Dan Weihnacht : ‘Premonition’ Series

::

::
‘Premonition 8′
28″ x 22″
Latex
2009
::

::
‘Premonition 1′
28″ x 22″
Latex
2009
::

::
‘Premonition 6′
28″ x 22″
Latex
2009
::

::
‘Premonition 5′
28″ x 22″
Latex
2009
::

::
‘Premonition 11′
28″ x 22″
Latex
2009
::

In great art there is some mysterious confluence of the formal elements that creates a harmonious visual experience. Beyond the visual, some art can evoke heightened consciousness for the viewer. Even if it just lasts an instant, there is a euphoric sense of connection. It is an elusive ideal, but working with the right intention, an artist may occasionally attain it. Minimal art dealt with a new vision of beauty that was austere; elemental. It also opened possibilities for experiential phenomena to occur. In the presence of the art object, the viewer may experience a heightened awareness of spaces, colors, or other qualities of the site. I am interested in the interaction of color and in very structured composition. I enjoy the experiential quality – such as a glow – that often results. I believe in making art that has a simple, positive, peaceful presence. Artist Statement

::

Dan Weihnacht : Culturehall

::

Graham Gillmore : Paintings (Works on Panel)

::

::
‘Sunset Applause’
Oil and enamel on panel
Graham Gillmore
80 X 60 in
::

::
‘Answers To The Questions To The Answers’
Oil and enamel on panel
Graham Gillmore
72 X 60 in
::

::
‘After You’
Oil and enamel on panel
Graham Gillmore
72 X 60 in
::

::
‘Trash the Planet’
Oil and enamel on panel
Graham Gillmore
80 X 72 in
::

::
‘Damp Wounds Sorely Mist’
Oil and enamel on panel
Graham Gillmore
90 X 72 in
::

::
‘Don’t be so Naive’
Oil and enamel on panel
Graham Gillmore
72 X 60 in
::

::
‘Wash Away Yovr Tears’
Oil and enamel on panel
Graham Gillmore
72 X 60 in
::

The nature of my project has never been about boiling anything down, but rather exposing the complexities of human experience; particularly one’s self as subject and the world as object. The ‘self’ and the ‘other’ play a pivotal role as subject matter within my manipulations with language – locating, defining and ultimately obscuring any kind of singular ‘meaning’ behind or beneath the surfaces of the world. These games (self imploding sentences, misreadings , backfirings revisions, second thoughts etc.) offer access to the hope for authentic – if flawed – communication while confronting the indeterminacy of language, both literary and abstract. I use these self-conscious devices for a ‘defamiliarizing’ effect. Text allows the work to maintain a narrative thread while maintaining an allegiance to non-figurative imagery. I play the role of scavenger when it comes to the texts I use. I think of these selected fragments as a kind of linguistic ‘road kill’ – skeletons on which to hang the material of the painting. I am engaged with texts that evoke a certain prickliness or an emotional angle that is slightly askew, with an emphasis on themes rooted in an emotional or psychological realm rather than intellect. Sensation overides thought, just as fantasy takes the place of history. Statement

::

Graham Gillmore : Monte Clark Gallery

::

Sam Moyer : Artworks

::

::
‘Mountain High’
ink, bleach on canvas
5′ x 4′
2011
::

::
‘Untitled’
ink and canvas
4′ x 3′
2011
::

::
‘Untitled’
ink, bleach on canvas
4′ x 3′
2011
::

::
‘High Sea’
ink, bleach on canvas
5′ x 4′
2011
::

::
‘Untitled’
ink, bleach on canvas
47″ x 58″
2010
::

::
‘Untitled’
ink, bleach on canvas
47″ x 58″
2010
::

Sam Moyer : Website

::

Janet Jones : ‘Notations’ Series (Collages)

::

::
‘Notations #41′
6 x 6 inches
Collage
::

::
‘Notations #7′
6 x 6 inches
Collage
::

::
‘Notations #48′
6 x 6 inches
Collage
::

::
‘Notations #21′
6 x 6 inches
Collage
::

::
‘Notations #37′
6 x 6 inches
Collage
::

::
‘Notations #42′
6 x 6 inches
Collage
::

::
‘Notations #39′
6 x 6 inches
Collage
::

“My series is called Notations, and reflects my love of letter forms and typography, of words and language, and a delight in the visual and tactile properties of old books and documents, especially those that are creased, stained and foxed. I’m interested in surface variations and the play of light on shiny areas contrasting with the velvety softness of old papers. In a larger sense, they’re about communication, nuance and layers of meaning. I’ve stencilled some letters in shiny etching ink, occasionally adding metal leaf, and printed letterpress ornaments and a Chinese character. Some papers have been prepared by pouring and splattering India ink. The tiny photographs are my mother at ages 20 months, 3 years, and 25. Other images are from dictionaries and old steel engravings.” ~ JJ

::

Janet Jones : Website

::

Sam Serafy : Artworks

::

::
‘Untitled’
Sam Serafy
Artwork
2012
::

::
‘Untitled’
Sam Serafy
Artwork
2011
::

::
‘Untitled’
Sam Serafy
Artwork
2012
::

::
‘Untitled’
Sam Serafy
Artwork
2011
::

::
‘Untitled’
Sam Serafy
Artwork
2011
::

::
‘Untitled’
Sam Serafy
Artwork
2011
::

Sam Serafy : More Works

::

Ion Zupcu : ‘Works on paper’

::

::
‘October 30′
Works on paper
Ion Zupcu
2004
::

::
‘August 18′
Works on paper
Ion Zupcu
2005
::

::
‘March 9′
Works on paper
Ion Zupcu
2004
::

::
‘March 15′
Works on paper
Ion Zupcu
2005
::

::
‘March 5′
Works on paper
Ion Zupcu
2005
::

::
‘February 9′
Works on paper
Ion Zupcu
2006
::

::
‘February 13′
Works on paper
Ion Zupcu
2006
::

“Most people take images of other people to preserve memories;
I photograph objects to preserve my own memories.” ~ Ion Zupcu

::

Ion Zupcu : Website

::