Gail Severn Gallery

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A Sense of Place XVI



November 20th -December 19th, 2012


Features aesthetic interpretation of the land by internationally renowned painters Victoria Adams, Theodore Waddell, James Cook, and photographer Laura McPhee.  The bronze, glass and stone sculptures of Julie Speidel, Will Robinson, Boaz Vaadia, and Rod Kagan also speak to us of the influence of the history of the landscape.

Marks and Conversations IV

Contemporary Painting and Sculpture


November 20th -December 19th, 2012


Invites the viewer to interpret creative vision through the artists’ marks and gestures.  This group of multidisciplinary artists includes Margaret Keelan, Gary Komarin, Cole Morgan, Squeak Carnwath, Jun Kaneko, and Raphaëlle Goethals

Nature – Perspectives


November 20th -December 19th, 2012


Offers the whimsical and the ethereal through the paintings of Chris Reilly, Allison Stewart, Jonathon Hexner, Hung Liu, sculptures of Jane Rosen, Gwynn Murrill, Brad Rude, and the photographs of Jack Spencer.

Ed Musante

New Cigar Box Paintings


November 20th -December 19th, 2012


Ed Musante has a visual passion for nature.  Musante's small-scale paintings of birds and animals, painted on his signature found cigar boxes, are intimate portraits of wildlife. Musante captures the essence of each creature through careful observation and expert attention to detail.  His exquisite paintings integrate text and pattern from the cigar box designs.

Honoring our Landscape

October 10th - November 18th 2012


Painting, Photograph and Sculpture

Victoria Adams, Divit Cardoza, Theodore Waddell, James Cook,

Sheila Gardner, Jack Spencer, Michael Gregory, Tony Foster,

Laura McPhee, Julie Speidel and Rod Kagan


October 10th - November 18th 2012


Contemporary Painting and Sculpture

Gary Komarin, Marcia Myers, Cole Morgan, Squeak Carnwath,

Deborah Oropallo, Jun Kaneko and Bean Finneran


October 10th - November 18th 2012


Jane Rosen, Boaz Vaddia, Ed Musante, Gwynn Murrill,

Brad Rude, Robert McCauley, Kenna Moser, Hung Liu,

Don Nice, Mary Snowden and Jack Spencer

Rod Kagan

Preview - Retrospective 2013


September-October 2012


The gallery is excited to present  - a  Preview of Rod Kagan's "Retrospective 2013" that will open at the gallery next summer. The late artist’s estate recently released a select number sculptures for this intimate viewing. Rod Kagan’s sculptures are characterized by his combining of multiple artistic features. His work includes influences that are based in early Idaho mineral mines, tribal, and minimalistic aspects combined with his technical mastery of the bronze and steel medium. His sculptures are in some of the most recognizable collections in the nation and he is featured in public collections and outstanding museums.


Museum collections and exhibitions include the Smithsonian Museum, Washington D.C.,  the Boise Art Museum, Boise Idaho, and the Schneider Museum in Ashland, Oregon.  In 1984, he won a coveted fellowship grant from the National Endowment for the Arts and has had work installed in 38 major cities around the United States.  In 2012 Rod Kagan's family and the community of Ketchum Idaho worked together to install a beautiful installation of five Kagan totems – called " The Idaho Totems" and a bronze bench of Kagan's as a permanent memorial to beloved Ketchum sculptor Rod Kagan who passed away in December of 2010

Don Nice

Sun Valley From the Top


August 22-23 2012

Two Days Only Pop-Up Exhibition featuring watercolors painted from views overlooking Sun Valley and surrounding rivers.


Don Nice was born in Visalia, California in 1932. After receiving his Bachelor of Fine Arts Degree at University of Southern California, Nice earned his Master of Fine Arts from Yale University School of Art, New Haven, CT. Nice taught at the School of Visual Arts, New York, NY for many years. Since 1982, he has been artist-in-residence at Dartmouth College, Hanover, NH.


Nice gained recognition as a New Realist painter in the early 1960s. Realistic renderings of fast food items such as candy and hotdogs in very large, detailed studies of the optical image. Close-ups of light reflections on plastic wrap or glass revealed a beauty even in commercial objects. His illusionistic still life’s are artificial arrangements of foods and grocery items or synthetic objects such as tennis shoes. Icons of Americana lined up in rows or painted as single objects in oversize scale.


