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.
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."
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.
Formal Attire explores the use of Black and White as the primary colors used in the artist’s work.
Daniel Diaz-Tai explores asemic writing and different mediums to create his monochromatic paintings and works on paper. David deVillier is known for his colorful and playful paintings. Using black ink, he also creates pen and ink drawings which involve his wit and storytelling. Cole Morgan’s black and white paintings include color as a supporting cast. At first view, you see the obvious black and white objects, but on further inspection, the slight use of color brings depth and movement to the painting. Pegan Brooks paintings use slight variations in hue to create depth and movement in her paintings. Pamela DeTuncq turns taxidermy into a playful and lively version of itself by using vintage tapestries Gary Komarin’s abstract paintings create energy and movement which a child-like sense of wonderment. Squeak Carnwath draws upon the philosophical and mundane experiences of daily life in her paintings and prints.
Judith Kindler is an American multidisciplinary artist working in sculpture, installation, photography, and photography-based mixed media works.
Laura McPhee has been photographing Idaho and the greater Western States for decades. McPhee displays her images shot with a large format Deardorff box camera in galleries and museums across America. Alexander Rohrig’s work stems from the memory or a feeling that something gives him rather than its detailed portrait.