. The subtlety and intimacy of Kenna Moser's beeswax, vintage envelope, and collage pieces counter the vibrant colors of Michael Gregory's tulips. David deVillier's paintings offer whimsical flowers amid physicological landscapes relating to Lynda Lowe's scientific and poetic paintings. The ebb and flow of Allison Stewart's loose flowers and Betsy Eby’s encaustics balance Rene Rickabaugh's precisely detailed epoxy, resin, and mixed media flowers. All of these paintings dance together in celebration of spring.


Julie Speidel • Jane Rosen • David Secrest


June 30 - July 30, 2011


Julie Speidel's sculptures encompass an array of cultural influences, reaching back through antiquity to the stone and bronze-age peoples of Europe, the early Buddhists of China, the indigenous tribes of her native Pacific Northwest, and on into twentieth-century modernism anchor this exhibition. Speidel's sculptures with titles of Gods and Goddesses offer peace and conscious awareness of transcendal time and space. Seen in a landscape, Speidel’s sculptures have a Zen-like relationship with the surrounding area, humbling themselves to the natural world while simultaneously enhancing it, amplifying its effect. When installed indoors, they act as an oasis of nature, exuding an enigmatic, earthly quality despite their manmade origins, as if in conversation with the organic universe.


Jane Rosen’s stone and glass ‘birds of prey’ sit atop pillars of limestone from which they assess the world under a watchful eye. Capturing the observant nature of predatory birds, Jane Rosen uses pattern, color, and shape to convey the complex relationship between humanity and nature. Rosen is comfortable working in molten glass visiting Pilchuck in the Pacific Northwest to utilize the master glass studios for the exacting creation of her glass sculptures. But it is stone carving that the art world associates with Rosen. She has developed a masters sense of less is more in her subtle but powerful stone sculptures.


David Secrest's mastery of metalworking and blacksmith techniques appears to make steel and bronze bend under his will to form intricate designs and patterns that aesthetically soothe the eye, while continuing to provide unparalleled form and function. Secrest’s benches are more than just utilitarian objects. His detailed patterns and subtle textures juxtapose the strength of the metal and the durability of benches that can be placed indoors or outside in the elements.


Gary Komarin


August 3 - August 30, 2011



Gary Komarin's paintings walk the line between expression and avoidance of reason.  Komarin's layering of paint in child-like form, conveys beauty that is not limited by the constructs of language.  Although abstract, Komarin's paintings sometimes contain shapes that are quite legible - a wig or a hat, for instance - but more often they tend to suggest many things without getting specific about any of them.  In conversation, the artist is not eager to make them any more specific.  The forms resonate when they are at once strange and familiar.


Born in Manhattan in 1951, the son of a Czech architect and Viennese writer who fled the Holocaust, Gary Komarin received a graduate teaching fellowship at Boston University where he studied with Philip Guston. Komarin was offered his first University teaching position at Hobart & William Smith Colleges in 1978. He has subsequently taught at The University of Oregon, Southern Methodist University, and The University of Iowa.


Komarin received The Joan Mitchell Prize in Painting in 1999. He has also received the Edward Albee Foundation Fellowship in Painting, The Elizabeth Foundation, New York Grant in Painting, The Rutgers University Fellowship in Innovative Printmaking, a Grant from the New York Foundation for the Arts, and the Philip Hulitar Award in Painting in 1988.  He has been exhibiting his work here in the US and abroad since 1979 and in galleries around the world. Komarin's work has also been exhibited at the Museum of Art at the University of Oregon, the Meadows Museum at Southern Methodist University, and the Newark Museum as well as the Kunst Art in Zurich.  Komarin's paintings are in numerous private, corporate, and museum collections including: Microsoft, AT&T, The Nordstrom Corporation, The Museum of Fine Arts in Houston, and the Montclair Museum among others.

Robert Polidori


August 3 - August 30, 2011



Robert Polidori is one of the world's most acclaimed photographers of human habitats and environments. His career began in the mid 1980s when he won permission to document the restoration of the Château de Versailles, beginning a love affair with the palace that has continued to this day. He has since documented sites across the world and is currently a staff photographer for The New Yorker. He was commissioned by the Metropolitan Museum of Art, in 2006, to photograph New Orleans in the wake of Hurricane Katrina, and the subsequent exhibition drew the largest audience of any of the museum's photography shows to date.