Nice spent many years visiting Idaho and the Sun Valley area visiting dear friends Bill and Glenn Janss who owned Sun Valley. The Janss’s were avid collectors and supports of Nice’s oils and watercolors and introduced Gail Severn to Don Nice and his colorful, playful, yet very intellectual work. Nice first had exhibitions through the Sun Valley Center for the Arts and later at the Gail Severn Gallery. Nice’s work started including wildlife such as bears and rattlesnakes along with camping equipment and sports memorabilia. Often an old coffee pot and an western handkerchief partnered with beautiful landscapes of the Idaho rivers and mountainsides.


Museums exhibiting Nice’s work in their permanent collections include Delaware Art Museum, Wilmington, Minneapolis Institute of Art, Museum of Modern Art and Whitney Museum of American Art, New York, NY, Walker Art Center, and Arnhem’s Museum, Holland. In 1963, Nice won the Ford Foundation Purchase Award. Noteworthy commissions include the wall murals at National Fine Arts Commission, Lake Placid, NY and the Art in Architecture Project, Veterans Administration, White River Junction, NY

Don Nice will be visiting and painting on a summer visit to our valley. Nice’s recent work depicts the watercolor views seen from “above” the Sun Valley Idaho landscape. These fresh new paintings will be presented in a brief Pop Up Exhibition at Gail Severn Gallery on August 22nd and 23rd.

Hung Liu

Mothers and Daughters


August-October 2012


Often lauded as the most famous American artist of Chinese decent and known for paintings drawn from Chinese historical photography, Hung Liu’s works focus on what she calls the “mythic poses” that underlay the photographic surfaces of history. Representing such elemental human activities as laboring, eating, journeying, leaping, fighting, dreaming, and carrying one’s burden, these “mythic poses” come from particular historical circumstances, but seem epic, trans-historical, and allegorical in the her paintings. With an overlay of traditional Chinese birds, flowers, insects, dragons, and – most recently – stylized human figures, Liu offers her subjects artistic evidence of their own rich heritage – as if to remind or comfort them.


As a painter, Liu subjects the documentary authority of historical photographs to the more reflective process of painting; she has written: “I want to both preserve and destroy the image.” Much of the meaning of Liu’s painting comes from the way the washes and drips dissolve the photo-based images, suggesting the passage of memory into history, while working to uncover the cultural and personal narratives fixed – but often concealed – in the photographic instant.


In effect, Liu turns old photographs into new paintings, liberating the rigid methodology of socialist realism – the style in which she was trained – as an improvisational painting style that dissolves the photo-realism of propaganda art into a fresh kind of history painting. She converts socialist realism into social realism.


Liu was born in Changchun, China in 1948, growing up under the Maoist regime. She imMigrantd to the US in 1984 to attend the University of California, San Diego, where she received her MFA.  She is a tenured professor in the art department at Mills College.

Jun Kaneko

Bean Finneran


August - October 2012


Jun Kaneko Born and raised in Japan, Jun Kaneko came to the United States in the '60s as a painter and then discovered the Contemporary Ceramics Movement. Not able to speak the language, he was forced to focus purely on the visual. His painting background is evident in his work, where his monolithic ceramic “dangos” (the Japanese word for rounded form) become three-dimensional, inflated canvases. Working primarily with graphic, yet painterly, lines and dots, his rhythmic designs are analogous with the Japanese Shinto concept of the “Ma”, which loosely translates into “attachment through space.”


Constructing pieces that weigh as much as 6,000 lbs and 13 feet tall, Kaneko’s simplified forms and control of the material make the pieces seem effortless. His technical aptitude comes from years of study and experimentation and an understanding of the temperamental medium. After construction, his work generally takes four to eight months of drying time and up to a 14-day firing process.


Kaneko’s exhibition history spans over 40 years. He is included in public collection at Cranbrook Academy of Art, De Young Museum, Detroit Institute of Art, European Ceramic Work Centre, Fine Art Museum of San Francisco, Oakland Museum, Philadelphia Museum of Art, Smithsonian’s Renwick Gallery, and Japan’s Wakayama Museum of Modern Art. Kaneko has relized over 50 Public Art Commissions Internationally and has completed the set, lighting and costume design for three major operas; Madame Butterfly, Fidelio and The Magic Flute.



