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.
Hung Liu is primarily known for paintings based on historical Chinese photographs. Given the epic, often tragic subject matter she represents, and the way her images sometimes dissolve in veils of linseed oil, her style is a kind of weeping realism. Liu’s newest paintings, however, are based upon the Dustbowl and Depression era photographs of American documentary photographer Dorothea Lange, whom she has long admired.
At first, the shift from Chinese to American subjects may surprise Liu’s audience. Having grown up in revolutionary China, however, she is familiar with landscapes of social struggle and displaced humanity.
In her paintings for the Gail Severn Gallery, Liu continues her interest in Lange’s Dustbowl subjects, focusing on individual portraits of children, their parents, and family groups. Suggesting the vast scale of their migration, Liu has also painstakingly painted an expansive scene of an Idaho landscape marked by burned tree stumps and abandoned mail boxes, as if bearing witness to the devastation of the 1930s in the American west.
Speidel’s inspiration draws, in part, from her connection as a child with the ancient megaliths she encountered living in Europe. While attending boarding school in Sussex England, she went to early morning services at the Arundel Cathedral. The images of the saints from the stained glass windows have stayed with her in a special way. As she began working on Japanese Kozo paper, which she brought back from Japan in the 80’s, she incorporated sacred imagery that harkened to the windows from her past and drew from her travels throughout Asia and Europe.
From her studio on a picturesque island off Seattle, Speidel works in bronze, oil on paper, stone, glass and wood to create art that graces collections throughout the world. Speidel's art engages an extraordinary 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 21st century modernism