Photographer Laura McPhee is noted for her stunning large-scale landscapes and portraits of the people who live and work in them.
Jack Spencer is an American photographer best known for his portraiture and manipulated images of eerie, antiquated scenes of the American South.
Luis González Palma's multifaceted body of work uses photography to create portraits, tableaux, abstract compositions, installations and objects.
Laura Wilson is drawn to people who live in an enclosed world — those people who live in isolated communities, whether by circumstance or accomplishment.
Rachel Cobb's images illustrate the ways in which the Mistral Winds profoundly effects life in Provence in both concrete and indirect ways.
While Robert McCauley’s paintings, drawings, installations and mixed media works are 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 on frames 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.
McCauley’s paintings are sometimes ambiguous, but not so much that no meaning comes across. Returning to his childhood haunts each summer has shown the artist how much things keep changing. “The salmon streams I fished in are silted up and have no more salmon,” he says. “The Native Americans used to set a trap of chicken wire a half mile out to sea, and I would watch the salmon in the trap in awe. That’s gone. Even the huge fishing resorts are gone because the fish are gone. Clear-cutting is still common. A small greenbelt of ten feet on either side of the roads makes you think you’re looking at forest, but beyond that it’s just devastation.”
Michael Gregory’s work is immediately recognizable with its American icons of barns, homesteads, and imagined fields. These structures, while forefront in his previous works, now play evenly with the powerful imagery of the landscape and light. The light, as seen over American soil, is captured from the landscapes of our enigmatic Midwestern and Western fields to the luminescent nighttime sky overlooking cityscapes.
Gregory’s work is included in many private and public collections including The U.S. Trust Company in New York, Microsoft Corporation, General Mills Corporation, Bank of America and Champion International Corporation, and The Denver Art Museum.
Victoria Adams large-scale landscapes and small intimate jewel-like oil paintings on linen, features her signature skies, and watery reflections. Adams’ focal point is the inherent radiance of light found in nature. She often highlights the transforming effects of light filtered through clouds falling on the land and water below. In her masterful hands, light reflected from sky to water and back again forms a subtle interchange between evaporating wetness and the atmospheric qualities of air itself. Adams creates images that connect us with our own past experiences of place and more often than not evoke personal moments of stillness and meaning. Adams’ landscapes are found in Museums and private collections throughout the country.
Putnam sculpts animal forms with cast off blankets, shirts, fake fur, rags, thread, plastic bags, leather scraps, glue and thread. These sculptures evoke playful, whimsical characters found in children’s books, but his characters also offer something different: they are physically and psychologically vulnerable and seem like overgrown stuffed toys or imaginary friends—misfits whose demeanors both invite and may also possess a sense of sadness.
Putnam’s drawings, too, create images that carry associations with simplicity, innocence and play, but as if experienced in a dream. In these works, cartoon heads drift, collide and overlap in space. These orphaned characters in search of a body attempt to reassemble into a larger whole—but sometimes never quite manage the feat.
This exhibition is composed of paintings and works on paper that are concerned with form and color as a metaphor and the power that a color and/or a rather basic, minimal form or text can exert on a viewer. These works pay homage to several periods of painting and Sculpture are not concerned with representation. Gary Komarin, a master of Post-Painterly Abstraction, has been at the forefront of contemporary art with a bold and colorful style recognized by art collectors worldwide, and museum curators alike. Pegan Brooke’s painting are inspired by the experiences of sustained reflection upon certain places and circumstances, and an undeniable impulse to make art inspired by them in order to understand what they might mean. Squeak Carnwath combines text and images on abstract fields of color to express sociopolitical and spiritual concerns. Marcia Myers utilized natural pigments to capture the essence of her Italian experiences. Inspired by the redwoods of his childhood, Delos Van Earl likens his work to a pinecone. While you may see a pinecone as a single solitary perfect shape, it is actually many parts that are all different and irregular to form something unique together.
Rana Rochat's works are pictorial metaphors of a fragile balance using marks, forms, colors, as well as the luminosity and visual depth afforded by the encaustic medium. Pamela DeTuncq turns taxidermy into a playful and lively version of itself by using vintage tapestries.
Contemporary painting and photography that uses the subtilties of vision to create visual activity that stimulates and encourages a deeper exploration.
Seven renowned artists offer a personal language for the viewers’ consideration.