Bean Finneran works with one simple elemental form, a hand rolled curve of clay, repeated and grouped into primary geometric constructions. The clay is a connection to time, to the earth and to human culture. The curve is a meditation on multiplicity in nature like individual blades of grass in a field.


Following rhythms of renewal and transformation in nature the composition of the sculptures is transitory. Each one of a thousand individual curves is physically independent from the next so that when a sculpture is moved it must be disassemble and then reconstructed curve-by-curve. The curves are reinterpreted every time a sculpture is assembled; ever similar and always unique. The process of creating the sculptures has no beginning or end.

Boaz Vaadia


August - October 2012



Internationally acclaimed sculptor Boaz Vaadia, whose work can be seen in museums and public spaces worldwide, creates his sculptures in  stacked layers of slate and bluestone . Boaz’s larger than life sculptures captivate the viewer with the sheer volume and mass of the carved stone layers, while his smaller sculptures have the same composure as his grand figures. His work has an ancient sense, while evoking a futuristic quality.


"The figures, some of which have also been cast in bronze, are anchored on glacier-formed boulders in varied states of repose, whether alone or in intimate groupings or accompanied by a stone cat or dog. On the workbench lies a collection of hammers and chisels, and along the perimeter an army of busts, also made of carved and stacked stone, keeps watch over this peaceful, primeval environment. The massive forklift and crane and packing crates, however, invoke a present age of more practical concerns.  "

Dana Micucci - Art and Antiques Magazine


Raised on a farm, Boaz is inspired by the nature around him. Vaadia says of his work, "I work with nature as an equal partner. . . That's still the strongest thing I deal with today, that primal connection of man to earth. It's in the materials I use, the environments I make and the way I work."


"Layering is also an important metaphor for him because of its relationship to both man and nature. “That is how some stone is formed, from layers of sedimentary deposits over millions of years,” he says. “The layers also represent a person’s growth over time, which happens in layers of understanding.”


"Above all, it is the universality of the human experience that Vaadia seeks to distill in his art. His anonymous, featureless beings exude a serene timelessness evocative of ancient Egyptian and pre-Columbian sculpture, which Vaadia cites among his inspirations, along with such sculptors as Michelangelo, Auguste Rodin, Isamu Noguchi and Henry Moore, all of whom he credits with advancing the figural tradition through innovative explorations of form and media. Yet despite the reassuring solidity, his figures paradoxically evoke impermanence, forcing us to contemplate the awesome disparity between the human life span and the enduring quality of stone. And despite all their ancient associations, they are undeniably contemporary, recalling three-dimensional computer imagery, the cross-sections of a CAT scan or the futuristic people depicted on public signage.



Although Vaadia’s exploration of the human figure may ally him with such sculptors as Kiki Smith, Jonathan Borofsky, Tony Cragg and Antony Gormley, he occupies a category of his own, beyond purely conceptual and representational idioms. Staying true to his own quest for expansion while pushing the boundaries of his medium, his latest works are a series of layered slate and bluestone busts that are hazily defined portraits of friends and family members, who served as models and for whom the sculptures are named. Unlike the busts, his large stone figures are not based on specific individuals. “The entire sculpture is in my head and hands before I pick up the chisel,” he explains of his process. Yet his figures also carry typical Israeli or Biblical names in a whimsical melding of the personal and universal."

Dana Micucci  -Art and Antiques Magazine

Jane Rosen

light morph / dark morph


June 26th - July 31st  2012


Jane Rosen’s talent is in finding the shadows of things, the soft sepia tones of birds and mammals, the quiet and penetrating turn of a beak or gaze of a feral eye. Rosen pays as much attention to the material as to the shapes she forms with it.  Whether she is working with stone, glass or creating works on paper, Jane captures the identify of birds and animals by understanding their personalities and emotions.  Her raptors have a stoic and powerful stance, observing their surroundings, as if they are the guardians of their realm.


