The Art Collection at Boar's Head Resort

credit : Jack Looney cover: Brit tany Fan

OUR COLLECTION We invite you to explore our evolving collection of over 30

works, created by local artists with roots in our community and ties to the University of Virginia.

The collection embodies a curiosity and reverence for the natural world through expressions of renewal, nostalgia, discovery, and change.

We welcome you to immerse yourself in these works, then

f ind inspiration of your own in the bucolic Virginia landscape just outside our front door.

SYCAMORE DIPT YCH pigmented inks on paper 99.8” x 30” 2019

R O B E R T L L E W E L LY N Robert Llewellyn, Bob to his friends, knew from the very f irst time he started porting

an old Nikon camera around his high school in southern Virginia that all he wanted to do was to take pictures. He left his engineering studies at the University of Virginia a little early and headed out to California to learn under famous photographer Imogen Cunningham in Eureka in 1968 for that very reason. Now a prominent professional

photographer, Bob has operated for most of four decades out of his “house-cum-studio” overlooking the Rivanna River in Earlysville, Virginia, just outside Charlottesville.

Bob wants to know, and has always wanted to know, how everything works - even

the ubiquitous objects directly in front of him, which often go unnoticed. This urge compels him to make intimate images of his immediate landscape. Fragments of

his familiar world, which are not quite new to him, can be shockingly unique when scrutinized.

These photographs were created as part of his work on three books, Seeing Trees, Trees Up Close, and Seeing Seeds. robertllewellyn.com

ROTUNDA woodcut 5” x 6. 5” 1937 (reprinted 2014)

C H A RLE S W. S M ITH Charles Smith (1893-1987) was a printer, painter, and

professor at the University of Virginia who grew up in

nearby Waynesboro, Virginia. He was celebrated both for his evocative black and white prints of Virginia subjects and for his experimental, colorful abstract block paintings. He was the f irst chair of UVA’s Art Department.

For Smith, as well as for many f ine printers, books were a

particularly important creative venue, and source of income.

Over the course of his career, he worked for commercial

publishers and small presses alike. It is impossible to know how many books Smith helped produce, for while some

contributions, such as illustrations, are credited, many others are not: jacket design, page layout, typography, and more.

These letterpress images were originally commissioned for a book titled The University of Virginia: Thirty-Two Woodcuts

by Charles W. Smith, published by Johnson Publishing Company, Richmond, Virginia (1937). The woodcuts

were donated by Smith to the UVA Library. Plates from

subsequent reproductions were discarded and later entrusted to the Virginia Center for the Book, a program of Virginia

Humanities, where they were re-struck in letterpress limitededition with permission of Smith ’s family in 2014. vabookcenter.org

credit : UVA Special Collections

Imagine you wake up with a second chance: The hawks his pretty wares and the oak still stands, sp glorious shade. If you don’t the future never happens.

How good to rise in sunlig DAWN REVISITED

from “On the Bus with Rosa Parks” ( W. W. Nor ton and Company, Inc.) 1999

R I TA D O V E

Rita Dove ser ved as Poet Laureate of the United

States and Consultant to the Library of Congress from 1993 to 1995 and as Poet Laureate of the

Commonwealth of Virginia from 2004 to 2006.

She has received numerous literary and academic honors, among them the 1987 Pulitzer Prize in Poetry for her book Thomas and Beulah.

credit : Sanjay Suchak , Universit y Communications

Ms. Dove was born in Akron, Ohio in 1952. A 1970 Presidential Scholar as one of the hundred top American high school graduates that year, she received her B.A. summa cum laude from Miami University in 1973 and her M.F.A. from the

University of Iowa in 1977. In 1974/75 she held a Fulbright scholarship at the Universität Tübingen in Germany. She has

published nine poetry collections, including Sonata Mulattica (2009), winner of the Hurston/ Wright Legacy Award; a book of short stories, Fifth Sunday (1985); the novel Through the Ivory Gate (1992); essays under the title The Poet’s World (1995);

and the play The Darker Face of the Earth, which had its world premiere in 1996 at the Oregon Shakespeare Festival and was subsequently produced at the Kennedy Center in Washington, D.C., the Royal National Theatre in London, and in many

other venues. In addition to poetry and f iction, Ms. Dove has written lyrics for composers ranging from Tania León to John Williams.