Daniel Diaz-Tai abstract paintings are layered with stories, emotion and texture. In these paintings, you can feel competing emotions stemming from the artist’s international journeys. Raphaëlle Goethals’ encaustic paintings include many layers of translucent wax to explore underlying references to ancient script and marks. Kathy Moss is drawn to botanicals for their emotive and symbolic potential, for their mysteriousness and suggestiveness. Laura McPhee is noted for her stunning large-scale landscapes and portraits of the people who live and work in them. She is currently working in the desert west of the United States where she is chronicling visual stories about time, both geologic and human. Luis González Palma photographs are often intended to inspire psychological and culture issues in the viewer, by incorporating distant gazes and mystical costumes that objectify and explain the pain of the indigenous Mayas and the Mestizo people of Guatemala, who are a minority in the region. Through stunning black & white portraits of ranchers, and the Hutterites of Montana, Laura Wilson dramatically explores, border issues, isolation, poverty and other symbolic images of the American West. Theodore Waddell's lifelong career as a rancher inspires his painting of livestock in the Montana and Idaho plains and mountains. His paintings are a combination of rough marks; thick paint; transparent elegant strokes; and, on a few occasions a slow, hard line scratched into the canvas. Waddell’s many Museum shows have brought him great national and international acclaim.
Putnam builds animal forms with cast off blankets, shirts, fake fur, rags, thread, plastic garbage bags, leather scraps and glue. These sculptures evoke playful, whimsical characters found in children’s books, but his characters are something different: they are physically and psychologically vulnerable and seem like overgrown stuffed toys or imaginary friends—misfits whose demeanors both invite and possibly repel. Like mutant craft projects gone awry, their surfaces suggest that the skins of these beings have been torn away, exposing their soft insides.
Putnam’s drawings, too, create images that carry associations with simplicity, innocence and play, but as if experienced in a fevered dream. In these works, cartoon heads drift, collide and overlap in space. These orphaned characters in search of a body attempt to reassemble them selves into a larger whole—but never quite manage the feat.
In both his sculptures and drawings, Putnam explores the murky spaces intersecting empathy, fear, intimacy, humor, the desire to touch or connect and the impulse to back away. Through these works, he hopes to expose a complex and contradictory human presence that mirrors our own vulnerability.
Kara Maria works in painting and mixed media and this will be her first time exhibiting at Gail Severn Gallery. Her work reflects political topics—feminism, war, and the environment. She borrows from the broad vocabulary of contemporary painting; blending geometric shapes, vivid hues, and abstract marks, with representational elements. Her recent work features miniature portraits of disappearing animals, focusing attention on the alarming rate of extinction now being caused by human activity.
Maria received her BA and MFA from the University of California, Berkeley. Her work has been exhibited in solo and group shows throughout the United States at venues including the Nevada Museum of Art in Reno; the Cantor Center at Stanford University; the Contemporary Arts Museum in Houston, Texas; the San Jose Institute of Contemporary Art; and the Katonah Museum of Art in New York; among many others.
Maria’s work has garnered critical attention in the Los Angeles Times, the San Francisco Chronicle, and Art in America. Maria has been awarded artist residencies and she has been a recipient of many awards and honors.
Ed Musante captures the soul of the solitary animal. His primary subject is the bird, which he paints with exquisite detail. They are painted on cigar boxes and cigar box lids that refer to another time and place.
Often Musante’s subjects are floating in an undefined space or on a field of color. Interested in surface and texture, his works offer depth and beautifully painted surfaces. His manner of isolating his subjects, be they animals, birds or people, is reminiscent of Morris Graves’ approach to making the subject an icon.
Ed Musante’s paintings are coveted by many collections including the Detroit Zoo, Microsoft, Washington State Arts Commission and many private collections.
This body of work explores the object-quality of books and my long-time interest in the interplay of text and image. In some of these artworks, I’ve referenced my fascination with incunabula, those ancient manuscripts with mysterious content and undecipherable script upon their worn pages. Palimpsests too are part of the aesthetic associations and also the development the work. As the imagery progresses, surface additions and subtractions contribute layers where vestiges of earlier aspects are left deliberately visible. This stratum involves additions of text, asemic scrawls, pairings of realism and abstraction, and diagrammatic drawings with some aspects seen only with close inspection. These many layers of imagery offer a broad system of visual and symbolic information to engage different routes of information gathering and the construction of meaning.