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

Linda Christensen

Private Spaces


June 26th - July 31st  2012


Linda Christensen’s figurative paintings deal with life’s everyday occurrences.  Her signature feature is the female figure, often seated and captured in a moment of reverie, unguarded and unaware of being watched. With shimmering, complimentary and saturated colors, shapes that sympathetically collide and harmonize, ambiguous mixtures of abstraction and impressionism, and brushwork that is deft and expressive, she paints her signature solitary women and occasional pairs.


Christensen’s art is shaped by the works of masters: from Michelangelo, depth of human pathos; from Mark Rothko, contrast of extremes in color and ambiguity of space; from Edward Hopper, intensity of an isolated figure; from Joan Brown, providing the view with intimate and personal engagement; from Nathan Oliveira, freedom of scribbled expression; and from David Park, Christensen derives strength of every day occurrences as subject matter.  Yet with each painting she completes, the results are pure Christensen.

Lisa Kokin

In Another Vein


July 2012


Lisa Kokin alters, appropriates, and combines text from books about religion, history, self-help, business and sociopolitical ideology. She is fascinated by the random juxtapositions of words that occur when parts of text are removed to create other stories, or when texts from two sources such as business and religion are combined. It gives her great pleasure to subvert the original meanings of books which were written to keep people in their place, and to do it with humor and levity.


Lisa Kokin’s work in mixed media installation, artist’s books, assemblage and sculpture has been exhibited in numerous solo and group exhibitions in the U.S. and abroad. A recipient of a California Arts Council Individual Artist’s Fellowship and a Eureka Fellowship, Ms. Kokin’s work is in numerous collections.

State of Nature

June 2012


Gail Severn Gallery will devote all four galleries to the artist portrayal of our outside world. “State of Nature” will include artists Jenny Honnert Abell, Tony Berlant,Carolyn Brady, Divit Cardoza, Morgan Brig, David deVillier, Betsy Eby, Michael Gregory, Michelle Haglund, Valerie Hammond, Hung Liu, Lynda Lowe, Robert McCauley, Kenna Moser, Gwynn Murrill, Gary Nisbet, Carolyn Olbum, Joseph Raffael, Christopher Reilly, Rene Rickabaugh, Jane Rosen, Brad Rude, Allison Stewart & Inez Storer.






Artists Betsy Eby, Michelle Haglund, Valerie Hammond, Kenna Moser and Christopher Reilly create their visions of nature through the use of encaustic media. Betsy Eby’s paintings are filled with floral elements that seem to be blowing in the wind. Michelle Haglund’s flora and fauna recalls Asian culture. Valerie Hammond composes human forms from herbage imagery.  Kenna Moser uses old postage and elements of nature to fabricate intimate paintings.  Christopher Reilly’s shows the delicate and powerful sides of nature with his textural paintings.





Morgan Brig’s playful and colorful copper and enamel wall sculptures explore human nature and inner dialogue. Carolyn Olbum derives her sculpture from the infinite surprises of nature. Jane Rosen's ability to capture the subtleness of birds and mammals is what gives them life. Brad Rude combines wild and domestic animals and man made objects to bring an uneasy harmony in his sculptures. Highly stylized and yet naturalistic, Gwynn Murrill's cast bronze sculptures combine a direct observation with her contemporary, reductive sense of line. Lynda Lowe experiments with the interplay of image and word on both her paintings and sculptures.





Rene Rickabaugh creates obsessively detailed paintings of imaginary flowers with both meticulously painted opaque watercolors and resin. Carolyn Brady and Joseph Raffael’s rich and fluid watercolors of flowers prove why they have built such international notoriety. Kirk Lybecker’s detailed watercolor flowers are so photo realistic, it looks as if a camera took them. Divit Cardoza captures the majesty of trees with his use of both abstractism and realism disciplines in his watercolors.




Mixed Media


Hung Liu's mixed media works make use of anonymous Chinese historical paintings and photographs. Loving nature, Jenny Honnert Abell’s imagery of birds on old book covers resembles the illustrations seen in early childhood fairytale books. Tony Berlant makes more-or-less representational images through his technique of collaging found and fabricated printed tin onto wood panels. Allison Stewart’s mixed media paintings of flowers bring activity to an otherwise stationary entity. Inez Storer’s print and mixed media work has an aspect of implied history, both through the use of the figure as well objects from her personal collections. Gary Nisbet’s painted collages feature aspects of the home, garden and everyday life.




