Ron Milewicz – 2019

On Saturday, September 14th, 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 October 6th with a reception for the artists on Saturday, September 14th from 6:00 until 8:00 p.m.

 Main Galleries

Lee Marshall

New Watercolors & Drawings

Indra’s Pearls, 2018, watercolor on paper, 22 x 30 inches

“Our work in the present waters the past as well as the future. It’s the garden we live in and the one we paint.”

Lee Marshall, 2019

  

Sculpture Garden

Arnie Zimmerman

Sculpture

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

 

First Floor Carriage House

Kim Uchiyama

Ascension

PARTHENOS, 2018, oil on linen, 72 x 66 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.”

Kim Uchiyama, 2019

 

Second Floor Carriage House

Stephen Niccolls

Informalism

HeavyLight, 2019, oil on canvas, 40 x 34 inches

“One way to talk about my paintings is to say that they are responses to those moments when I find myself absorbed in some mundane object that has no obvious “beauty” or “meaning” as these words are usually understood. What I’m seeing are qualities that I want to explore in my work. The idea is that these qualities become manifest, clarified, or perhaps transformed in the process of giving them expressive form.

The structure in my paintings is meant to strike a balance between order and chaos. If the structure is too organized or rigid, I feel that the painting loses vitality. The same thing happens if the structure is too chaotic. I am most satisfied when my painting is almost out of balance, yet seems to contain or generate a unique energy, demanding that the work be understood on its own terms.  ”

Stephen Niccolls, 2019

  

Third Floor Carriage House

Drew Kohler

Break it Up

Self-Portrait, 2015-2018, oil on linen in  artist’s frame, 26  1/2 x 22  11/16 inches

“The images I want to convey are not known to me from the beginning, but rather are found. I start out with simple shapes and carve my way through the paint in hopes of revealing a figurative element in a cohesive atmosphere. My paintings have become deeply layered over the years: I scrape, sand, and apply color on the canvas. Through the multiple layers of pigment, certain parts start to appear–maybe a leg, part of a tree, a face, etc. I work around these emerging parts, inventing metaphors and pushing for depth so they can exist in the picture. A history builds itself through the paint, and even though I cannot see every layer, it eventually forms a density I desire. Most of the time the paintings feel arbitrary, but after a while the paint somehow falls in its destined place. In the end, the textures and shapes begin to relate to one another, creating a fixed completeness of an imagined space.“

Drew Kohler, 2019

 

Fourth Floor Carriage House

Celia Gerard

Sculpture

Little pinks, 2018, Glazed porcelain, 5 x 5 x 5, 5 x 3 x 3, 4 x 3 x 4 inches

“I work primarily with essential shapes (spheres, cones, cylinders, and cubes) and elemental materials (plaster, clay, wood, metal). I incorporate recycled forms to help find new forms which give life, where both culture and experience coincide as generative powers. In the process, relationships develop and sculptures begin to exist in space. Chimeric and architectural by nature, these sculptures reference displacement, refuge, and renewal.”

            Celia Gerard, 2019