Currently Ms. Dove ser ves as poetry editor of The New York Times Magazine, and holds the chair of Commonwealth Professor of English at the University of Virginia in Charlottesville where she lives with her husband, the writer Fred Viebahn. people.virginia.edu/~rfd4b/

blue jay Lana Lambert

preading t look back, . ght, LANA LAMBERT

Lana Lambert is an illustrator and printmaker who works in the

Charlottesville area. She grew up in Nelson County and received her

bachelor of f ine arts degree from the Corcoran College of Art and Design of Washington, DC.

“Mrs. Dove’s poem ignites in me excitement for the potential of the future and at the same time nostalgia for the past. I referenced memories of breakfast that

my grandmother used to make and also the feeling of comfort found in the local diners here in Charlottesville.” lanalambert.com

DAWN REVISITED relief print 11” x 15” 2019

PERSIMMONS embroider y, watercolor on canvas 14. 5” x 14. 5” 2019

K ARINA M O N ROY Karina Monroy is a Chicana mixed media installation artist born and raised in Southern California, now living in Charlottesville, VA. In 2016 she received

her B.A. in art and anthropolog y from the University of California, Santa Cruz.

Karina’s upbringing as a daughter of Mexican immigrants has led her to seek a life and career dedicated to the social justice and representation of Latinx communities.

“Needlework has a dominant presence in my work, as it is often associated with

womanhood and domesticity. The process of working in such forms triggers a feeling

of humbleness, as each imperfect stitch is executed by hand. Patience and attention to

detail are vital ingredients in the production of such work. Bringing attention to these everyday “ domestic” objects makes the viewer question their signif icance. Suddenly a spoon is no longer just a spoon, it is important now, it has a presence. The spoon has power, and by extension, so does the woman.” karinaamonroy.com

A N N A B R YA N T Anna Bryant is an oil painter who works and lives on a farm

in Keswick, Virginia. She paints in the tradition of the PostImpressionists and f inds diverse inspiration in embroidery,

natural patterns, and Japanese block printing. Anna received her BFA from James Madison University and studied

under Philadelphia-based painter Neilson Carlin. She has

exhibited throughout the region and her work is featured in many private collections.

“This piece was painted from a photograph I took in Pungo last August. I love how diverse the Virginia landscape can be, and this spot showcases the salty, late summer light of our state’s

coastal region. The lilies on the water create a rich texture that works well with my patterned style of brushwork. For me, it is a reminder of the peace that comes from our yearly tradition of

leaving behind our beloved mountains and heading east toward the coast.”

annabryantpainting.com

WATER LILIES | PUNGO, VA oil on canvas 16” x 24” 2018

BOAR’S HEAD INN RESIDENCES watercolor BOAR’S HEAD POND L ATE AF TERNOON watercolor

6. 5” x 8. 5” 1999

8” x 10” 1993

WERNER SENSBACH Werner K. Sensbach was born in Mannheim, Germany in 1923. He worked throughout his life in various f ields of artistic endeavor. With professional

degrees from the University of Karlsruhe, Germany, and the University of North Carolina at Chapel Hill, he was an architect for f irms in Germany, Switzerland, and New York. He ser ved as city planner in Columbia, South Carolina, and

Roanoke, Virginia, and as the University of Virginia Campus Architect during its intensive growth period from 1965 until 1991. Werner Sensbach was also Professor of Urban Planning in the School of Architecture.

