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Non-Objective Taos

A select group of invited Taos, New Mexico Artists, including paintings and sculpture


Non-Objective Taos Th is exhibition will showcase paintings and sculpture by a select - ective Taos artists. The goal of this exh ibition group of invited non-obj is to highlight the non-representational art and artists ofTaos.

203 Ledoux St. Taos NM . 203FINEART.com . 575.751.1262 . 203 FINE ART . Showroom & Exhibition Space. 1335 Gusdorf RD . Suite I


Works by: Shaun Richel . Mimi Chen Ting . Marcia Oliver. Lisa Burge . Peter Chinni Exhibition: Sept 16th - Oct 10th, 2016


ARTISTS STATEMENT: Shaun Richel is a fine artist, who paints and draws non-objective abstraction. “What I most want to express in my work is its 'painterliness’; the loose, rapid handling, or the look of that, with broken color, uneven saturations and also to show the densities of the paint.

BIOGRAPHY : Shaun Richel was born in Canada, at age 11 her family moved to Southern California. She has been involved in the arts since her early twenties. Working toward an interior design degree Richel had the pleasure of experiencing many art classes. Deciding to leave California to find a new place to live and wanting something completely different, she and her partner found they were drawn to Northern New Mexico. Especially loving the "big sky" with all that this implies; dramatic rain storms, amazing clouds and drama of the light, they came to the Taos area in late winter of '97 to live. Being submerged in the art world, the artist was realized, and continues to work on learning and experiencing the freedom of creating art.


Shaun Richel, Bloom, 60 x 48", oil on canvas, 2016


Shaun Richel, Interior, 20 x 16", oil on canvas, 2014


Shaun Richel, Color Path, 9 x 12", oil on canvas, 2016


Shaun Richel, Orange & Blue, 22 x 28", oil on canvas, 2006


Shaun Richel, Abstraction XV, 8 x 8", oil on canvas, 2016


Shaun Richel, Abstract Horizontal, 24 x 48", oil on canvas, 2014


Artist Statement: When I draw and paint, I am like a child, filled with wonder, un-tethered by gravity. My work springs from a desire to churn stillness into motion, forge action upon the static. Everything, mundane or esoteric, inspires me. When colors and contours engage dynamically and emphatically, they crystallize life’s elusive meanings and transitory moments, inviting empathy and harmony.

Biography: Mimi Chen Ting (born in China) is a painter and print-maker based in Taos, NM and Sausalito, CA. Since her first show in 1970, her work has been featured in solo and group exhibitions in museums, galleries and educational institutions throughout the United States and abroad, and can be found in numerous collections. Inspired by the natural grandeur of the Southwest, she uses non-associative colors, heightened contrasts, and sinuous contours to bring a personal poetic order and clarity to our entanglement with the world. In 2012, she received the Agnes Martin Award for Abstract Painting and Drawing.


Mimi Chen Ting, Eyes See Dog Ma, 48" X 54", acrylic on canvas, 2004


Mimi Chen Ting, Open Shadow 1, 25" X 30", acrylic on canvas, 2013


Mimi Chen Ting, Gyros 1, 51" X 54", acrylic on canvas, 2012


Mimi Chen Ting, It Got Complicated, 28" X 25", acrylic on canvas, 2011


Mimi Chen Ting, Winter 2, 25" X 28", acrylic on canvas, 2012


Mimi Chen Ting, Lost and Found, 25" X 37", acrylic on canvas, 2016


Marcia Oliver

Artist Statement: The experience of drawing is for me often an exploration in mark making. I find that it is a primal source of satisfaction. Years ago, it began with trees, boats and mountains. Now, I prefer a non-objective approach, employing a personal iconography. Often, the drawings begin with one or two distinct shapes, that is a “transfer,� using a solvent and smear from another piece of paper. Then, with other drawing materials, chalks, crayons and pencils I extend this process. Biography: University of Alabama, B.A. liberal Art, 1962, San Jose Collage, M.A., Painting & Printmaking, 1967, Tamarind Institute ABQ. NM, Invitation to print, 1992. Faculty of Notre Dame High School, 1963-64. Various other teaching experience in California, Arizona. First moved to Taos, from San Francisco, in 1968 on a Wurlitzer Foundation grant with one year residency and stipend. Travel abroad, living for a time back east, then moved back to Taos in the mid 70s. The Harwood Museum of Art, Taos, NM, curated into museum collection 1975. Art Committee Co-chair, Taos Art Association; Stables Gallery, 1975-76; Taos, New Mexico . Various exhibitions over the past few years at the Encore Gallery and at The Harwood Museum.