Some photographers are in love with the process of taking a picture. Psychologically, I’m more interested in the situations that taking the picture puts me through, and what it forces me to witness. I really do it because I want that picture. It’s like I’m collecting evidence, like a detective looking to solve a case. I don’t mean that literally, but I use it as a simile. It’s a thing about phenomena and asking questions. And answering some, but not answering all of them. - Robert Polidori


Robert Polidori's books include: Points Between...Up Till Now (a selection of photos Havana, Chernobyl and Versailles), Havana, Zones of Exclusion: Pripyat and Chernobyl, Versailles, After the Flood (images from Katrina), Parcours Museoloqipue Revisite, Metropolis.

Luis Gonzalez Palma


August 3 - August 30, 2011



Luis Gonzalez Palma use of symbolism and collage with his photography, intensifies the story and deep intensity of the moment he has captured.  Whether it is in the soulful eyes of a girl facing you straight on, or the dream-like essence of a memory gone by, Palma pulls you in with a haunting glimpse of the human condition.  His photographs, done on Orthochromatic film, speak to the matters of the spirit and of things eternal.


Luis Gonzalez Palma is one of Latin American's most significant contemporary photographers.  Born in Guatemala, trained as an architect, Gonzalez Palma turned to photography in the mid 1980s.


Solitude, pain and loveform the basis of Gonzalez Palma's art.  In each work, the viewer is confronted with a gried that echoes through time.  Tranporting Guatemalan natives, his relatives, servants and father into a timeless, universal plane, Gonzalez Palma intersects the past and the present.  These images transform the work from portraiture into the realm of iconographic metaphors.


Gonzalez Palma dramatically manipulates the texture of his prints, thickly layering them with oil point or watercolor washes and distressing them to give them a worn, antique feeling.  These photographs have rich, dark and mysterious surfaces.  The overall sepia color of Gonzalez Palma's images suggests history; the white remaining in the images tends to lie in the eyes, a rope or a crown of paper flowers on an elderly woman's head.  The searing white eyes engage and challenge the viewer.


Palma's work is in the collections of: The Art Institute of Chicago; The Lannan Foundation, Santa Fe; The Australian Centre for Photography, Australia; Palacio de Bellas Arts of Mexico; The Royal Festival Hall in London Palazzon Ducale di Genova, Italy; Museums and Castignino MACRO Rosario; Bratislave in Slovakia; Les Rencontres d'Arles in France; PhotoEspana in Madrid; Singapore; Bogota, Sao Paulo; and Carcas among others.


He has participated in group shows such as 49 and 50 Venice Biennale, Fotobienal de Vigo, XXIII Bienal of Sao Paulo, Brazil; V Havana Biennial; the Ludwig Forum for International Kunst in Aachen, Germany; The Taipei Art Museum in Korea; Musuem of Fine Arts in Buenos Aires, Argentina; Daros Foundation in Zurich, Switzerland; Palacio del Conde Duque in Madrid, Spain, and the Fargfabriken in Stockholm, Sweden.

Jane Rosen


August 3 - August 30, 2011


Jane Rosen's ability to capture the subtleness of birds and mammals is what gives them life.  She pays as much attention to the material as to the shapes she forms with it.  Just the slight tilt of a beak beckons you to look closer to reveal the essential form of her work in glass, stone, and on paper.


Jane Rosen received the Purchase Award from the Academy of Arts & Letters Invitational Exhibition in New York, and has been a two-time Artist in Residence at the Pilchuk Glass School in Seattle, WA.  Formerly an guest lecturer at the University of California Art Department in Berkeley, CA,  she continues to share her passion through teaching and lectures.  Rosen's work can be found in many notable collections.

Laura McPhee

Shadows of White Clouds



Laura McPhee's exhibition will offer new works from in and around the Sawtooth National Forest area. This newest body of work is a continuation of her internationally successful "Guardians of Solitude" and "River of No Return" Series. McPhee has photographed most recently, in the woods of Idaho, New York City, and Kolkata, India. She earned a Bachelor of Arts degree from Princeton University and a Master of Fine Arts degree from Rhode Island School of Design. Her work, which ranges from portrait to landscape to still life, is widely exhibited nationally and internationally. She is a professor at the Massachusetts College of Art and Design.