Werner Sensbach’s work f lows naturally from his interest in the landscape and man-

made environment of the Piedmont Region. The Grounds of the University of Virginia and the City of Charlottes­v ille are the subject of many of his architectural paintings. sensbachgraphicart.com

GRACE HO Grace Ho is a designer and artist raised in Saigon, Vietnam, living in Charlottesville,

Virginia with her husband and t wo dogs. She f inds inspirations in people’s stories and on motorcycle rides.

Boars Come Home captures a sentimental image of the mother boar leading her little

piglet home in the heart of green rolling hills under the Blue Ridge Mountains sunset. @bygraceho

BOARS COME HOME digital illustration 18” x 24” 2019

ORCHARD PINK oil on canvas 30” x 30” 2017 DISTANT BLUE oil on canvas

ISABELLE ABBOT

30” x 30”

Isabelle Abbot investigates place and time in her paintings, usually

the places in and around her native Charlottesville. She received her BA in Studio Art with Distinction from the University of Virginia in 2005 and her MFA from the University of North Carolina at

Greensboro in 2011. She has taught art at the University of Virginia and also been the recipient of awards and fellowships including a Residency at the Virginia Center for Creative Arts in Amherst.

Abbot’s work is in numerous private and public collections and has

been included in signif icant exhibitions with catalogues such as the 2019 “Lady Painters: Inspired by Joan Mitchell ” at Second Street Gallery in Charlottesville.

“Every painting is a question I pose to myself, about the landscape, about

my relationship to my environment, about the specif icities of where I am.

How does this moment feel? How does the atmosphere, the topography,

the light affect me? How can I communicate these sensations honestly and clearly? The answer comes through editing, through paring down and

cutting out extraneous detail to discover what is essential about a place.

All the work begins with direct observation and, by asking and answering questions, grows into a painting that does not illustrate but embodies the qualities of a particular moment in a particular landscape.” @isabelleabbotart.home

2017

JUNE 24, 2006, GREENE COUNT Y watercolor on paper 18” x 21” 20 06 MAY 13, 2006, GREENE COUNT Y watercolor on paper 18” x 21” 20 06 from the RHS Gold medal “10 Walks in Virginia”

LARA CALL GASTINGER Lara Call Gastinger is a botanical artist and illustrator in Central Virginia.

She is the chief illustrator for the Flora of Virginia Project and a t wo time gold medalist at the Royal Horticultural Society Botanical Art Shows in London (2007, 2018).

The subjects of her art come from the natural world and her art reveals

detailed evidence of change, decay, and processes that occur in nature. She f inds great inspiration in a carrot that has gone to f lower, a broken seed

pod, t wisted roots or insect damage to a leaf. She strives to make a plant

portrait in such a way that it reveals its character and uniqueness. Her focus credit : Sarah Cramer Shields

is on the small details in nature, down to the small venations in leaves

which hopefully inspires others to look a bit deeper and pause a bit longer. laracallgastinger.com · @laragastinger

BOAR’S HEAD oil on canvas

C AT E W E S T Z A H L

24” x 60” 2019

Cate West Zahl is a painter working in Charlottesville, Virginia, where she lives with her husband and three sons. She f irst studied studio art

under Lee Newman at the Holton-Arms school, and then went on to earn her BA in Fine Arts from Hamilton College. Her academic training was based in the technical study of life, a strong foundation from which she could explore more explicit abstraction. Her resulting abstractions are

reminiscent of Richard Diebenkorn’s and push his discoveries in often new and exciting directions. catewestzahl.com

DAV I D W I L S O N H AW K I N S David Wilson Hawkins was born in 1983 in Washington, D.C. He received a BA from Middlebury College (Vermont) and an MFA from The Pennsylvania Academy of the

Fine Arts. He has exhibited his paintings and prints nationally and internationally, in shows from Charlottesville to New York, Washington D.C., New Orleans & London.

His works are held in public and private collections, including the Emily Couric

Cancer Center at the University of Virginia, the University of Louisville, and The Pennsylvania Academy of the Fine Arts. Hawkins currently resides in Virginia.