Marcia Oliver, Leadville Green, 28 x 30�, oil on canvas, 1978


Marcia Oliver, Good Fortune, 15 x 17�, 2013 ink transfer, graphite and crayon on paper


Marcia Oliver, Leadville, Gray Fire, 28 x 30�, oil on canvas, 1978


Marcia Oliver, Organogenesis, 72 x 72�, 2001 mixed media, builder, chalks and acrylic on canvas


Marcia Oliver, Inner Truth, 14 x 17�, 2013 graphite, ink & chalk on hot pressed bristol paper


Marcia Oliver, Six Drops and a Bone, 32 x 32�, 1999 mixed media, modeling past & graphite on canvas


Artist Statement My work is non-representational mixed-media Monoprints and Oil Paintings on panel, canvas, or paper. For the paintings, the surfaces are first prepared with layers of gesso to create a texture before applying the oil. I then use markings or “gestures� of graphite, charcoal, or oil stick to unite the compositions and give structure to the works. In my artwork, I focus on how to dynamically define space in terms of flat surface. The use of color and texture form the underlying basis of each composition. As a process artist, I allow this relationship to evoke image and shape. Depth is created through the interaction between density and transparency of color. Shapes appear to float on the surface or mysteriously recede into the paper or canvas when the layering of color is juxtaposed against color. While I consider my artwork to be non-representational, there is no doubt that imagery suggests itself into my work. No matter if I am at home in the Southwest or traveling abroad in Europe, South America, or Asia, the landscape and architecture in particular always inform my personal aesthetic. My intent is the pure exploration of color and line. However, I find it provocative that my work has an emotional impact on the viewer. This confirms my knowledge that humans have a kinesthetic response to art even if the work is nonobjective. Education: 2002-1996 University of New Mexico 1974-73 Colorado University-Fine Arts Dept. 1974- present Periodic residencies and travels throughout Europe, Middle East,Southeast Asia and South America 1981 Moved to Taos, N. M.


Lisa Burge, The Pawn, 36 x 36, oil on panel


Lisa Burge, Morocco #2, 12 x 12", oil on panel


Lisa Burge, Interiors, 28 x 28", monoprint


Lisa Burge, Morocco #1, 12 x 12", oil on panel


Lisa Burge, Along the River Li, 24 x 48", oil on panel


Lisa Burge, Reverie, 26 x 26", oil on paper


Biography: At 87, Peter Chinni has enjoyed a distinguished career that began in the 1950’s and spans two continents. Born to Calabrian immigrant parents in Mount Kisco, New York in 1928, Chinni studied at the Art Students League in New York where he caught the attention of the great Italian critic and art historian, Lionello Venturi. With Venturi’s endorsement, he attended the Accademia di Belle Arti in Rome, studying painting and portraiture. In 1949, he left the Accademia to study privately with painter Felice Casorati in Turin and later with the cubist sculptor Roberto Melli in Rome. During the 60s, with one-man exhibitions at the Royal Marks Gallery (1964), the Albert Loeb Gallery (1966), and the Loeb-Krugier Gallery (1969), together with his participation in biennials at the Whitney Museum, the Corcoran Gallery, and the Carnegie International, Chinni’s reputation was firmly established. Shows in Switzerland, France, Belgium, and Italy maintained his presence in Europe. In the 1970’s, Chinni began to experiment with interactive totemic elements that relate and interlock into a single form. Viewed frontally, the abstract elements suggest broken tectonic plates or the ruptured husk of a seed. Chinni was honored by the Shah of Iran with a solo show on the Island of Kish in 1974. He continued his success with exhibitions at the Musee’ d’Ixelle in Brussels, the Beeckestijn Museum in Holland, and the Bouma Gallerie in Amsterdam. Chinni has continued to develop his art and since his move to Taos, New Mexico several years ago, has been reworking some of these earlier pieces – not recreating them, but revising and expanding their initial impulses into new territory.


Peter Chinni, La Columba, Stainless steel, ed. 2/4, 12 x 12 x 12", 1985


Peter Chinni, Birth, bronze, ed. 3/10, 19 x 21 x 7", 1988


Peter Chinni, Chasing an Idea, acrylic on canvas, 46" Diameter


Peter Chinni, Two Part Fugue, bronze, ed. 1/4, 25 x 18 x 18", 2004


Peter Chinni, Sun Circles, ed 6/6, 2012 Powder coated aluminum, 17 x 17 x 13"


Peter Chinni, Homage to Nobuya, 2013 Stainless steel, ed. 2/6,40 x 30 x 8"


203 Ledoux St. Taos NM . 203FINEART.com . 575.751.1262 . 203 FINE ART . Showroom & Exhibition Space. 1335 Gusdorf RD . Suite I

Non Objective Taos 2016 Catalogue  

This exhibition will showcase paintings and sculpture by a select group of invited Non- Objective Taos artists. The goal of this exhibition...

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