"Non-Objective / Taos"

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Non-Objective / Taos


Early Modern to Contemporary

1335 Gusdorf Rd. Suite i. Taos . New Mexico . 87571 575.751.1262 . art@203fineart.com . 203FINEART.com


A HARWOOD MUSEUM BENEFIT EXHIBITION FEATURING:

Daniel Hojnacki Susan Pasquarelli Mark Saxe Marsha Skinner Jonathan Sobol Onna Voellmer Opening Reception: September 24th, 2022 | 4pm - 6pm Exhibition Dates: September 24th - November 16th, 2022



INTRODUCTION 203 Fine Art is pleased to present “Non-Objective / Taos”, our fifth bi-annual benefit exhibition in partnership with the Harwood Museum of Art. This exhibition features a hand-selected group of invited artists from regional New Mexico, whose non-objective works demonstrate diversity in skill and a range of mediums employed, from painting to photography to sculptures. The artists invited to participate in this exhibition collectively carry careers from all corners of the nation, and have decided to make regional New Mexico their home. Our mission through this exhibition is to promote contemporary, non-representational art within our community, to showcase long-time resident artists, and to introduce those artists who may not be known within the town of Taos. In cooperation with the Harwood Museum of Art, this exhibition will benefit the museum, with twenty percent of sale proceeds to be donated to the museum’s acquisition fund, to assist in adding artwork to the museum’s permanent collection. 203 Fine Art and the participating artists extend their support to the museum’s ongoing mission to bring art and culture to the Taos community by preserving and collecting artworks inspired by Northern New Mexico. In addition, 203 Fine Art, by organizing this exhibition, is pleased to offer a platform and a commercial venue space for these artists to present to the collecting public in Taos. This exhibition will be on view from September 24th through November 18th, 2022.



DANIEL HOJNACKI With dusted fingerprints and rapid strokes, Hojnacki’s photographic paintings evoke the thread of communication we each possess with our own subconscious, speaking with the intangible parts of ourselves that attempt to contact us from their own dimensions. Breaking the boundaries of both photographers and painters that have come before, this Albuquerquebased artist and educator is reviving the 19th-century cliché verre photography process to fit within the contemporary world of art. Daniel Hojnacki recently received his M.F.A from the University of New Mexico. The artist’s practice uses experimental techniques in photography as a way to be a mindful observer within the world. His work explores material that pushes against traditional approaches to the photographic printmaking process, often blurring the lines between painting and photography. Hojnacki is a recent recipient of the Patrick Nagatani Photography Scholarship, Phyllis Muth Arts Award, and was selected to be an Artist in Residence with the Penumbra Foundation in New York City, New York. (August 2022). He has exhibited work at the Museum of Contemporary Photography and the Chicago Cultural Center. Hojnacki has hosted public workshops and lectures with the Museum of Contemporary Art in Chicago and the Smart Museum of Art. His work has been featured in Lenscratch, Phases Magazine, Aint-Bad Magazine, and Southwest Contemporary. As an educator of art, who has been working with youth since he began his career in Chicago and will commence his position as Adjunct Professor at UNM in September 2022, Hojnacki incorporates an intimate learning process within his art that is directed at knowing the self better. By conversing with the self, he is simultaneously conversing with us all— representing how we are all made of that same dust from the stars and the bones of those that came before.


A Volatile Body of Ash, 2021, 24 x 20”, silver gelatin print Image 1


Hojnacki performing the cliche verre process in studio, 2022


“The 19th century printing process of cliché verre uses the fine soot released from an oil lamp

flame to coat a piece of glass. This becomes my “negative”, I draw upon the volatile, delicate surface with my body, and the natural world. I am able to capture the most nuanced of traces. it is a material made from the vapors of dust. I allow my own vapors and the natural elements to reveal themselves upon the photographic glass matrix. I then wipe away the soot, the negative of the photograph, layer upon it, and re-expose it multiple times. Creating records, momentary acts of suspension, a vessel for keeping time. They are a proof of life, a rendering of a brief passage of my body, the wind, rain, and breath. I then wipe the glass clean of it’s residue, its memory, and repeat the action again. It is a process of rebirthing the image, creating a life cycle of the photographic negative.” - Daniel Hojnacki

Right: (Becoming) an Artifact II, 2022 24 x 20”, silver gelatin print Image 2



Evaporation of the Body II, 2021 24 x 20”, silver gelatin print Image 3


A Hovering Ball of Dust, 2021 56 x 40”, sanded & toned silver gelatin print Image 4


Moon Body, 2021 20 x 16”, silver gelatin print made by the light of a full moon Image 5