“The monotype takes its name from a line in T.S. Eliot’s The Wasteland. Most of my titles

come from poems or song lyrics or scraps of writing; the titles may either directly or indirectly (or both) relate to the content of the print or painting. The titles can seem dissociative, and end up being enigmatic and mysterious because of this, but that’s OK, because I don’t want

the viewer’s experience to be yoked to a specif ic title. The medium of dark f ield monotype is both fascinating and perplexing to me because it is only through the removal and sustained absence of one thing that another is brought into being.” davidwilsonhawkins.com

HURRY UP PLEASE , IT ’S TIME monot ype, etching ink on paper 22. 5” x 30” 2017

SAM ABELL Sam Abell learned photography from his father at their home in Sylvania, Ohio. He

graduated with a B.A. in 1969 from the University of Kentucky in Lexington. Abell worked with National Geographic for 33 years as a contract and staff photographer.

He has also lectured on photography and exhibited his images to audiences throughout

the world. In 1990, his work was the subject of a one-person exhibition and monograph titled Stay This Moment at New York City’s International Center of Photography. Since then his book credits include Contemplative Gardens, The Inward Garden, Australia:

Journey Through a Timeless Land, Lewis & Clark: Voyage of Discovery, The Mississippi: River of History and Amazonia. Four additional collections of his work were also

published: Seeing Gardens; Sam Abell: The Photographic Life; The Life of a Photograph and

Sam Abell Library. Sam Abell lives in Albemarle County, Virginia, with his wife Denise credit : Kari Wehrs

where he continues his career as a photographer, writer, and lecturer on photography.

Hedge Bank, Cornwall is from a series Sam Abell created on Britain’s Hedgerows, a

characteristic feature of England ’s landscape for over 1,000 years which are also becoming

increasingly endangered by

development. In Seeing Gardens, Abell writes, “hedgerows hold

both the history and future of the great English countryside garden within their woven branches.” samabell.com HEDGE BANK , CORNWALL colored photograph edition 1 20” x 29. 5”

BIRDWOOD

B R I T TA N Y F A N

acr ylic on canvas 24� x 48�

A native of Blacksburg, VA that now calls Charlottesville

2019

home, Brittany is a graduate of the University of Virginia,

where she studied Studio Art, Art History, and Arts Administration, in addition to completing a Masters in Education. Having a love of all things creative, her practices include painting, photography, illustration, hand lettering, ceramics, and graphic design. Brittany f inds inspiration in the natural world and in the themes of hope, renewal, and community.

Birdwood is a commissioned piece, based off of a historical black & white

photograph taken of the Birdwood property in 1918 by Rufus Holsinger. It

features the elevated view as seen facing south from the top f loor of Birdwood

Mansion, and embodies the timeless beauty and essence of our local landscape. brittanyfan.net

BILL HURLEY black and white photograph 1909 © The Alber t and Shirley Small Special Collections Librar y, Universit y of Virginia

The Holsinger Studio Collection at the Albert & Shirley Small Special Collections Library constitutes a unique photographic record of life in

Charlottesville and Albemarle County, Virginia, from before the turn of the

century through World War I. The collection consists of approximately 9,000 dry-plate glass negatives and 500 celluloid negatives from the commercial studio of Rufus W. Holsinger.

Approximately t wo-thirds of the collection are studio portraits, and among

these are nearly 500 portraits of African-American citizens of Charlottesville and the surrounding area. UVA history professor John Edwin Mason and

Worthy Martin, director of the Institute for Advanced Technolog y in the

Humanities, recently collaborated to bring these portraits to the public. A

number of the nearly 500 photos will be displayed in a series of events funded by an Arts & Sciences Diversity and Inclusion grant.

