On Saturday, September 17th, there will be an exhibition of six artists in the Main Galleries, Sculpture Garden and Carriage House. The work will be on display through October 9th with a reception for the artists on Saturday, September 17th, from 6:00 until 8:00 p.m.
Fortissimo, 2016, oil on wood, 36 x 30 Inches
“I am a modernist abstract painter with a pop sensibility. My works balance the formal with the playful, paring down shapes and ideas into their most basic forms. It is a search for clarity and humor, as is evidenced by the shapes and colors in my paintings: cartoony, bright, blobby as well as a strong dynamic presence. Ultimately, it is important that the viewer becomes involved with the paintings, tempting them to stay long enough with the images to connect to a narrative that is at once ambiguous yet taps into the specifics and subtleties of their own lives..”
Fran Shalom, 2016
Sculpture Garden & Carriage House, Ground Floor
“The problem of representing the human in the form of the figure is that they do not necessarily resemble one another.”
Bruce Gagnier, 2016
Courtesy Lori Bookstein Fine Art
Carriage House, Ground Floor
“I continue to be interested primarily in the fundamentals of picture making: form, space, color. With this recent body of work, I am also opening the door to surprise narratives. While I always hope to invite something “dark”, I find humorous personalities taking up residence. I think I’ll let them stay for now.”
Lois Dickson, 2016
Carriage House, Second Floor
Home is Where the Hearth Is
“Very pleased to be doing my show on the floor in the back building with the multiple small rooms. As many of my pieces are furniture related; chairs, lamps, beds, tables and paintings (I consider paintings furniture), I will treat it as an apartment. I will be the interior decorator. Most of the work is on the art side of the line between art and design. Much of it is unusable. I call some of the pieces furniture follies.”
William Stone, 2016
Carriage House, Third Floor
“The summer after receiving my terminal degree, I had a formative art-viewing experience while visiting the Rijksmuseum in Amsterdam. I waded into a large, crowded gallery and saw for the first time The Night Watch. Standing before Rembrandt’s life-size figures, I witnessed pictorial alchemy – Rembrandt’s painted people presented themselves more vividly, more realistically than the flesh and blood people standing between myself and the canvas. It was then that I understood great painting is never merely a representation of something – it contains a glimmer of life itself.
It wasn’t merely Rembrandt’s formal mastery of anatomy, perspective and light. The Night Watch had what de Kooning described as the ‘otherness’ of great painting; an unquantifiable quality that one may never fully comprehend, while aspiring to capture it.
I asked myself ‘how might I do something analogous – make a living picture using the language of abstraction?’ To do so using Rembrandt’s paint vernacular seemed nigh impossible and redundant. I looked to twentieth century painters with related goals, among them John Walker, Philip Guston and Pablo Picasso. While being greatly inspired by their work, I decided to seek solutions of my own,
I began with the idea of infusing human presence in geometric structures. I used color vibration and pattern as a pulse or heartbeat. Light and form were to reside on the picture plane and push out into the viewer’s space, confronting him as an actual person would. Yet more was needed to represent the complexities and contradictions of life – I wanted the paintings to encapsulate a breadth of visual notions and phenomena as well as my divergent interests and influences.
The geometric units that now reverberate through the work are at once lighthearted and serious, flat and volumetric, solid and ephemeral, synthetic and organic, static and kinetic, fictitious and real; they are structures seen from above and from the ground; they are free-standing and verge on collapse; they speak of topographies, metal shards, pink flesh and computer screens; they pay barbed homage to modernism while embodying someone who is no one, someplace that is no place.
The duality of the paintings, their refusal to fit into a single reading, their very instability makes them more than the sum of their parts – it gives them vitality and perhaps a flicker of life.”
Carriage House, Fourth Floor
Wherever You Roam
“Poets and philosophers from Baudelaire to Heinrich Heine to Walter Benjamin have discussed the contrast between the eternal canon of beauty embodied in classical sculpture and its geometric measures in contrast to fashion, which, being ephemeral, is the quintessential of-the-moment art form. The juxtaposition of ancient sculpture and modern costume provides a key to the art of our time, which emphasizes the clash between high and low as well as travesty and friction.
In 2010, I began to create “conceptual fashion” to activate and comment on the underlying three-dimensional forms. The contrast of ideal, formal sculptural concerns with the temporary, sociological language of clothing and how these two languages make a statement together has become an obsessive investigation. In this fusion, the meanings of sculpture as well as that of clothing are redefined and reconceptualized.”
John Davis Gallery 362 1/2 Warren Street Hudson, New York 12534
Hours: Thursdays through Mondays, 11 – 5 pm and by appointment