Each Breath Deeply III, 2021 20 x 16”, silver gelatin print Image 6


A Time Piece II, 2021 20 x 16”, silver gelatin print Image 7


Waxing Moon, 2021, 20 x 16”, silver gelatin print made by the light of a full moon Image 8


SUSAN PASQUARELLI Glowing in their reverberations of color and form, Susan Pasquarelli’s watercolor paintings take on a life of their own. Infused with the raw emotion and the rigid discipline that seems to be forever at odds when left within the human mind, this Taos artist is instead letting the energies bleed into their own beings on paper and canvas. Born and raised in Southern California, Pasquarelli received her BA in Art History from the University of California, Berkeley. In the 1970s she moved to Philadelphia, Pennsylvania, where she commuted to graduate school at Brooklyn College in New York. It was there that she studied drawing and painting with Lee Bontecou, Phillip Pearlstein, Lois Dodd, and Alan D’Arcangelo among others. After receiving her MFA in 1982, she began showing her work regularly as well as teaching drawing and painting for twenty years at various colleges in the Philadelphia region, including fourteen years at Philadelphia University. Shortly after moving to Taos, New Mexico, from Philadelphia in 2004, Pasquarelli was awarded a three-month residency at the Harwood Museum of Art (January-April 2005). Her work has been shown in museums and galleries throughout the U.S.—including twenty solo exhibitions in New Mexico, Pennsylvania, and Washington DC—and her work is held in numerous public and private collections. She has also received several fellowships and awards, including three first-place prizes in competitions in Pennsylvania, New Jersey, and Maryland, and a Visual Arts Fellowship from the Pennsylvania Council on the Arts.



Light Rings 2, 2021 24 x 18”, watercolor on paper Image 9


Light Rings 1, 2019 12 x 12”, watercolor on paper Image 10


“When I moved to Taos and realized that I am now living in the landscape that I have delegated to the level of myth, I felt overwhelmed. I kept saying to myself, “What am I going to do with this?” Thinking about the power of the natural world reminds me of the responsibility we have as artists to engage with the profundities of life around us— not the next trend or particular style or taste—but these awesome realities of life now. I believe that Ad Reinhart’s admonition that “art is too serious to be taken seriously” is true, but I also think that there needs to be more rigor and deep questioning today on the part of both artist and viewer. We need to look beyond easy value judgments to find the authentic artistic voices that are around us, even if they are jarring and uncomfortable. As an artist, I believe it is necessary to find one’s own artistic vision—not with arrogance, but with humility—and to take responsibility for it. There is still much work to be done.” - Susan Pasquarelli, A Harwood Museum Lecture, 2005

Right: Pasquarelli with her watercolor studies in studio, 2022



Daniel Hojnacki_Volatile Body of Ash-sm

Light Rings 2a, 2021 24 x 18”, watercolor on paper Image 11


Radiant Iteration, 2019 30 x 22”, watercolor on paper Image 12


Great Sand Dunes 2, 2020 8 x 8”, watercolor on paper Image 13

Great Sand Dunes 3, 2020 8 x 8”, watercolor on paper Image 14


Great Sand Dunes 1, 2020 8 x 8”, watercolor on paper Image 15


Light Waves, 2022 20 x 20”, watercolor on paper Image 16


Light Rings 9, 2019 40 x 40”, watercolor on paper Image 17


MARK SAXE “I was born in Chelsea, Massachusetts. Thirty-eight years before I was born, in 1908, the Great Chelsea Fire burned half the city to the ground. It was just after this Great Fire that families of Eastern European, Jewish, Italian, Irish, Greek, and Russian Orthodox immigrants came to Chelsea to buy up the partially burned houses on the cheap. My grandparents, Yiddish speaking Jews from Odessa, Russia, were among them. They bought a house in Chelsea and fixed it up. The charred black rafters in the attic crawl space still told the story. In 1964, I entered the University of Massachusetts. I was expelled in 1966, and within a few days was drafted by the US Army. I served in Vietnam from 1967 to 1968. During that time, I maintained my sanity as much as possible with words... After I was discharged from the Army, I traveled extensively in Europe. I found that the words I had depended on were somehow failing me. But in their place was art, architecture, painting, sculpture and stone. Stone was (is) everywhere. I fell in love with it. After Europe, I went to the Instituto Allende in San Miguel de Allende, Mexico, on the GI Bill. I received my MFA and then taught there for a year. Next came a 3-year apprenticeship with a stonemason in Massachusetts, and then I moved to New Mexico to begin my career as a sculptor. I was recreating that boiler room of my youth, so to speak. I opened Southwest Stoneworks in 1976 and have been working with stone for 41 years. I met my wife, ceramist Betsy Williams, in 1999. She inspires me. Together, in 2005, we opened Rift Gallery adjacent to my stone yard in Rinconada, New Mexico. In the gallery, we feature a carefully curated selection of contemporary two-and three-dimensional work.”



