Current Exhibition

 On Saturday, May 28th, a group of artists will open the season with a medley of exhibitions for the Main Galleries, Sculpture Garden and Carriage House. In celebration, the gallery will have five solo shows (sculpture and painting). The work will be on display through June 19th with a reception for the artists on Saturday, May 28th from 6:00 until 8:00 p.m.

 Main Galleries

Sara Jane Roszak

New Work

Roszak-Desert-Life-web


Click -here- for images from the exhibition.

“I am still working with elemental phenomena; the sun, the moon, mountains and water, tree like forms and flower forms. Finding imagery through texture and accident and letting it resonate in my imagination.

As I get older I feel close to nature like when I was a child. I am in awe of its unpredictable invention and beauty.”

            Sara Jane Roszak, 2016

 

Sculpture Garden & Carriage House, Ground Floor

Gail Goldsmith

Sculpture

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Click -here- for images from the exhibition.

“I’ve had a lifelong preoccupation with the figure.  This diverse group of clay sculptures, all unglazed, made over a period of fourteen years, are built from the ground up.  Standing clay figures all begin on the ground, with a footprint, with feet or shoes or with a shape that delineates an area.  While physical and material, the process is also intuitive, shaped by my responses to the needs and possibilities of the material and also by memories of past work.   I am excited wondering what will emerge.  A figure wrapped tightly may evolve over months; another may grow rapidly pushed by intense associations.  The finished figures always surprise me.”

Gail Goldsmith, 2016

  

Carriage House. Second Floor

Yura Adams

Nature Dress
Paintings and Drawings by Yura Adams

 web-Plumage Column One (1)

 
Click -here- for images from the exhibition.

“These works are a direct visual response to the rhythmic forms and energy observed in the natural environment of the farm where I paint. As I walk down the farm road to my studio, I am compelled to look deeply into the variety of patterns and fluid motion I observe. These include movement of water and wind, changing light, and the patterns of bird and plants. When painting, I like to use nuances of color that I have seen in changing light and improvise with hand-cut stencils, sprayed and poured paint, and loose drawing. These paintings are my love song to nature.”

Yura Adams, 2016

 

 

Carriage House, Third Floor

Dale Emmart

Giants
small panel paintings

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Click -here- for images from the exhibition.

“Narrow columns of smoke rising from rural burn barrels are a common event, and one I pay close attention to. Spindles of vapor point to a burning waste, cleansing fields for new growth, or hinting at things of greater consequence – factual and metaphoric. I pay similar attention to other, more muscular, versions of smoke and exhaust from industrial and nuclear plant emissions. I use the insubstantial, shifting, and momentary cloud masses as subjects for my paintings and drawings. The man-made emission giants or naturally occurring plumes contain a broad vocabulary of painterly choices that rely on informed notational ‘plein air’ skills. I frequently paint outdoors for direct observation to support studio-based work. The paintings on exhibit at John Davis primarily depict transition, but also brood about environments  at risk. The work is engaged with a sense of ‘lift’ with reference taken from either man made or natural giants. The diptych and triptychs suggest greater attention to movement, transformation or shape shifting rather than muck.”

Dale Emmart, 2016

  

Carriage House, Fourth Floor

Jean Feinberg

Works on Paper

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Click -here- for images from the exhibition.

 “When I started working on these works on paper, I felt a new freedom – the freedom of finding a way to work on my delicate and beautiful Japanese papers, and the freedom of seeing and transforming the “found” compositions of color that surround me in my studio. Like Kelly, I have no desire to compose or rearrange what I find. The freedom is in seeing and making. The fact that they are seen out of the corner of my eye and take me by surprise makes them all the more beautiful and fulfilling to paint. Using paint chips to make color choices in my larger painted constructions has liberated and expanded my color choices in a similar way.  As a result of that process, my studio is scattered with piles of color chips. These “accidental compositions” have eventually become the basis of these gouaches on paper.

Jean Feinberg, 2016

 

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John Davis Gallery 362 1/2 Warren Street Hudson, New York 12534

518.828.5907

art@johndavisgallery.com

Hours:  Thursdays through Mondays, 11 – 5 pm and by appointment