On Saturday, June 24th, there will be an exhibition of six artists in the Main Galleries, Sculpture Garden and Carriage House. The work will be on display through July 16th with a reception for the artists on Saturday, June 24th from 6:00 until 8:00 p.m.
HIG Lesson 17, 2017, oil on canvas, 36 x 30 inches (How It Goes Series)
“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 67 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, 2017
ORPHEUS (The Birth of Music), 2017, concrete, pigment & archival concrete paint, 92 x 28 x 16 inches
“In my opinion a sculpture is an embodiment in sculptural form of a constellation of characteristics, emotions, associations and influences meant to present something beyond “representation” (re-presentation) to the viewer. I think this is true whether the sculpture is figurative or abstract, good or bad. A good sculpture is a heightened clear embodiment, perhaps even an archetype, which conveys something meaningful to the viewer beyond that which may be articulated in words (if that were possible words would be a much more economical means than a sculpture). Each of my sculptures is trying to embody a different constellation of meaning centered around a particular deep aspect of our life.”
Howard Kalish, 2017
Carriage House, Ground Floor
Seeing Reading and Writing
It Ain’t What You Say…, 1985, oil on paper, mounted on canvas, 14 x 18 inches
“Jenny Snider has been a life-long student of art, literature, film, and history. She is showing new and recent works that reference, among others, the following sources: the eponymous Memo from David O. Selznick, An American Tragedy, by Theodore Dreiser, Middlemarch, by George Eliot, History: A Novel, by Elsa Morante, Battleship Potemkin, Sergei Eisenstein’s 1925 film, and With Eisenstein in Hollywood, by Ivor Montagu. Earlier paintings and one sculpture quote Tolstoy’s War and Peace, and the Great American Songbook.”
Jenny Snider, 2017
Carriage House. Second Floor
1st Chakra – Mulhadara (root chakra – grounded force for the whole energetic system
“The body of work I will be showing in June is called Chakra Paintings. The individual pieces are based on the ancient system of describing, isolating and identifying energy within the body as color, geometry, symbol, mantra, etc. known as the chakra system. These paintings take the color and geometry of each of the energy wheels as both the subject matter and formal constraint. I am interested in a prolonged relationship with the chakra system as an Artist and viewer of the Paintings I create.”
Alison Fox, 2017
Carriage House, Third Floor
Phantom Climb, 2016, oil on wood, 48 x 27inches
“The work is about transformation. The kind of transformation I am talking about is not about advancing along a linear trajectory, but is a deepening of my love for what already exists. This informs my decision-making: honoring the materials, honoring the mistakes, honoring my impulses. I am pursuing an ideal, while continually submitting to what is there in front of me. When something is finished, it feels like a relic of the past and a harbinger of the future at the same time.”
Rosie Lopeman, 2017
Carriage House, Fourth Floor
Peering, 2016, oil on paper on board, 9 x 12 inches
“Re-arranging figures in a dollhouse gets turned into theatre. I’m standing outside the story.
It’s funny when body language – of a doll – becomes something get-able and paintable.
One figure hovering over another, one figure standing a little too far away from another figure. A hunched figure, a bowed head, a raised hand that blocks another figure. So little movement and so much gets said.
Completely familiar and completely strange.”
Kathy Osborn, 2017