Advisory Panel Selects, 2008
September 6 – September 29, 2008
Karen Weinman –
To chair is human,
To print divine
Linda Little –
My artwork employs scraffito by incising into a textured foundation, creating a bas relief where the subjects become rhythmic patterns and decorative compositions. My designs are inspired by primitive art but are modernistic in concept and execution. Highly stylized figures meld with patterned borders that often extend the design onto the sides of the canvas making the paintings even more sculptural in effect.
James Lassen –
The work I make depicts my world from an observational standpoint, and since the majority of my thought processes involve how I relate to people, social interaction has developed into a consistent theme for my paintings. From situations such as dealing with co-workers to grieving over tragedy, social interaction always plays a part in the situation. I’m drawn to the smaller and seemingly less important ideas, such as waiting impatiently in line or talking on cellphones. Painting such scenes helps me deal with my own mixed feelings. I focus carefully on facial expressions and body language, keeping in mind how all of the figures communicate with each other as well as with the viewer. Brush strokes and color engage in a similar interaction, forming their own strong opinions and intensifying situations beyond what real life has to offer. The formal elements can be as calm or energetic as they need to be, much like people’s personalities. At first, human behavior would seem easy to understand because of language and our ability to reason with one another . I find that such communication and interaction only provide us with more questions, thus requiring a deeper investigation. For the audience, I offer little monuments that show just how many mixed emotions even the slightest glance can conjure.
Marilyn Ivy – I work with gouache or pastel on paper treated with cyanotype chemicals. My technical approach is influenced by my practice with intaglio printmaking methods and early experiences with reductive techniques of glass painting in a stained glass studio.
In my work over the last ten years I have examined contrasting and sometimes parallel concepts such as fear/ courage. In 2002 I fulfilled a lifelong dream to visit Japan. The symbols, animals, and ceremonies associated with Shinto and Buddhist shrines and temples have become the focus of the parallel or contrasting concepts. My desire is to give the viewer a personal response to my visual and spiritual experience. These images have no points of reference in the sense of a landscape, but do allude to the Japanese reverence for nature. Subjects appear to float as in a dream, manifesting the “floating world” of ukiyo-e prints. The complex spiritual dynamic between deities and humans in the Japanese world of the supernatural is a fascinating subject for me. Images may derive from traditional Japanese artforms, but they are chosen for juxtapositions that will alter or inform their symbolism.
Val Hunnicutt -
Kitchen Stories: Tension and tenderness, That is the home. We need to be there.
To be comfortable, To make others comfortable Watch out! I just mopped that floor.
Candace Hicks –
Mary Emma Hawthorne -
My collages become metaphors for concerns and inspirations in my life, and also are an attempt to reference nostalgia. Through direct recall of family and friends, and the immense appreciation I have for them, I find it comforting, and defining to incorporate these nostalgic impressions into my work. I take my love for those significant to me and fine-tune my senses toward those introspective images that will not release me. Transcending contemplation into abstraction, with spontaneity, awareness, sympathy, and sincere love, these images are so strong that I find myself creating layers of ambiguity, abstraction, and randomness in order to create this sense of deep emotional significance. My heartfelt attention to these situations leads to my subjects. I have a sensitive soul and am often pleased by simplicity.
Pat Gabriel –
I couldn't stop observing the heavens if my life depended on it.
Often, I find myself on the side of the road staring out my car window and seeing it all in pure strokes of paint. When I am not at my easel, I’m still painting in my head. I’m self-taught and have spent many years studying and creating art.
Currently I work with oil on canvas. I paint landscapes – mostly as portraits, and occasionally, figurative work. To me, my paintings have a narrative or almost allegorical component. Sometimes it’s just a presence I felt from the subject or a thought that it originally evoked in me. My desire is that through use of color, selective lighting and content, I will transport the viewer to an emotional state similar to what I felt during the conception of the image. If a sense of deeper meaning or a story is implied, then all the better. Although open to interpretation, it’s my own personal and spiritual dialogue with the world I express.
The duality and tension of places where the natural and the man-made collide is very interesting to me; I see it as a symbolic balance of dark and light. I see the light and happiness but cannot escape the dark, realizing how tightly they are woven, one cannot truly be experienced without the other. Lately, I like to convey this duality in my work and I consider it most beautiful when near the balancing point, no matter what side of the fulcrum. The strange flora of the desert also embodies this balance for me – sharp, rugged, sometimes poisonous, but always beautiful and mysterious.
Usually, I start with small idea sketches and then look for components in life that work like the sketch. I develop many ideas simultaneously so I am in constant hunt for reference. After observation, I shoot photographs, then I affect the value, colors and composition. I use this manipulated image along with studies and memory as reference for the final work.
Use of strong color in layers and glazes makes my work very reactive to changes in light, so the impression shifts dramatically throughout the day. In the past, I have focused mostly on color; over time, I have become more interested in form and value.
No matter how long I have been an artist, I feel I’m at the beginning of this journey, and my emphasis will continue to come into focus and evolve as I pursue painting.
Angel Fernandez –
My work possesses a biological vocabulary. I gravitate towards soft forms that teeter on the edge of being identifiable. My visual vocabulary is playful and inviting. It activates a curiosity that warrants investigation. My work is a sublimation of the repressed aspects of my childhood; it narrates a personal mythology of self-fulfillment and creation composed of childhood and adult experiences through the use of festive forms and colors. Soft, voluptuous, round, colorful, human scale forms compose my interactive sculpture.
Byron Black –
My recent work focuses on issues of identity, connection, and consumption. Most of the imagery is derived from dreams and is tied to a more conscious effort to restore significance and mystery to the material world.
In many respects, my work is best understood as a reflection of the conscious and unconscious aspects of self. It is intended to bridge the gap between the intentional and the instinctive, to bring into the light those creatures of self long hidden from view.
The challenge is to try to know myself and humanity through rendering objects of unconscious significance in a technically conscious modality. For me, the careful observation and execution of form, attention to the interrelation of objects, and the poetics of image all deepen experience. To know the intimate particulars of an object is the first step in going beyond surface meaning.
Although much of the work participates in mimesis, I attempt to remove the supports of structural, rational context in order to form new relationships. My hope is that these new relationships allow us to see even the most mundane objects as extraordinary. My goal is to give voice to the mysterious nature of matter, to glimpse the heart of experience.