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.
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