William “Bill ” Hurley, photographed in 1909, was a liveryman and a long-time

employee of infamous Charlottesville mayor J. Samuel McCue. Hurley testif ied at the mayor’s 1904 murder trial. Here, it appears as though Hurley is holding a lit match, but it’s likely Holsinger added the f lame after the photograph had been taken; the match likely would have burned out before the long exposure had f inished.

Rufus W. Holsinger came to Charlottesville in the late 1880’s to establish a photographic business. His “University Studio” at 719-721 West Main soon

became the leading studio in town. Holsinger was a long-time member of the City Council, president of the Chamber of Commerce, and an organizer and

director of the National Bank of Charlottesville. After his death in 1930, the

studio was owned and operated by his son, Ralph W. Holsinger, Jr., who moved the studio in 1935 to its familiar location at 908 West Main. Upon the son’s

retirement in 1969, the studio passed from the hands of the Holsinger family, and the business ceased operation in 1977.

The Holsinger Studio Collection was acquired in 1978 by the University of

Virginia through generous contributions made by the Alumni Association and an anonymous donor.

small.library.virginia.edu

RU F U S W. H O L S I N G E R

FRANK PHILLIPS Frank P. Phillips has been professionally creating art for over 20 years. He, his wife Meg, daughter Bess, and brood of animals

split time bet ween Alexandria and Charlottesville. In Alexandria, Phillips works at Episcopal High School, where he teaches

Introduction to the Arts, Painting, Drawing, Photography, AP Studio Art, and Art History. He received his BA with High

Honors from Hobart College in 1997 and received his MFA from the Maryland Institute College of Art in 2005.

“ Weight In Sea is a work that evolved over time. Typical to my

process, I work in layers of less and less failed decisions that resolve to

a more clear end result. The history of the practice is seen through edit marks, washes of stacked color, and spaces between abutting shapes.

Whereas the origins of Weight In Sea was a bit darker in mood, the emerging bright colors ultimately settled in to provide the dominant structure.”

frankpphillips.com

WEIGHT IN SEA acr ylic, pencil on canvas 54” x 40” 2018

ANA RENDICH Ana Rendich is an Argentinian-American artist whose

work has been featured in solo and juried exhibitions in

museums and galleries throughout the United States. She

has been included in major publications, and her paintings

can be found in private collections across the United States and internationally. She received her education from the

University del Salvador, Jesuit University, in Buenos Aires,

the Superior Institute of Art of the Teatro Colon in Buenos

Aires, and the National Academy of Design in New York. She lives and works in Spotsylvania, Virginia.

“When I started to create this commission, I needed to f ind a

connection that was deeper than the exterior form, because my

works are created from a ref lective point or in a contemplative frame. In my search to bring something different, bef itting of

such brilliant, and prestigious institution, I went for a walkUNTITLED resin, paint, and glue various sizes 2019

through the University of Virginia and I encountered this moving statement, ‘ This institution will be based on the illimitable freedom of the human mind. For here we are not afraid to

follow truth wherever it may lead, nor to tolerate any error so long as reason is left free to combat it.’ I stayed for a while on Grounds, and the composition started in the self right there.” anarendich.com

A GREATER NET OF INDRA (RAINBOW) oil on canvas 24” x 28” 2017

DAV I D S U M M E R S David Summers is a distinguished and inf luential art historian who could never forsake his f irst love, painting, which he has worked at and exhibited for over

forty years. His many books and articles include Michelangelo and the Language of Art and Real Spaces: World Art History and Rise of Western Modernism. He was elected to the American Academy of Arts and Sciences in 1996.