On this theme, the exhibition with its collection of book-related artwork creates the atmosphere of an athenaeum. In Greek culture, this signified a reading room or library, a place where poets read, where science was researched, and the arts and literature considered. Since my artwork often begins with reading, research, and the relationships between art and science, and with poetry being a contemplative source, an athenaeum seems a fitting association for this show and also an invitation for you to enter.
A master of Post-Painterly Abstraction, Gary Komarin has been at the forefront of contemporary art with a bold and colorful style recognized by art collectors worldwide, and applauded by museum curators and art critics alike. While looking at Komarin’s paintings and his works on paper, the viewer is invited to the intimate space where a dialogue is established between painter and painting.
“My paintings proceed without preconception. I paint to find out what it is that I am going to paint. I think of myself as a stagehand who sets up the conditions necessary for drama to unfold. Once a painting has achieved a life of its own, when it speaks back to you as a painter, this is a good place to be. For me, the best paintings are those that paint themselves.”
New York, 2015
Certain places and circumstances exert an undeniable impulse to make art inspired by them in order to understand what they might mean. My paintings are inspired by the experiences of sustained reflection upon the Aven River in Pont Aven, France, the Pacific Ocean near Bolinas, California and the snow and river in Ketchum, Idaho. I am awed by the beauty of light falling on water and snow. This visual phenomena is a perfect natural metaphor for the ever changing flux in which we make our lives. I love things one can only see for an instant; they shock us into contemplation, thought and change.
For nearly 35 years English artist Tony Foster has worked in the World’s wildernesses - mountains and canyons, rainforests and deserts, the Arctic and the Tropics.
Travelling slowly - on foot or by canoe or raft, and carrying his painting and camping equipment he makes his paintings in response to what he finds on his journeys.
He does not use photography or sketches but makes his paintings on site, often in the most difficult and uncomfortable circumstances. Sometimes a large-scale work (up to 7 feet by 4 feet!) will take more than two weeks on site before it is sufficiently resolved to roll into its aluminium tube to be completed in his studio in Cornwall.
Diane Andrews Hall
March 2, - April 15, 2019
Gallery Walk March 8th • 5-8 pm
Natural phenomena, light, atmosphere, dynamic weather patterns, are a source I use to investigate my interests in time, light, movement, and the complex nature of “being”. I am moved by the awesomeness of nature and interested in immersing myself in it, sometimes scientifically, but always experientially. I paint transience: air, water and light, and things that live in it. The wind inspires me. My work marks time in timeless imagery.
Birdwatching (birding to the initiated), has been one of my favorite past times for most of my adult life. This interest has taken me to extraordinary places. Over time the birds became a subject. The intrigue of seeing them in their habitat, barely perceptible, always in motion, and full of character captivated me. It was these qualities of transience and flickering presence that made them seem so compatible with my passions for light–its movement catching the ocean waves or reflecting moisture in the sky. The birds, the clouds, the ocean, all are in a constant state of becoming.
I am trying to capture a moment, a split second that is loaded with information and speaks to my interest in perception, specifically in how we see and comprehend what we see. My paintings depict the passage of time and hold within them the time of labor. It is this interest in temporality that inspires the works which depict the transformation of a cloud or paintings of light reflecting off the surface of ocean waves. I am an avid bird watcher, sky watcher and weather fanatic. My bird paintings, which are often limited to the birds in my back yard are also a reflection of transience: the ethereal and fleeting nature of “being”. Something, anything, appears as a solid yet it’s in constant movement. Nothing is permanent it only persists. I try to make evidence of this in my work.
February 1, - March 3, 2019
Gallery Walk February 15th • 5-8 pm
Artist Chat Saturday, February 16th • 10 am
Excerpt from Jennifer Complo,
McNutt Curator of Contemporary Art, Eiteljorg Museum
Waddell's paintings are a combination of rough marks; thick paint; transparent elegant strokes; and, on a few occasions a slow, hard line scratched into the canvas. You can feel the movement of the paint throughout the paintings but the subjects are frozen. They are not frozen as a stagnant object but captured as a solitary image. Captured, interpreted and enveloped in the landscape. They are carved out of, or laid onto the green and grey-yellow of the spring and summer, or the white canopy of winter. And sometimes there are ghosts in the paintings, the faint image of what has changed in the piece or decays in the pasture. These ghosts refer to Waddell's interest in life and death and our own mortality. They are metaphors for the struggle and change that is constant in life. In his artist's statement he says, "The understanding of death brings about a feeling of wonderfulness and appreciation of life and just how fragile and magical it all is."