These photographs concern ideas about landscape in America and our values and beliefs about our relationship to the natural world.  the nature/culture dilemma is endlessly complex, and the photographs describe this kaleidoscopic, fragmented, and contested relationship.  Made in central Idaho, one of North American's emptiest places, the images ask how we can deinfe our relationship to time, to place, to land use, and to mortality.  The images inquire about many strands of history -- miners following explorers, ranchers coming to feed the miners and so forth.  They question our policies with regard to fire and seek to show the beauty and renewal in a landscape widely considered "ruined".  All of these relationships to the land and among its inhabitants, human and animal, raise queries about our notion of a utopian American landscape, one based on an ever-altering vision of past and future. Working with an 8 x 10 view camera, I contemplate the consequences, unintended or not, of the many ways we have written and rewritten our evolving ingeuity across the land over two short centuries. How we pay attention to place and to the question of our place in nature is what I strive to explore.


Photography - Summer 2011

Robert Polidori • Laura McPhee • Luis Gonzalez Palma

Maggie Taylor • Jack Spencer



Gail Severn Gallery’s photography exhibition highlights artists that will have solo shows later this year.  Internationally renowned photographer Robert Polidori has travelled the world with exclusive, intimate access to the most restricted places: Chernobyl, Katrina - after the Flood, Havana, Versailles, and the world's Stock Market Exchanges.  A preview of his show includes images from the Kuwait Stock Exchange and Versailles.  Laura McPhee's "Guardian's of Solitude" images are displayed in preparation for a new exhibition of photographs from in and around the Sawtooth National Forest.  Luis Gonzales Palma's portraits are personal history connections, with tributes to his father, former assistants and the women in his past.  The "Alice in Wonderland"- like imagery of Maggie Taylor's narrative collages offer playful stories juxtaposed to the floral images of Jack Spencer that lead from the Eloquent Flower show to this photography preview.

Margaret Keelan


Using the female form as her main source of inspiration, Margaret Keelan explores the endless possibilities of clay with variances in construction and surface. Reminiscent of the past, these treasured possessions, appearing once discarded, now come alive in their apparent fragility. Figures holding flowers, having private conversation with little dogs, or basking in the sun reveal our own mortality and childhood dreams. Renowned for her trompe l'oeil use of clay to create sculptures whose surfaces remind one of ancient wooden sculptures – Keelan’s sculptures provide underlining emotions and subtle questions.

Reinventing the Landscape

James Cook • Ted Waddell • Victoria Adams • Michael Gregory


 The texture and tactility of James Cook and Ted Waddell's landscapes bring the vibrancy of the Northwest alive.  Using paint to create rich surfaces and capture the unique light of the West, these two painters move paint in luscious ways.  One can sense the wind in the air by the ripples of water in Cook's Silver Creek paintings.


The fresh damp smell of pastures in Waddell's depiction of Herefords and horses emanate from his canvases.


From the abstract to the referential, Victoria Adams' oil paintings are ethereal with cloud formations setting the tone for the peaceful landscape below.  Her vistas and skies are fictional, made up from imagination and coalescing in an unplanned way during the painting process.   Similarly, Michael Gregory has no particular place in mind, rather a set of constructs that he assembles, creating a place that no one has been.  Highlighted with a vast horizon and distant hills, Michael's color fields inspire from afar, but invite you in for a closer look.

Jose Cobo


The Gail Severn Gallery presents its first exhibition of Spanish artist Jose Cobo’s figurative sculptures of children in arrested states of contemplation and attention. Born in Santander, Spain, Cobo studied at Facultad de Bellas Artes San Fernando in Madrid and at The Art Institute of Chicago. A participant in numerous international gallery and museum exhibitions, and a recipient of many internationally prestigious awards, Cobo's sculpture prove staunchly realist while remaining untouched by the romanticism of conventional statuary. Cobo's human like children enact small dramas that touch on their respective connection to deep psychological structures within society.