Midnight, 2021 22 x 20 x 14” basalt & limestone base Image 18


Broken and Repaired, 2022 9 x 4 x 4”, Belgian black marble & steel staples Image 19


“I work in the realm where the known and unknown meet, where chance and determination work hand in hand. Stone, a material both simple and complex, wildly uncontrollable and disciplined, provides that opportunity. My work grows from a notion, a mysterious feeling, not unlike the first sentence of a story, always with hopeful anticipation. It tells the story of my grappling with the forces of creation and destruction in nature, unleashing the cataclysmic and the calm.” - Mark Saxe



Ripple in Time, 2021 5 x 24 x 11”, basalt Image 20


Dancing in the Dark, 2022 51.5 x 24 x 24”, basalt & gold leaf with marble base Image 21


Cell Block, 2021 11.5 x 10 x 7”, marble, basalt, gold leaf, pigment Image 22


Each Other, 2022 5 x 18 x 8.5”, basalt and marble on steel base Image 23


Not Alone, 2022 4 x 8.5 x 5”, black marble and lead with steel base Image 24


Seed, 2022 9 x 15 x 9”, jasper Image 25



MARSHA SKINNER Marsha Skinner is a Taos based artist who paints upon the reflections she has within her home, surrounded by nature. Born in 1944 in Canon City, Colorado, the vast plateau country of Taos mimics her homeland and offers a welcomed return for the artist after her time spent traveling the Asian continent extensively. Her muse, the natural world, is prominent in her artwork, flowing as fluidly as calligraphy. Skinner studied her practice within the walls of Asian universities, including Delhi University in India and the China Institute in New York. The gentleness, focus, and the I Ching taught to her by mentors of a different culture are still foundational elements of her artwork today. Informed by this method of chance in her creative process, the roll of dice can dictate the artist’s decisions as to color, thickness, texture, tools, and time it takes to produce her finished works. Most of Skinner’s energy and thoughts seem to go towards the creation of art. The seriousness in which she considers her own creations, worthy or not, leaves the artist destroying as much as, or more than, the artwork of that which is kept. Despite this artist’s humble nature, Skinner has accomplished much in her life’s work, from her close relationship with the great American avant-garde composer John Cage to her working relationship with the famous choreographer Merce Cunningham in the creation of costumes and lighting for Cunningham’s dance piece Beach Birds, Change of Address, Enter, and Ocean. For many years, Marsha’s work was represented by respected local gallerist Stephen Parks of the Parks Gallery, and her work has been exhibited at the Harwood Museum of Art in Taos.


Wind, 2019 8.5 x 8.5”, oil & graphite on paper Image 26


Wild Roses XIII, 2022 12 x 12”, oil with cochineal on canvas Image 27



About her paintings:

“It’s all about the drawing...” - Marsha Skinner

Left: Detail of Dancing, 2022 20 x 16”, oil on paper Image 35



Left to Right:

Wild Roses VIII, 2022 12 x 12”, oil with cochineal on canvas Image 28 Wild Roses XII, 2022 12 x 12”, oil with cochineal on canvas Image 29

Left to Right:

Wild Roses XI, 2022 12 x 12”, oil with cochineal on canvas Image 30 Wild Roses IX, 2022 12 x 12”, oil with cochineal on canvas Image 31