“My paintings have always been about the activity of light—color, shadow, ref lection and refraction. According to the ancient Eastern idea of the Net of Indra, everything in light communicates with everything else in light. This repeated still life has no

beginning and no end, and its forms display themselves as light, which also engages

light outside the painting, where the viewer stands. The spectral colors of a rainbow are refracted light.”

lydm.co/david-summers

CARRIE

NANCY BASS Nancy Bass’s paintings are inspired by the herd of cattle that she raises on her farm in Central Virginia. The

animals, plants, and insects in her oil paintings reference classical themes from Renaissance paintings, dreams, and fairy tales. The backgrounds in her work are abstracted f ields of colors that ref lect the sensibility of each

painting and the colors of the depicted animals and elements. The juxtaposition of realism against abstraction heightens the viewer’s engagement with the animals and seeks to place these paintings into the contemporary genre of animal painting.

Nancy’s animals become iconic symbols of a world currently examining the humane treatment of farm animals and increasing environmental concerns. Her paintings highlight the beauty of her animals and also seek to engage the viewer with their individuality and humanity. nancybassartist.com

oil on panel 24” x 30” 2016

THE SHAPE OF A MOUNTAIN, THE SHAPE OF A MORNING oil on canvas 40”x60” 2018

SUSAN MCALISTER Born and raised in the Hunt Country of Virginia, Susan McAlister received her BA from Davidson College. She has studied alongside numerous

acclaimed and professional artists including Herb

Jackson and Eric Aho. Her work is in many public and private collections and has been featured in solo and juried shows in galleries and museums

FALL AND THE WILDFLOWERS

throughout the south.

“My work is rooted in a love of land. It speaks to the

oil on canvas 40”x60” 2016

hallowed nature of place and the importance of land ethic.

The patterns and rhythms of nature continually inspire.

Color variations of a grass f ield, shadows on a forest

f loor, shifting light and atmosphere. Increasingly, I seek to combine these visual narratives with the histories of

place. How can we hold the stories of these lands to bring about curiosity, or discomfort or convey new ideas? Past, present and future collide. Imagined combines with real, abstraction with representation.” susanmcalister.com

AWASH oil on canvas 40”x60” 2017

JESSIE COLES Jessie Coles graduated from the University of Virginia with a BA in Studio Art in 1986. After working for years as a children’s librarian and starting a family, she returned to painting full time in 2001. Jessie paints large, abstracted still

lifes characterized by rich layering of strong colors. She shows her work widely in Central Virginia and is a member of the McGuffey Art Center.

“Energy and movement are the real subject of my still life paintings. In setting up a

still life, I look for an initial gestural path connecting the objects in the painting. Over

repeated painting sessions, new and unexpected paths emerge. The constant rethinking of what connections to emphasize and which to let recede puts a tension into play. Things

grow, shrink and get shifted right and left and the residue of these changes add unexpected rhythms to the paintings. Similarly, over time the interaction of color appears to change in timbre. As these changes are documented, unexpected colors knock against each other

creating an energy and excitement I never could have predicted. The resulting paintings

are more expressive than accurate, less about a moment glimpsed than about a duration of time and a multiplicity of observations.” jessiecolespainting.weebly.com

CABBAGE AND CUPS acr ylic on canvas 36” x 42” 2017

ANNIE HARRIS MASSIE Born in Charlottesville and currently residing in Lynchburg with her husband Alex Winstead, Annie Harris Massie has a Bachelor of Arts in Studio Art from Hollins College and a Masters in Art History from Virginia Commonwealth

University. Her work is held in numerous private and public collections including the Federal Reser ve Bank and Capital One in Richmond; the Bank of the James in Lynchburg;

Martha Jefferson Hospital and the Emily Couric Cancer

Center in Charlottesville. In addition to her full time painting career, Massie founded McKinnon and Harris, Inc. with her

brother, William McKinnon Massie, Jr., to manufacture their original designs of furniture for the landscape.

