On Saturday, October 12th, a group of six artists will open exhibitions in the Main Galleries, Sculpture Garden and Carriage House (sculpture and painting). The works will be on display through November 3rd with a reception for the artists on Saturday, October 12th from 6:00 until 8:00 p.m.

Main Galleries

Robert Simon

Sculpture & Drawings

Imaginary Head #841, 2018, wood-fired stoneware, 8 x 8 x 8 inches

“A figure sculpture is a three-dimensional illusion of a three-dimensional object.   In comparison with painting and other two-dimensional media, sculpture occupies space in the same manner as the thing it represents, and thus allows for a more comprehensive equivalence between the image and its referent.  However, this defining feature of the medium also constitutes an artistic liability, in that it potentially draws more attention to what a sculpted figure still lacks, which is movement and life.  In the absence of the ancient religious functions of statuary, what does it take to animate the modern sculpted figure, such that it might move the imagination of the viewer as if it possesses a spirit after all?   A living being is all motion and flux; even a professional artist’s model can’t hold perfectly still under the artist’s sustained scrutiny and appears different from moment to moment.  The model’s face or body can be reproduced by means of molds, digital scans or photography, but such technologies freeze the subject at the moment of the recording.  A live being, on the other hand, is a moving target, and so are the fleeting images of pure imagination; therein lies the sculptor’s challenge and opportunity.”

Click – here- for Artsy images in the exhibition.

Click – here- for slideshow images in the exhibition.

Sculpture Garden

Arnie Zimmerman


Recliner, 1988, stoneware clay, glaze, epoxy, 42 x 58 x 22 inches

“Three sculptures from the 1980’s reflecting my fascination with Mayan forms of sculpture and Manueline architecture encountered in Portugal. The large scale, hollow, slab/coil built clay volumes I was producing in my studio was the ground for the overlay of newly encountered visual languages in my travels…

Arnie Zimmerman, 2019

Click – here- for Artsy images in the exhibition.

Click – here- for slideshow images in the exhibition.


First Floor Carriage House

Sara Jane Roszak

Paintings & Works on Paper

The Gates to Heaven are Closed, 2019, acrylic, 60 x 40 x 2 inches

“The works in this exhibition are based on the earth, sea, and sky of ancient Greece as filtered by my modernist influences. The presence of Greek temples and their situation within their surrounding landscapes impressed me deeply when I visited them. Theatrical and dramatic, the geometry of the temples directly contrasts undulating, earthbound settings. I felt both material weight and the weight of history from these sites.

As an abstract artist, I wanted these paintings to create an architecture that would embody my response to these timeless places. I looked to find painterly equivalents for the weight, light, and scale that I had experienced. I chose to work on larger canvases, 72” x 66”.  I also used a new somber, weighted palette: absorbent earth color that includes golden ochers, olive greens, burnt reds, muted mauves. Bands of color evoke light and movement – specifically a feeling of ascension to counter this weight – and color acts as light itself, simulating sensations of heat and shade. In making these paintings, I wanted to reflect the carefully calibrated structure and wholeness of the temples in dialogue with their landscape context – and the sense of measure and integrity this can still offer us today.”

Sara Jane Roszak, 2019

Click – here- for Artsy images in the exhibition.

Click – here- for slideshow images in the exhibition.


Second Floor Carriage House

Priscilla Derven


AERABLA 19-8, 2019, oil on linen, 40 inches x 30 inches

“I was honored to be invited by John Davis to show with him when he opened his newly reincarnated gallery in Hell’s Kitchen in 2004 and have been showing with him regularly ever since. I am sad that it’s coming to an end. Showing with him has allowed me to grow as an artist.

My recent painting relates to the work of the past several years. The process of distancing myself, changing my perspective to one high above the chaos of the disturbed landscape enables me to paint abstractly but not lose my bearings all alone in space.”

Priscilla Derven, 2019

Click – here- for Artsy images in the exhibition.

Click – here- for slideshow images in the exhibition.


Third Floor Carriage House

Charity Henderson

The Space Between

Fade I, 2018, mixed media on dura-lar over board, 14 x 11 inches

“My work explores various psychological states through mixed media paintings of the human face. With blurred, fragmented edges and faded areas, these portrait-style works question the complexities of emotional concealment, thought, and identity.

I often work on translucent materials such as mylar, denril, and dura-lar, which accentuate the impression of an obscured or hidden sensibility.  Both sides of these surfaces can be worked, with charcoal, graphite, or colored pencil on one side and oil paint on the other. I also scrape away and blur sections of the painted side of each face. This layered, dissolving process hints at a complicated psychology.

The pieces are informed by artists such as Sophie Jodoin, Alex Kanevsky, and Jenny Saville —creators who toe the realist spectrum while pushing its limits to explore the psychological depths of the human psyche.

Charity Henderson, 2019

Click – here- for Artsy images in the exhibition.

Click – here- for slideshow images in the exhibition.


Fourth Floor Carriage House

Barry Bartlett

Stoneware Clay & Porcelain

Landscape # 5, 2016, stoneware clay, 9 x 8 x 11.25 inches

“Bartlett’s work reveals the mutability of images, their susceptibility to reinterpretation, their ubiquity, and mystery. It also dares to embrace the most banal forms of the ceramic craft multiple in order to re-appropriate and transform them into unique artworks. The sculptures are so appealing, in part, because they appear to be simultaneously effortless and highly self-conscious. As he navigates the challenges of both medium and content, Barry Bartlett makes ceramic art about politics, while at the same time confronting the politics of ceramic art.

E. Gover, Art and Perception, review

Click – here- for Artsy images in the exhibition.

Click – here- for slideshow images in the exhibition.


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