Water Drawing II, 2022 8 x 7.5”, graphite on paper Image 32


Water Drawing I, 2022 8 x 7.5”, graphite on paper Image 33


Wild Roses X, 2022 36 x 36”, oil with cochineal on canvas Image 34


Dancing, 2022 20 x 16”, oil on paper Image 35


Water Drawing III, 2022 8 x 7.5”, graphite on paper Image 36


Jonathan Sobol Jonathan Sobol has been a professional artist since 1976, although his explorations in oil painting began when he was just eight years old. Growing up amongst artists and musicians, Sobol was fortunate to have profound mentors to guide his craft. The diversity of his mentors gave Sobol the unique opportunity to find his own voice in a sea of creative possibilities. At a young age, Sobol was introduced to genres such as Fauvists, Avant-Gardists, Academicians, Portrait Painters, Modernists, Minimalists, Abstract Expressionists, sculptors, and printers. Without such an encompassing exposure to different forms of art, Sobol’s own art would not take the form it does today. Sobol effortlessly constructs and deconstructs the marriage of many of these genres within his art. Each piece composes a different emotional ambiance for both the artist and the beholder, and his unrestrictive, intuitive form of creation emerges in vivid colors and illustrative titles. Sobol has hosted seminars and held professional positions in galleries and museums around the Southwest since 1989, when he was selected for the role of Curator of the Taos Art Association’s Stables Gallery in Taos, NM. However, the joy and playfulness of the artist are not lost in the depth and breadth of his professional career. The artist’s miniatures series in particular displays this quite profoundly outside of the artwork itself, as Sobol states his mission of the series as “pure collaboration with the creative spirit, and [to] guide my larger works.”



Reflection, 2022 30 x 36”, oil on canvas Image 37


Detail of Sobol’s tools and mediums in studio, 2022


“To me, there are no manifestos... it’s all about the visual experience. Art comes from your eyes to your gut.” - Jonathan Sobol, Albuquerque Journal, 2015

Right: A Little Peace, 2022 5 x 7”, oil on canvas Image 38



Pink on the Move, 2022 36 x 48”, oil on canvas Image 39


Odd How You Resemble My Aunt, 2022 14 x 18”, oil on canvas Image 40


Small Things, 2022 5 x 7”, oil on canvas Image 41


When I Looked Up It Was Gone, 2022 7 x 5”, oil on canvas Image 42



ONNA VOELLMER Onna Voellmer pulls at the lack of space between self and place, where our internal concepts spill over into solid realities-- and vice versa. It is no surprise this non-objective artist can be found in any place where there are landscapes of influence and inspiration. Having spent her formative years in Washington state, the Pacific Northwest was Voellmer’s first sense of place that inspired the artist to paint. In 2000, Voellmer received her BFA in Sculpture and Painting from Pacific Lutheran University, Parkland, WA. However, the expression of place could not occur so cohesively with the concept of self, as it does in her artwork today, had Voellmer not spent time also engaging intimately with the land. In 2002 Voellmer graduated from Central Washington University with a BA in Geography before going on to receive her MS in Soil and Water Science, completed in 2006 at the University of Florida. However, it is not only Voellmer’s academic studies that form the foundations of her artwork, she finds it imperative to transcend the solid realities of place to instead arrive at the ephemeral. Cycling over 7,000 kilometres and passing through numerous borderlands in North, Central, and South America, the subjectiveness of land and the fallacy of borders, and the act of separating a place from itself, become foundational questions of a physical experience. Voellmer and her partner moved from Arizona to Northern New Mexico in 2021. Currently, the artist resides in Madrid, NM, with 100 acres of land and 100 dreams of what their place will become in the future.


Monsoon Inside - Bounty of Dreams, 2022 14 x 14”, mixed media on canvas Image 43


Monsoon Inside - Rebirth and Renewal, 2022 14 x 14”, mixed media on canvas Image 44



“My work touches on that space between “self” and “place”—two ideas that on one hand are concrete realities, and on the other hand are elusive concepts—two concepts that are so interconnected I cannot separate them, as if one does not exist without the other. It is both meditative and literal, taking on the unique feel of being in a landscape—that feeling of space, the sun warming your skin, memories that are awoken by the scents, the sound of a bee nearby, the blurry flash of a bird that just passes your gaze. The wilds of nature are where the inspiration for my work begins. I’m an avid adventurer and explorer of places off the beaten path, places journeys that push the boundaries of self: long-distance trails, mountain summits, and far-away places. On the surface, I’m delighted by the beauty and wish to capture that in my work, but there is also a primal quality to it all that illuminates the connection between place and self, and how these concepts are linked to deeper parts of consciousness.” - Onna Voellmer

Left: Detail of Sowing Seeds, 2022 48 x 48”, mixed media on canvas Image 50


Reviving the Distance, 2022 24 x 24”, mixed media on canvas Image 45


The Pale Blue Notes no. 6, 2019 15 x 11”, mixed media on paper Image 46


Forest Canopy, 2022 24 x 24”, mixed media on canvas Image 47


My Desert is Blue and Gold, 2019 48 x 48”, mixed media on canvas Image 48


Sowing Seeds, 2022 48 x 48”, mixed media on canvas Image 49


Monsoon Inside - Emergent Beauty, 2022 14 x 14”, mixed media on canvas Image 50


Early Modern to Contemporary

1335 Gusdorf Rd, Suite i, Taos, NM

575.751.1262

203FINEART.com

art@203fineart.com