On Saturday, July 21st, a group of artists will open five solo shows (sculpture, collage, and painting). The works will be on display through August 12th with a reception for the artists on Saturday, July 21st from 6:00 until 8:00 p.m.
Main Galleries & Sculpture Garden
Set of six bronze figure (life-size).
“I have been making sculpture for over 50 years. I encountered my first sculpture, a 4th dynasty Egyptian reserve head, in Boston, while on an evening college-course museum visit that changed my life. Later at Oberlin, I drew great inspiration from Norman Tinker, an artist I worshiped, even though he
said almost nothing to me. What he did do was give me validation and encouragement to keep doing sculpture. I later learned everything that I could from Peter Agostini, working as his assistant for 3 years.
Agostini taught me to look instinctually, and hard – and ultimately to draw. I gained fuller artistic independence through contact with individuals I admired and emulated by trying to do what they did or what I thought they did.
I think of myself as a member of a 7,000-year- old guild of sculptural image makers, going back to Ain Ghazal. I feel connected artistically and spiritually to many artists of the past, some known; many unknown. Sculpture has been practiced for thousands of years, in every part of the globe, by every
permutation of human being imaginable. Much of it is strikingly primitive, direct and without artifice. Much of it is also anonymous, an idea with which I resonate. The concept of originality as the ultimate goal in art does not interest me. I am committed instead to a through line of practice and discovery at transcends the individual artist.
Within this larger world of sculpture, I seek visual and mythological associations from the art of the past, including Hellenistic, Roman, Medieval, Aztec, Coptic, Indian, and 19th-century works. Among modern sculptors, Medardo Rosso has long been my favorite.
Making sculpture for me is a silent and Shamanistic activity. I work from dreams and take cues from experience — recorded in my dreams, drawings and memory — fashioning sculpture that draws on the same thematic pool that has fed many artists of the past: adoration, metamorphosis, death, suffering, redemption – and love.”
Christopher Cairns, 2018
Recognition/Remembrance is a set of six bronze figures clustered in a group. They are life-size figures. Each of the figures embodies some form of hostility, timidity, introspection, or fearful hesitancy. Collectively, they intentionally display a feeling of ambiguous action and confrontational inertia — they are perhaps going somewhere – or nowhere.
The sculptures were originally fashioned in clay and cloth and cast into bronze. A plaster version also exists.
Main Galleries & Sculpture Garden
Standing Woman, 2016, oil on canvas, 70 x 50 inches
“A mirror is like the Roman Janus image, a moment that looks inward and out. The works in Mirrors are my attempt to reflect dualities. The paintings are mostly large with figurative imagery I source from drawings that I had made from life. Working from the drawings increases time-space that reverberates into the paintings. Ultimately, the images feel concrete, though none are literal depictions.”
Sam Levy, 2018
Carriage House, Second Floor
Swing, 2017, fresco, 17 x11 inches
“Did wars and plagues prevented arts?
Was lack of freedom stopping masters?
What’s really touching our hearts
Was made despite of the disasters.
Fresco takes me back to basics and keeps me close to a long history.
All the used materials are fundamental, simple and fresh. It has a strong connection with unchanged earth: lime, sand, natural pigments, water.
I like the fact that I can prepare everything from scratch. And thus it becomes more than just a painting. I am not only applying pigments; I do build my work, where the sense of layering is extremely present.
There is something very sensual about flowing watery pigments penetrating a raw surface and merging with the fresh layer of lime and sand. The paint doesn’t stay on the surface like in oil or acrylic: it is literary deep inside. The naturally created top layer of calcium carbonate protects fresco from external hazards.
High discipline, which includes a limited time frame, is the way to honor the technique. Soft material becomes hard like a stone. The decisions have to be made fast. Following my impulse is important and spontaneity plays a crucial role.”
Maryna Bilak, 2018
Carriage House, Third Floor
living visual koans: you are what you seek
who Is this person, 2017, acrylic medium & original paper photographs on panel, 30 x 30 inches
These new works present the composite worlds that unfold from daily creative and devotional practices. Scrap is always motivated in art making by a religious spirit that seeks to understand the nature of reality and the human search for God, meaning, and the non-dual Self. Thus piecing together these observations of the world in her immersive photomontages, she has noticed that we are engaged in causal dynamics rarely perceived.
Scrap photographs subjects encountered in lived experience to express aspects of her understanding, and she invites viewers to open gates in their experience by entering into the symbolic space of her artworks. Coming from a place of profound inter-connectedness to things, scraps’ witnessing of the passage of time, interactions, and events leads her to assemble scenarios of visual language that may function on some level as visual koans.
Koans in the Zen tradition intend to induce students’ awakening by speaking to the roots of our deepest questions about the human condition. Defying rationality, yet speaking to the yearning heart, the photomontages become self-referring maps that confront fears — venturing boldly into ‘unknowns’ by pushing diligently through vast realms of epistemological ‘knowns.’ Then, the physical works exist both as contemporary art and as timeless offerings, aspiring to perpetuate the ancient, non-dual “Way-seeking Mind” however possible.
Carriage House, Fourth Floor
left…The History of landscape, 2018, wood latex and plexiglass, 72 x 24 inches
center…Play List, 2018, wood latex and plexiglass, 61 x 23 inches
right…Oceans away, 2018, wood latex and plexiglass, 72 x 23 inches
Isherwood’s is showing newly developed computer navigated cut wood blocks and they are further developments of unanticipated consequences of new technologies and his ongoing dialogue with the associative sensations of image, color, and surface. Carved lines contour the surfaces to emphasize the convergence between pattern, surface, color and image and create the illusion of expansiveness and provoke narrative associations to place and sensation. The recently completed series propose a state of reflection through mirrored shapes that are centralized to the highly articulated relief carved surrounds.