John Davis Gallery
On Saturday, June 22nd, 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 July 14th with a reception for the artists on Saturday, June 22nd from 6:00 until 8:00 p.m.
Upside Down Nude, 2019, oil on panel, 18 x 14 inches
“I make a move on my painting, step back. I assess the painting’s response, is it accepted? Are the painting and I in agreement? Back and forth, the painting and I proceed like a mountain climber throwing the spike up to the next level and hauling themselves upward gradually to reach the summit. At any point, the whole thing could collapse or arrive.”
Janice Nowinski, 2019
Art is dangerous. That’s one of its attractions:
when it ceases to be dangerous,
you don’t want it.” — Duke Ellington
Growing #1, 12 x 12 x 63 inches, 2018, bronze
Growing #2, 12 x 12 x 56 inches, 2018, bronze
Growing #3, 12 x 12 x 50 inches, 2018, bronze
“Some of my materials are natural, such as bamboo, sticks, branches, feathers, and leaves. Other materials I use have very natural origins, but they are more associated with manufacturing and industry. These materials include cement, iron, plaster, ceramic, gold leaf, bronze, copper, wire, rubber bands, and glazes. Some materials work well together, whether their origins are more natural or not. Some materials do not work well together.
My work is an exploration into what kinds of materials work well together visually, on the one hand, but more important to me is that the materials complement each other physically. I let my pieces form and inform themselves as I work. I choose my materials for how they feel, physically, in my hands, and I let one stage of the object-making tell me what form or material will come next. The idea for an ultimate, final object only begins to form in my mind as it starts to form in my hands. This is the most primary form of manufacturing, as I see it, and that is how I think of my pieces. I take a bit from nature. I take a bit from industry. These materials come together in my hands, as a process of pure manufacturing”
Weixian Jiang, 2019
Ground Floor Carriage House
Morning Prayers (Mother and Daughter), 2018, oil on wood, 14 x 12 inches
“Seventeen Thousand Five Hundred and Twenty Hours Exist in Two Years
Within that time, a lot can occur. You get married. You keep making art. You work to pay your bills. You gain friendships. You lose friendships. Tragic things happen. Life gives you the full range of emotions. In my opinion, life and art are the same.
To start off, I got married and moved in with my wife. We both paint at home at opposite ends of the house. Painting while you have a full-time job is a unique challenge. To quote Picasso: “Every child is an artist. The problem is how to remain an artist once you grow up.” A full-time job interrupts the dialogue between artist and painting. Every time you go back to the studio, you have to reconnect, but this time with a tired mind and tired body.
The art that I make is the art that I live. It is consistent with what I do on a daily basis. My art is a working man’s art. I do not know where my art will take me if I can paint for a year or two without interruption. But I accept the life that I am given. One is not better than the other.
At forty-three years old, I am still curious about the world, and where my painting will take me.”
Vilaykorn Sayaphet, 2019
Carriage House. Second Floor
Ganglia, 2018, acrylic mosaic on panel, 48 x 36 Inches
“My recent paintings mark an attempt to forge non-formulaic imagery that is simultaneously recognizable and ambiguous, suggestive of both microcosm and macrocosm. Through the use of automatic and ‘accidental’ processes, the work originates in the subconscious but is ultimately brought to conscious realization through drawing. It is this drawing, rooted in a deep exploration of form and the human figure, that gives definition and clarity and ultimately a purpose to the imagery it creates.”
Nicholas Cairns, 2019
Carriage House, Third Floor
Earthward: Mixed Media
Velvet Morning, 2018, acrylic, molding paste, pumice on wood panel, 30 X 24 inches
“My focus includes the land and direct human impact on the land, memory, evoking time passed and looking back on an imaginary post-human world from the future.
Selected from several different bodies of work, these pieces all share the same focus on materials, texture, and experimentation. All are mixed media – collages and surface treatments that often include personal references to rural life on the small family farm where I grew up. The use of burlap, canvas and vintage fabric scraps, rough texture, and unfinished qualities are some of those references. These elements not only serve compositionally but reinforce the attention to the surface. Another recurring theme in many of these works is topographies of once inhabited earth presented in an abstracted way from above.
My work develops intuitively beginning with a color, shapes from fabrics, canvas scraps or a cursory idea. The emphasis on the physicality of the surface pushes these works into the same tactile space we inhabit.”
Joanne Lobotsky, 2019
Carriage House, Fourth Floor
Reflection, 2019, oil on canvas, 40 x 30 Inches
“When I was around 8 years old I had a dream I was in a garden. I climbed this wall and realized that if I jumped over I would no longer have the protection and order of the garden and would be in the wilds. I jumped. It seems a life’s choice.
Making Art is a way to share the totality of what I’ve seen, touched and what has touched me. I believe the making of a painting needs that moment of epiphany and a trace of how the imagery conveyed thru paint was discovered and experienced by the artist. Not a graphic notation of the language of experience but the mystery of it.
As a mature artist now 69 years old, I find I have this large vocabulary to draw from. Imagery that has woven its way thru my entire career is available and malleable. For me, Art is the providing of a genuine experience of what it is to be alive and in the world. At its best making art is a revelatory experience, a conduit to the beauty and mystery in the miracle of simply being here.”
Farrell Brickhouse, 2019
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