Robert McCauley Romantic style of oil painting explores animals and nature by depicting birds, animals, fish and other creatures in different ways and different circumstances. David deVillier’s colorful narrative paintings, framed in bold steel frames welded by the artist, are filled with whimsical images of women, birds and musical influences. 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

Eloquence of Trees

Tapestry Exhibition


March - April 2012



Squeak Carnwath, Donald and Era Farnsworth,  April Gornik, Robert Kushner, Hung Liu, Bob Nugent, Darren Waterston,  Andy Diaz Hope & Laurel Roth, Deborah Oropallo, and William Wiley.


Jacquard tapestries by 12 Contemporary artists working with one of natures most iconic images. A matrix of thousands and thousands of colored threads. As Marshall McLuhan says, “the medium is the message.” They are not pigment on a ground; the ground is the image. Every color and detail is the result of the interaction of the colored threads which comprise the object itself, the vertical warp interlaced with the horizontal weft.

Robert McCauley


March  - April 2012



Robert McCauley, influenced by the Northwest Coast culture – presents paintings and mixed media works rooted in the tradition of 19th century American Romanticism, his narratives are contemporary, timely and relevant. Through the metaphorical juxtaposition of found objects, inscribed texts and ambiguous titles, McCauley addresses a wide variety of contemporary themes and issues, including cultures in collision, environmental ethics, humankind’s impact on nature and the appropriation of nature in art.

Five Points of View

Contemporary Photography 2012


March  - April 2012



Deborah Oropallo


David Levintahl


Laura McPhee


Jack Spencer

Jenny Honnert Abell


March - April 2012



Jenny Honnert Abell’s first solo exhibition at Gail Severn Gallery is filled with fantasy and imagination.  Loving nature, Abell’s imagery of birds on old book covers resembles the illustrations seen in early childhood fairytale books. Jenny’s work includes collage; it is an enigma of photos, drawings and patterns for the viewer to solve.  Her work is so detailed; even the smallest book cover has levels of complexity which are hard to comprehend.

Surface and Beyond

Kris Cox and Rana Rochat


March - April 2012



Kris Cox creates symbolic abstractions of time and memory, created by a process of applying multiple layers of pigmented putties, on wood panels with grids that have been chased into their surfaces.


Rana Rochat’s paintings contain the outlined shapes of literal vessels and the contents spilling out of them, bowls or beakers or drops of liquid, and it is up to the viewer to decide whether these semi-images are meaningful images or incidental bits of spontaneous mark-making.

Theodore Waddell

Vision and Geography


February 6th - March 1st, 2012



Idaho and Montana Rancher Theodore Waddell is an internationally recognized artist that has spent more than 50 years painting and sculpting his beloved western landscape full of horses, cattle and sheep - the icons of his life.


Waddell’s first exposure to painting was watching his father complete Paint by Numbers paintings. He used small brushes and very small containers of paint. This is the exact opposite of Theodore’s paintings. Waddell uses paint by the gallon, and he modifies brushes and trowels normally used for asphalt roofing. A gallery owner once joked that he should sell his paintings by the pound. Waddell’s love of the medium is evident even in his work on paper.


In 1962 Waddell spent a year in New York, after being accepted for a Max Beckman Scholarship to the Brooklyn Museum of Art. He was inspired by many of the great abstract expressionists and the influences can still be seen in his work today. The marriage of abstraction, impressionism and realism blend in a magical combination in Waddell’s hands challenging the common perception that all western American art is created in a realistic style.


Waddell fills his canvases with endless combinations of colors, washes and sometimes wax. His impasto way of painting gives life to his canvases. The horses feel as though they could jump off the surface. Theodore walks the line of abstraction and realism while incorporating drawing as a fundamental armature.


He is truly in love with painting - it is not just a means to an end.


Waddell’s work is featured in more than 50 Museum collections worldwide.



