Jane Everett: wassermusik
November 12 - December 23, 2004 "The series of paintings in this exhibition depict landscape in reflection, playing the surface of the canvas against the surface properties of water. Essentially studies of light with the image seen in a fractured form, these paintings come closer to the way we remember landscape than to its physical appearance. Movement and the play of light and shadow supercede form. I think of these works in musical terms as nocturnes, sonatas or adagios. Music is by its nature an abstract form concerned with expressing a non-objective reality." "I love painting in oils. I love the smell of the paint and the richness of the color. Oil paint is a medium that is technically demanding yet highly responsive to experimentation. This is particularly true of rendering a reflection in water. The tension between the depth of the reflection and the surface of the water must be maintained, while a second level of attention focuses on the surface of the canvas itself. No other medium can approach the lush surface and subtle coloration which oil paint yields when handled with skill. This body of work seeks to exploit that potential." Jane Everett 2004 |
Aron Hill: Combustible October 12 - November 6, 2004 "Combustible- this particular body of work was the result of a fairly intuitive process of problem solving, both conceptual and aesthetic, while the pieces themselves were carefully choreographed and methodical in their execution." "These paintings are visually loaded. The use of abstraction over a seemingly infinite space allows these paintings to cross the line into something else. In a sense, the paintings create a stage for themselves, an atmospheric space that allows for anything placed on that stage, whether it is a glob or drip of paint, to become significant. For this reason, I create in a minimal fashion, careful not to place too many things on the stage so that the viewer won’t miss a thing." Aron Hill 2004 |
Tivadar Boté: Auras
September 9 - October 5, 2004 "This body of work, as in previous works, is based on a non-representational or non-objective approach to painting. These "auras" of color abstractions are a means to explore the power of color and color fields in relationship to evoking a stillness or meditative quality to the final work." "I have always been captivated and moved by works which inexplicitly reveal a spiritual boldness and depth without sentiment and facade." "These recent washes of color abstractions are the most recent attempt to work on a much larger scale and still maintain a stillness and "aura" of spiritual energy essential to all my work." Tivadar Boté 2004
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Celia Meade: Undiscovered Country "I like to produce work that contains a symbol of man in a greater, natural environment. The symbols I choose are often archetypal, like houses or boats. An archetype is defined in the Oxford dictionary as a primordial mental image inherited by all. Professor of mythology Joseph Campbell explains our archetypal imagery as coming from a time long before ours, the conditions of that time responsible for the shape of our minds and bodies. With the use of archetypes, Campbell argues that society is searching not for the meaning of life, but rather the experience of being alive. Campbell argues that our society looks to art and religion, principally, to study the subconscious." "Man against nature is one of the great themes of art through the ages. Turner in his Romantic paintings of boats, tried to depict the ethereal quality of existence. Van Gogh is the most famous example of a landscape painter who was really depicting his own spiritual turmoil when he painted cornfields or sunflowers. Arthur Dove was among the great tradition of American landscape painters who abstracted their vision to reflect the vast untameable spirit of this continent. More recently in Canada Paterson Ewan and Wanda Koop brutally depict the harsh reality of the Canadian experience, using among other subjects weather patterns, and seascapes, to reflect the inner turmoil of emotional life." Celia Meade |
Jeremy Herndl: Lights "These paintings are constructed over time using translucent glazes of oil color. The result is a deep tactile space that is smooth and glassy. The attempt is to make the illusion of space that the viewer feels they can reach into. The imagery is reminiscent of lights, structure and movement; elements of downtown that are combined into an ethereal drunken dream; at least that’s where they came from." Jeremy Herndl |
Tamara Maggio: Délice Corporel "I am an observer, an expressionist, and a feminist fascinated with the human body. I use the human body as a tool, just like a camera, to express my ideas. My work begins with a close up photograph of a female body to maintain an ambiguity of form while enhancing a sense of intimacy and sensuality." "My artwork is a synthesis of transparent photographs and sheet metal. The production process involves taking photographs, scanning, cropping, outputting, and adhering the final image to metal. I create abstract landscapes using black and white photographs of the female form. These “landscapes” carry a sense of nostalgia and memory, which heightens the mystery and appreciation of the female form." "By taking two elements that oppose each other, the female form and sheet metal, and force them together, I create a dichotomy. The metal is very cold and unforgiving, which juxtaposes itself with the warmth of the human body but also expresses my feminist ideals of strength and maternity. Metaphorically, the metal becomes a second skin; the imperfections in the metal represent scars, hair, moles, birthmarks and other body elements, things in life, which happen and cannot be controlled but forever leave their mark on us." Tamara Maggio |
Helen Keyes: From the Belly "I work spontaneously and my paintings reflect both my conscious and unconscious thoughts and feelings. This instinctive and often physical process comes from the center of me, my heart and mind or my 'belly’. The paintings often show themselves to be a kind of inner narrative of my personal life, my relationships and my emotions. Many of the works selected for 'From The Belly' are about my Mother, who died of A.L.S., February 25th, 2003." "We were very close, my Mother and I, and deeply connected. As I look back upon my work she seems to have shown up in many of my paintings in one way or another. We had lots of the usual mother daughter 'stuff ' and shared the same silly sense of humor and much laughter, which we enjoyed up until she physically couldn't. She was also one of the few people who supported me in my pursuit of a second career in art, and helped me through the many bumps along the way. Often overwhelmed by the strange and intense images staring at her when she came to visit, she patiently sat through each 'show' in my basement studio. What I created may not always have been her 'cup of tea' but she championed my efforts till the very end of her life." "I worked differently the year she died, and the months leading up to her death. I seemed to need more order than usual, perhaps trying to control what I thought I could. I also worked bigger, taking the risk of combining all of my smaller drawings into larger collages. I have never worked in such a deep and personal way and within a state of such high emotion. Often writing and painting through tears, it is amazing to me that there is any coherence to them at all. I must also include the people who lived this experience with me, my family, my dear young nieces who kept it light and hopeful, and my wonderful and patient husband, Trent, all of whom are represented in the work as well." "When the pieces were selected for this show, it wasn't until afterward that I connected the paintings to her in such a strong way and the title, 'From the Belly', seemed even more fitting. It was as if she was still here to support me for an event that she would have been very proud of me for. I dedicate this show and my proceeds to her and to the A.L.S. Society." With Love Mom, Helen |
Marjan Eggermont: thick skin
December 11 - January 20, 2004 “The destiny of every image is enlargement” – G. Bachelard "This is the second time I’m looking at skin – revisiting an earlier theme. I fluctuate back and forth between physical and geographical landscape, the microscopic and the macroscopic. Perhaps it is because I’m getting older – the microscopic is not so “micro” anymore. Do I botox or not? Pull, stretch, nip, tuck? No, I think I’ll wait for my younger clone." "We seem to have clones already. Every time we open a new credit card, we create a clone. Every time we surf the net, it’s really our virtual identity that is doing the surfing. Artists clone themselves in their work, pouring in some aspect of identity." "The final step to cloning a physical copy doesn’t seem to be far off. I’m looking forward to ordering orange, aqua and crimson copies. Until we get bored again. Petrified fossils and horrified clones." "In the end I’m still interested in the tactile, in the sack that holds us together, clone or not. So with this series I’m getting close, literally – taking a good look. If the destiny of every image is enlargement, the enlargement should be worth it. I hope it is…" Marjan Eggermont |