“My work is drawn from my experience of the natural world. In

my landscape paintings, I want to capture the unique character of a place, time of day, season, through a particular quality of light and shape. The ephemeral, transitory effects of light in the landscape are more interesting to me than tangible subject matter such as

trees, f ields, etc. The paintings may appear to have been created by an economy of means, but closer examination reveals that the

work is the result of an editing process often with multiple layers painted in an attempt to reduce and distill subject matter to the FL AT TENING INTO BEDFORD COUNT Y, EARLY FALL oil on canvas 72” x 48” 2018

essentials. An awareness of the materiality of paint, its weight and plasticity, is interesting to me as a counterpoint to f luctuating and ethereal light.”

lydm.co/annie-harris-massie

credit : Ruf us Holsinger, 1915 (cour tes y Alber t & Shirley Small Special Collections Librar y)

GEORGIA O’KEEFFE Recognized as a pioneer of American modernism, Georgia Totto

O’Keeffe is best known for her paintings of enlarged f lowers, New

York skyscrapers, and New Mexico landscapes. O’Keeffe studied at the

University of Virginia every summer from 1912 to 1916, taking courses designed for art teachers and teaching some classes of her own. While

in Charlottesville, O’Keeffe displayed an early attraction to modernism and abstraction, using her surroundings on the Grounds of UVA to

investigate simplif ied and ref ined compositions. During her time at UVA, O’Keeffe showed a dramatic shift to the ideas of modernism

when in 1912 she was introduced to the revolutionary ideas of Arthur FL AT TENING INTO BEDFORD COUNT Y, EARLY FALL oil on canvas 72” x 48” 2018

Wesley Dow. Dow encouraged imagination and self-expression versus literal interpretation. In 1985 O’Keeffe earned the National Medal of

Arts for her contribution to American culture. She died in Santa Fe, on March 6, 1986, at the age of 98.

okeeffemuseum.org

SOMÉ LOUIS Somé Louis is a Charlottesville-based artist with an interest in drawing, print, and paper. Her works frequently encompass the natural world, the practice of collecting, and the artistic representation of ordinary obser vations.

Summer Drawing Exercise 1 and 2 are t wo works in her ongoing drawing

series for the summer of 2019, which is concerned with drawing as a means of obser vation and memory creation during the long summer days. @soma.lou

SUMMER DRAWING EXERCISE 01 AND 02 ink on paper 7 ” x 9” 2019

FLOODLIGHT acr ylic on canvas 30” x 24” 2018

SAR AH BOY TS YO D E R Sarah Boyts Yoder is a mixed media painter based in Charlottesville, VA. She received an MFA in painting from James Madison

University in 2006. Her work has been featured in numerous

publications and exhibitions throughout the United States including the Virginia Museum of Contemporary Art.

The artist uses cartoonish iconography, occasional text, and collage materials simultaneously, creating a complex and textured painterly surface. Situated squarely in the realm of painterly abstraction, her

works demonstrate the creative process as both content and journey.

Listening becomes as important as doing, viewer is invited in as interpreter, and the resulting images are playfully open-ended. sarahboytsyoder.com

(THE ROAD TO) SUMMER TOWERS acr ylic on canvas 30” x 24” 2018

RESOURCES We thank the following organizations for their guidance and collaboration curating this collection:

The Fralin Museum of Art at the University of Virginia 155 Rugby Road, Charlottesville, VA 22903 (434) 924-3592

uva f ra l ina r tmuseum.v irg inia.edu The Kluge-Ruhe Aboriginal Art Collection 400 Worrell Drive, Charlottesville, VA 22911 (434) 244-0234

k luge-r u he.org Les Yeux du Monde Gallery 841 Wolf Trap Road, Charlottesville, VA 22911 (434) 973-5566 lydm.co

New City Arts Initiative Welcome Gallery 114 3rd St. NE, Charlottesville, VA 22902 (434) 202-5277

newcit ya r ts.org UVA Arts 1709 University Ave., Charlottesville, VA 22903 a r ts.v irg inia.edu

Virginia Humanities 145 Ednam Drive, Charlottesville, VA 22903 (434) 924-3296

v irg inia humanit ies.org

Charlottesville, Virginia | BoarsHeadResort.com | (434) 296-2181 Owned and Operated by the UVA Foundation