Museums across the country have been mounting solo exhibitions honoring Waddell’s illustrious career. Theodore’s “Abstract Angus”, a major exhibition of more than 26 paintings and work on paper will open at the Denver Art Museum, May 20th 2012 and run till the 18th of November. One of the highlights of the exhibition will be an eight by thirty foot painting completed specifically for the show. In addition to private and corporate collections, Waddell’s paintings are included in many U.S. State department buildings and US embassies in Europe and Asia, viewed by dignitaries and visitors from all over the world.

Kris Cox


February 6th - March 1st 2012



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 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, which are recorded in the underlying fields of the finished paintings.


Kris Cox’s paintings reference many of our everyday experiences.  He feels the circle is a perfect form - something that cannot be improved.  Viewing his work, one can see circular forms similar to maps, scientific charts, growth rings in trees and sound waves emanating from a central point. He plays with the perfection of form.


Cox accomplishes his work through an elaborate series of additions and subtractions.  Manipulating the underlying pigmented wood putty and other materials by pressing and drilling is part of the process that creates the initial paintings. The indentations are filled with additional colors, then meticulously sanded and worked until they reveal a smooth yet weathered surface. He finishes his paintings through a technique of hand rubbing and varnishing with various materials, which creates a patina unique only to him.

Cox’s work has created a following of veteran art aficionados as well as international celebrities. Museums and collectors value his works as some of their most admired possessions

Past as Prologue

Preview of Upcoming Exhibitions in 2012


December 22nd 2011- February 8th 2012



This group exhibition will showcase a wide variety of the gallery's internationally recognized and emerging artists who will all have one- person exhibitions at the gallery in 2012.


Painters Kris Cox, Marcia Myers, Lynda Lowe, Hung Liu, Robert McCauley, Linda Christensen, Judith Kindler, Jonathon Hexner, Jenny Honnert Abell, and Theodore Waddell showcase their own unique styles. Kris Cox uses pigmented wood putty to create topographical  fields on weathered surfaces. Marcia Meyers, who passed away in 2008, transformed  the ancient technique of frescos into modern terms.  Lynda Lowe experiments with the interplay of image and word on both her paintings and sculptures. Liu's mixed media works make use of anonymous Chinese historical paintings and photographs. Robert McCauley explores animals and nature by depicting birds, animals, fish and other creatures in different ways and different circumstances. Linda Christensen derives strength of every day occurrences as subject matter. Judith Kindler is a multidisciplinary artist working in sculpture, installation, photography, and photo-based work embedded in rubber. Jonathon Hexner creates his pieces using destructive elements such as gun powder and detonation cord. Jenny Honnert Abell creates dreamlike mixed media imagery on old book covers. Theodore Waddell's lifelong career as a rancher inspires his painting of live stock in the Montana and Idaho plains and mountains.


Ceramic sculptors Margaret Keelan and Jun Kaneko are recognized world wide for their unique language of surface marks and patinas. While Margaret Keelan's ceramic figures have rough, wood-like surfaces with distressed glazes,  Jun Kaneko's large scale ceramic dangos have pristine, smooth painterly glazes. Bean Finneran composes cones, nests, circles and lines with hand rolled ceramic curves. Glass sculptors Nicolas Africano and Therman Statom display their different uses of the same medium. Jane Rosen, sculptor of birds and animals displays her raptors in stone and glass. New Media artist, Deborah Oropallo, international known since her inclusion in the Whitney Biennial,works with historical and contemporary images. Spanish mixed media sculptor Jose Cobo uses his own children as his muse.


Photographers Robert Polidori and Laura McPhee create photographs with unimaginable detail. Robert Polidori is known for his images of Chernobyl, Versailles and the aftermath of  Katrina just to mention a few. Laura McPhee captures nature with vivid detail. Her photos of the Sawtooth Mountains in Idaho bring beauty to a region devastated by forest fire.


David DeVillier

Brigands and the Age of Trees


December 22nd 2011 - February 8th, 2012



David deVillier’s colorful narrative paintings, framed in bold steel frames welded by the artist, are filled with whimsical images of women, birds and musical influences. In his paintings you will find unassuming combination s of characters and props that present the opening act to a story. deVillier’s paintings are full of wit providing humor with an underlying emotional message.

The drama of each piece will unfold as you delve into the depth of the painting.

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