On Saturday, July 22nd, there will be an exhibition of five artists in the Main Galleries, Sculpture Garden and Carriage House. The work will be on display through August 13th with a reception for the artists on Saturday, July 22nd from 6:00 until 8:00 p.m.
Front Galleries & Sculpture Garden
Pau, 2017, plaster, 64 x 19 x 21 inches
“Making a figure out of clay, sometimes I am on the inside and sometimes on the outside. The ideas that form are often far away, emerging from the past, as in Donatello and sometimes near at hand like the pieces of a person walking down the street. Trying to pack everything in leaves a residue and distorts the package. The ingredients of the recipe for a figure are always the same but they come in various shapes and go together in different orders.”
Bruce Gagnier, 2017
Carriage House, Ground Floor
Pamela J. Wallace
in paper, in boxes
Army shirt as a long wide cloud, 2016, Abaca paper, dad’s army shirt, thread, wood, forged iron, 6 x 16 x 1.5 inches
“All the sculptures in the series “in paper, in boxes” contain, in large or small part, handmade Abaca paper. Abaca has been a primary material in my sculptural work since 2008, but because it is quite unpredictable, I continue to explore the many ways it can be manipulated and formed. As a membrane, Abaca paper is thin and ephemeral, but also quite strong. As I stretch it over my box-like forms it becomes a container where I can place various unknown parts. The more I experiment with its density, color, and form, the more its characteristics are revealed to me and suggest new possibilities.
In many of these pieces, a narrative begins to emerge. In some cases a landscape is revealed and others suggest figures, but all sit inside (or on top of) a box in such a way as to imply a scene. In abstract terms they are depictions of space and shape, yet they are also imbued with an emotional quality as well as a sense of time that remains both indefinite and unspecific.
My work originates from my interest in, and physical engagement with, objects and material as well as the way three-dimensional forms occupy space. As my work mostly sits on the wall and within close proximity to it, the three-dimensional interactions of one form against another, though small, are of the utmost importance to me. In my studio, parts are laid out like specimens in a natural history museum or trays of parts on an assembly line. As each part is placed in the context of a sculpture, vague geometries begin to emerge. While I work, layers of paper, wood, cloth, and metal change as they are subjected to heat, water, light, and abrasion. Sewn elements and forged steel reference issues of work and gender. Working with a continuum of objects, I create systems and patterns that are often mapped out like constellations. My forms follow an invented non-linear geometry, where order comes and goes and the smallest detail is essential.”
Pamela J. Wallace
Carriage House. Second Floor
From the moment She had Conquered him, She was Free (The Golden Tornado),2016, oil on panel, 12 x 10 inches
“I think of these paintings as narrative paintings, but not literal in any sense. They are open and made up of elements that can come from any moment in time or place, but it’s important that those relationships; which bits are in which paintings and where, are revealed to me in the act of making the painting. I attempt to resist the temptation of second guessing what the meaning of that might be, and title the works accordingly.”
Peter Bonner, 2017
Carriage House, Third Floor
Diptych (home), 2017, oil on linen, 28 x 18 Inches
“My painting is mainly concerned with looking and time so I like to suggest looking at them over a period of time – the more the better.
I find I’m constantly mystified as to what a painting actually is so I go about trying to answer this question through the process of making which increasingly mirrors the process of living.
In this sense I think of painting as revealing more than describing a certain situation or subject. By the end even if I work with very specific intentions I’m still often surprised by the outcome of these things it’s as if they have their own idea of being independent of Will.
Recently I took a trip away in order to leave the work behind. I hung out with families and kids, had meals and went for walks outside. It was great but I could feel the paintings calling me back late at night. The paintings finished and unmade exerted a pull.
It’s very important to get your mind right when making work to see the temptations and negative thoughts and to properly recognize comparison thinking and hierarchical thinking when it arises. This type of thought is present of course. We live amidst this in the USA but the kind of work I am interested in is concerned with a kind of freedom that necessitates a separation from branding, style and any fixation with overt marketability.
My slogan would be “the work is the work is the work”
Benjamin Pritchard, 2017
Carriage House, Fourth Floor
Florida Beach – Umbrellas, 2016, oil on canvas, 22 x 30 inches
“The genesis of these paintings is a place filled with color and light, with the additional elements of freedom, sensuality, lust, empathy, and affection in the air. This is an imaginary place, but based on glimpses of our own world.
Recently I read a news item about the death of a man in San Francisco named Gilbert Baker. His name was unfamiliar to me but he was credited with the marvelous idea of the rainbow flag. Gilbert Baker gave the LGBTQ community, and the wider world, this wonderful reminder of hope and promise. According to the article he never profited from his idea and was quoted as saying, “The rainbow flag is a symbol of freedom and liberation that we made for ourselves. We all own this flag.”
Coincidentally I had painted a few paintings with rainbows and rainbow imagery. I decided to call this show “Find the Rainbow”, in honor of Gilbert Baker. I hope this group of paintings that I have made will remind my friends who see them of the light, color, and promise in the world. When you see a rainbow in a painting, or in the sky allow yourself the luxury of taking some time to look at it, and think about what it stands for.”
McWillie Chambers, 2017
John Davis Gallery 362 1/2 Warren Street Hudson, New York 12534
Hours: Thursdays through Mondays, 11 – 5 pm and by appointment
© Copyright 2017 John Davis / John Davis Gallery, 362 1/2 Warren Street, Hudson, New York / 518.828.5907