John Davis Gallery
John Davis Gallery
On Saturday, August 17th, a group of six artists will open exhibitions in the Main Galleries, Sculpture Garden and Carriage House (sculpture, photography, and painting). The works will be on display through September 8th with a reception for the artists on Saturday, August 17th from 6:00 until 8:00 p.m.
Rocks and Caves
Channeling Orange, 2019, oil on linen, 5 x 4 feet
“Memory and invention have led me to landscape. I was thinking specifically about grottoes and caves, some halfway around the world and others just down the road. Sunken limestone towers in the ancient caves at Halong Bay demand high color and assertive brushwork, while the gentle entry of Stone Church/Dover encourages a muted palette and more meditative approach. I hope these paintings are true to the memory of place, of the caverns’ natural beauty, folklore, storied dwellers, and metamorphic past.”
Lois Dickson, 2019
Specimen, 2013, cedar, 29 x 37 x 19 inches
“My sculptures reflect the sensibility that objects are not fixed and finite, but are the product or residue of ongoing processes. They provide evidence of unseen forces, and they point to the distinction between the human and the non-human. Throughout the natural world, unexpected complexity emerges from simple, persistent processes. When the order of things is not readily apparent, complexity is often mistaken for chaos. In the rush to comprehend we often miss the wonderful unseen forces at work. My response is to play in these boundaries between the simple and the complex, and between the complex and the overwhelming.”
Ben Butler, 2019
First Floor Carriage House
First Floor Carriage House
Adrift Houses. Casas a la Deriva
ADRIFT HOUSES, 2019, C-Print. Wood, hardware, 20 x 15 x 12 feet
“For the exhibition, Blasco has built a large installation of iconic New York City bridges. Entitled Adrift Houses, this sprawling construction presents an unsettling narrative that reaches beyond its architectonic origins. In reality, bridges are physical structures that allow us to move from one place to another, overcoming geographical barriers. Conceptually, bridges built on consensus can bring opposing sides together. Blasco’s bridges are fragmented and incomplete. They silently lay witness to the perilous effects of climate change and disjointed politic rhetoric. Meanwhile, as water levels advance, homes, towns, cities will be engulfed, drastically altering our habitat and way of life. In light of this, the artist envisions a New York nightmare where displaced houses are flooded, lifted off foundations, and cast adrift down river. It highlights the transitory nature of safety and security, breaking down memories of ‘home’ into repositories of fractured memories.”
Second Floor Carriage House
Achilles Stumbles on the Field of Troy, 2018-19, mixed media, 60 x 48 inches
‘‘We are image-makers and image-ridden.’ Phillip Guston
My work principally consists of profoundly abstracted figure compositions- intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in an undefined setting. The emphasis is almost punitively laid on intuition, supported by a Cezanne-ian will build a picture through a rigorous but tempered structure. The figures are born of their surrounding environment, emerging only partially and fugitively from the mat and scarred layers of pigment. The paintings may be quite large, often eight, ten or twelve feet in width, and comprised of multiple panels. Or quite small, 6 x 8”. I use a cold wax medium combined with dry pigments, oil paint and embedded fragments of burlap.
A narrative is evident but never overt. A crown, a shield, a boat, a wheel. Though the subject has recently coalesced around my reading of Dante and Shakespeare, the settings remain extremely vague- a beach, an interior, a wood. Though often derived from actual scenes in the Inferno or King Lear, the paintings are, in the end, meditations on the relationship between the protagonists of these classic works. Work on the multiple figure compositions is accompanied by small studies of heads. These heads are always invented yet oddly specific.”
Third Floor Carriage House
Untitled 2017 Pigment, oil, alkyd resin, mulled paint/linen 57 x 65 inches
“These Paintings are referential to specific psychological states of being related to: particular times of day, seasons of the year, and specifically felt pending weather conditions. They produce an evocative sense of color and light through ongoing iterative manipulation; scraping, power sanding, and the literal movement of pigment from one location on the canvas to another. Each painting asserts its own pictorial logic; fresh canvases begin at the point the last resolved work defined itself.“
Mark Saltz, 2019
Fourth Floor Carriage House
Configurations and Consciousness
Casualty II, 2018-19, metal, wood, plastic wire rope, fabric, paint, 34 x 19 x 15 inches
“The word configuration comes to mind as it serves to unite the sometimes seemingly incongruous aspects of my two-dimensional and three-dimensional work. I see space and spatial tension and issues like clustering and crowding of spaces to be reflective and reflexive of a kind of anxiety and tension I’m trying to convey, a sort of juncture of feeling and thought and a connection to consciousness with a philosophical underpinning. I try to address what I feel is a fragile and tenuous human existence often marred by terrible suffering with forms and imagery that despite their primal almost raw energy are meant to provide comfort and to serve an almost protective symbolic function and perhaps even suggest a hope of a meaning to life. I think a lot of terms of fusions, of somehow trying to create bridges between the present, and both the distant and more recent past, and to an intercultural awareness; an attempt at a sort of universality of image and illusion.
I always wish that somehow or other my work be understood in a sort of immediate, intuitive way, even by people who are not initiated into a particular cultural milieu. In this desire, I suppose I tend to stay very close to a relationship with the primal, towards an originate experience of Being with an awareness of and great respect for historical precedent coexisting with a countervailing and paradoxical inclination towards an irreverence and the desire to release oneself from its grasp and influence.
Eric Banks, 2019
Gallery hours are Thursday through Monday, from 11:00 till 5:00 p.m. For further information about the gallery, the artists, and upcoming exhibitions, visit
or contact John Davis directly at 518.828.5907 or via e-mail: firstname.lastname@example.org.
High resolution images are available upon request.