Texture & Light
February 1, - March 3, 2019
Gallery Walk February 15th • 5-8 pm
Artist Chat Saturday, February 16th • 10 am
James Cook exposes himself to diverse environments that inform his aesthetic views. Inspired by nature and the world around him, his canvases are powerful evocations of nature’s majesty. Cook’s work has been described as monumental, but the essence of his paintings (whether it is a cityscape or landscape) is contained in the singular brush stroke, line, and mark he orchestrates. Each stroke, each line, each mark is a distinctive note contributing to a chorus that echoes and resounds in a grand symphony. The viewer may be inspired by the grandeur of colorful and untamed worlds created by Cook, but it is the radiance of the painted surface that invites one to plunge into the depths. There is a lush quality to the surface of the canvas that is visceral, and even as you are engaged in the ripples of still pools, the patterns of fall foliage, or the complex patterns of a city skyline, it is the thick impastos and scraped textures that engage the senses in the expressive temperament of the medium. It is obvious that James Cook is in love with paint. To experience his paintings is to comprehend the spirit of color, depth and movement. His love of beauty finds its way onto the canvas as he strives to create visual excitement. Cook compares himself to abstract expressionists in the way that he works, noting that there is a great deal of invention in the paint itself.
Connie Gibbons, Director Mulvane Art Museum.
Photographer Rachel Cobb has photographed current affairs, social issues, and features in the U.S. and abroad for the past 25 years. She has been published in The New York Times, The New Yorker, Sports Illustrated, Time, Rolling Stone, Natural History, Stern, Paris Match among others on assignments ranging from U.S.-led sanctions in Iraq, a Kosovo Liberation Army soldier’s journey from a U.S. college to his war-torn homeland, the Evangelical movement in Guatemala, and a papal visit to Cuba. Cobb's work has earned her recognition with Picture of the Year awards for her work during the 9/11 attacks in New York City and in war-torn Sarajevo, a nomination for the ICP Infinity Award for young photographer, and a Marty Forscher Grant for Humanistic Photography for documenting New York City's homeless. She has exhibited her work in solo and group shows at the Miami Museum of Art, the Smithsonian's National Museum of the American Indian, the Parrish Art Museum (Southampton, New York), Visa Pour L’Image (Perpignan, France), and in galleries across the U.S.
Reflections on the Bears
While at first glance Judith Kindler‘s latest body of work looks like child’s play with the use of Teddy bears but they underline the concern that Kindler has in her look at the loss of innocence in contemporary life and her reflections of finding hope, joy and peace amidst corruption, hate and abuse. The Teddy bear is innocence and maybe for Kindler, she wants that back.
Kindler tackles three different ideas via motifs in creating a narrative in this work. The first, that of unity through a zen like understanding of “harm no one” and finding peace within, exemplified by the zen-like circles. The second, the morphing of a small child becoming a bear cub, reflecting on the ideas of reincarnation as the ultimate karma for allowing bears and cubs to be killed while they are hibernating, as a result of a recent horrific loosening of hunting laws. Lastly, the work titled “They thought they could bury us. They did not know we were seeds” is a reflection on the oppression of thought, gender, race, ecological preservation, and religion - the “seeds” offering up a sense of hope for our future.
One of Kindler’s three-dimensional bear installation references the story of Theodore Roosevelt’s hunting trip, where his cohorts who had all killed an animal, beat and tied a bear up to a tree and told Teddy who had not yet killed an animal that he could shoot the bear. Theodore or Teddy was revolted by this activity and told the man to put the bear out of it’s misery and he disgustedly walked away.
Political cartoons of the day showed an illustration of Teddy Roosevelt walking away from the scene where the bear was tied up and eventually this cartoon evolved into the bear being a small adorable cub referring to the scene as “Teddy’s bear”. An enterprising man decided that the small cub was indeed adorable and made the first stuffed bears calling them “Teddy bears” which became a huge commercial success. This installation of nine bears connected together by ropes and covered in jewels, playfully and satirically portrays the story of the origin of Teddy Bears.
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