Barbara Witt


July 22 - July 26, 2011


Barbara Witt is a contemporary artist with the rare distinction of having created her own medium. Her unique necklaces blend tapestry techniques to form intricate webs of colored threads, ancient bead and gemstones which capture at their centers sculptured artifacts and heirloom treasures. The necklaces have a unity that extends from design to components and technique. The effect is simultaneously elegant and luxurious.


Witt's necklaces communicate: they are not silent pieces of metal, stone and thread, but mnemonic objects layered with meaning. We may initially be drawn to the necklaces through their obvious beauty, but what holds it all together is content. Ancient and traditional people crafted most of the artifacts that inspire Witt's work. Although these objects may today be viewed as independent works of art, she reminds us of their original context. The sources reside in the stories - wonderful stories, celebrating celestial beings, spirit creatures and goddesses. She has a marvelous ability to combine intellectualism with sensuality to create a highly original art form. In so doing, she has forged strong connections with distant realms, past artisans and those who wear her work.


Kris Cox

Constructed Paintings


March 7 - April 10, 2011


Gail Severn Gallery presents the newest work of Kris Cox whose meticulously layered and finely sculpted surfaces on panel, provide a juxtaposition of calculated references mixed with metaphor and color.  These conceptually based sculptural paintings are explorations of the symbolic notion of time.  The images are produced with investigations of the potency of materials such as putty and glazes on underlying structures, grids, and wood.  The highly worked surfaces are constructed without signs of the artist's immediate bodily gesture.  The subtle play between the polished, lush, top layers and the exposure of deep, underlying patterns are made up by traces of the artist's decisions, the process of adding and subtracting, which are recorded in the fields of the finished paintings.


The Figure

Nicolas Africano • Linda Christensen • David deVillier • Jonathon Hexner • Rod Kagan • Margaret Keelan • Judith Kindler • Deborah Oropallo


Gail Severn Gallery is happy to present, "The Figure," a group exhibition of eight unique artists' personal interpretations of the human form through their individual styles of painting and sculpture.


New to the gallery are Linda Christensen's colorful paintings that bridge abstraction with realism and the human form.

Nicolas Africano's one-of-a-kind cast glass sculptures remind us of classical sculpture with a purity and timelessness.

David deVillier paints women who tend to appear in magical places.

Jonathon Hexner uses dynamite fuse and gunpowder to draw images of children and friends around his rural studio in Maine.

Rod Kagan's sculpted bronze iconic totems remind us of ancient cultures.

Margaret Keelan presents intricate clay figures that are reminiscent of historical woodcarvings.

Judith Kindler uses photography, wax, text and glazes to create her stories.

Deborah Oropollo visits the American west with digitally manipulated and painted images that deal with gender, sex, and power.


David Clemesha

Child's Play


David Clemesha's first one person show at the gallery features paintings and drawings that center on the combination of text and image.  His work is influenced by his interest in calligraphy and literature.  His paintings and drawings reflect his fascination and study of European medieval illuminated manuscripts and books, and hand written letterforms, illustrations, and decorative marginalia found within them.   Playfully scripted and painted works on canvas and paper illustrate Nursery Rhymes and Fairy Tales with bold, and colorful  imagery.

Michael Gregory

Where the Rivers Change Direction


February 1st - March 1st, 2011


"America has always been an idea, a construct of our imagination and our imagination has outdistanced even its vast boundaries and empty places.  Our pastoral yearnings are far from the reality of an unforgiving landscape and the hard life on the range.  The West is littered with buildings that are reminders of this struggle.


"Our American middle and our Great Plains have provided us a rich metaphor for a discussion of our hopes, aspirations and failures.  They are the subject of literature; poetry and song - part of our American common language.  These buildings have a particular resonance for us now as their history and their builder's struggles are being reenacted during our current economic woes.  'Past is prologue.'


"For a number of years now I have taken a series of road trips throughout the Midwest and West.  These paintings are visual composites of these trips, re-imagined and re-constructed in the studio.


"These paintings are an attempt to create a notion of a 'true west.'  We are reminded, by these structures in the vast landscape, of our human frailty in the face of time and the elements.  They are a memento mori.


"These paintings by their conception and resolution are fictive places, but places we are from and hope to return.  I would like to evoke in the viewer an experience of America's vast reservoir of space, distance, solitude, loneliness and yes, beauty."


-Michael Gregory

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