Greely Myatt | and

greely myatt

2014

greely

myatt

2014 having said that - David Lusk Gallery-Nashville, Apr Not Again?! - Masur Museum of Art, Monroe, LA, Jul - Oct and - David Lusk Gallery-Memphis, Sep - Oct Left with this Myth: The Art of Greely Myatt - Cedarhurst Center for the Arts, Mount Vernon, IL, Nov - Jan

R

emember yearbooks – the documenting an entire year of school? This yearbook shows the annual creativity of one very productive and busy individual: Greely Myatt.

Start out viewing his April 2014 inaugural solo exhibition at DLG-Nashville. Turn a few pages and you will see his solo fall 2014 exhibition at the Masur. Then flip to his current solo turn at DLG-Memphis. And finally, wrapping up the calendar year, is his upcoming solo exhibition at Cedarhurst.

In addition to those solo shows, the new Memphis Botanic Gardens sculpture garden acquired a major piece, he is at work on the huge Memphis UrbanArt Commission park project, he is creating an installation for the Memphis Dixon Gallery & Garden’s grand lobby during their Rodin sculpture exhibition (think: The Thinker), and he floated his Pie in the Sky above the Martos Gallery’s annual summer exhibition on Long Island.

This year Greely has made a bunch of art, punched hundreds of holes in museum and gallery walls, loaded up a fleet of trucks, and put a lot of miles on the freeways. He’s also made many people pause, remember, consider, smile and laugh.

Please take a moment and flip through the Greely Myatt 2014 artwork annual. The only thing missing is his portrait.

David Lusk Sep 2014

apr DLG Nashville

having said that

Impossible Object (arch)

Untitled Page (Hagar)

Untitled Page (Beetle Bailey)

ReTreat

Orbit

Oh $#*t

Red Balloons

Not a Table

Mark of Excellence (GM-C/GM)

jul-oct summer 2014 Masur Museum of Art Masur Art Museum

Not Again?!

plateaus platit Plateaus of Platitudes, installation shot

s of tudes G

reely Myatt was born in Mississippi in 1952. Many of his earliest experiences with art were intuitive, improvised with everyday materials, and well outside the auspices of an educational institution. These formative experiences continue to drive his art-making approach. Currently, he lives in Memphis where he maintains his studio and teaches at The University of Memphis. Myatt holds an MFA from the University of Mississippi, Oxford, and a BFA from Delta State University, Cleveland, Mississippi.

In a way Not Again?! is a homecoming for Greely Myatt. The second solo exhibition of his career took place at the Masur in 1979. Since then he and the Masur have grown a great deal. Not Again?! is also a fitting metaphor for thinking about Myatt’s studio practice because he is interested in the cyclical nature of life and symbols. This is most evident in the way he gives found objects and well-worn cultural cues new life while making art. For example, his subject matter varies from a painstakingly realistic sculpture of an ice cream cone dropped mid-lick to an esoteric examination of how the Underground Railroad supposedly used quilt patterns to communicate in code. As a result, viewing this exhibition is like life itself and runs the gamut from humor to tragedy, sometimes simultaneously (if you like ice cream). Specific subject matter aside, Myatt is most interested in communication as a theme within his work and as a result much of his art is constructed like an author writes a sentence. In a sense, his materials provide a vocabulary and the means of fabrication becomes the punctuation Dammit holding his work together, giving it a particular emphasis or sensibility. With this in mind, the titles he chooses often convey specific ideas about a work of art’s intended meaning, but as with most things, it is up for debate. When different elements of a particular work of art are examined, things can change.

Myatt created seven works of art with his exhibition at the Masur Museum of Art in mind. Plateaus of Platitudes, an installation occupying our Lower North Gallery, figures most prominently among them. Composed of a stepped grid of tables in a variety of sizes, colors, finishes, and styles he purchased or found in Memphis, Tennessee, Myatt cut from each table a silhouette of a word bubble reminiscent of comic strips. The pieces of

Plateaus of Platitudes

tabletops that were removed are, with one exception for a formal sense of balance, arrayed on the north and west facing walls as though a mighty wind blew in from the southeast and scattered them. We chose to hang them in a scattered or salon style because our ceilings are too low to display the word bubbles in a grid mirroring that of the tables: a grid more like their comic book source material.

Myatt included me in every stage of the creation of Plateaus of Platitudes, discussing everything from its formal configuration to its relation to the overall budget. Thus commissioning this new work for display was communication heavy and dependent on the context of its creation. Myatt likened it to a quasi-scientific drawing by Carl Andre representing a graph with three vectors controlling the outcome of a work of art. One vector represents an artist’s talent, another the materials and venue being used, and the third the economic resources available. Plateaus of Platitudes is a perfect example of these characteristics coming together to create an excellent work of art, especially the use of domestic looking tables in a museum that used to be a home.

“...his materials provide a vocabulary and the means of fabrication becomes the

punctuation

holding his work together, giving it

a particular emphasis or sensibility.”

The context in which Plateaus of Platitudes was created informs how it is thought of. It is a work of art created for display in a museum and best professional practices require I interpret it with the end goal of proving its worth and explaining it to visitors. This is especially fitting considering the central role of communication within Myatt’s work.

Rather than immediately delving into the history of art, I think it would be more fruitful to begin by explaining how one might experience and interpret Plateaus of Platitudes’ formal attributes. Jumbled into a loose order that balances the formal characteristics of comic books and the free form way Myatt acquired them, the group of tables mirrors how memories are made and prioritized to create a sort of master narrative in an individual’s mind.

Plateaus of Platitudes’ blank word bubbles do not necessarily deliver an ostensible message, but they communicate a sense of narrative nonetheless. By providing a wide variety of tables and a sense that viewers ought to be talking about something, Myatt uses the recognizable form of well-used tables to create a sense of familiarity. This sense of familiarity is apt to stir up memories in viewers and these memories are apt to be driven by a personal narrative.

Rather than provide a master narrative with his work using specific words in the bubbles, Myatt marries his forms with implied memories to create a sense of a story that should be shared.1 In other words, Plateaus of Platitudes provides cues to draw viewers in, creating an empathic link to the work that prompts openness and discourse. Eliciting empathy is Plateaus of Platitudes, detail important to all of Myatt’s work because it builds a sense of community based on shared experience that leaves room for delineation within that experience.2 This is important to understand as it is the driving force behind much of Myatt’s work and reveals a platitude or truism: individual experiences can be similar, but cannot be homogenous.

My initial response to Plateaus of Platitudes was one of delight and pleasure, because, I think, of the way the work is driven by that sense of empathy. My engagement with platitudes themselves, and the likelihood Myatt knew any interpretation of his work would eventually utilize them, makes Plateaus of Platitudes a critique of individuals and institutions who would presuppose, even with the best of intentions, to impose a limiting interpretation on a work of art or pin down an artist’s exact objectives. The only recourse in this situation is for my work with Plateaus of Platitudes to mimic its stepped appearance and provide as multi-layered an engagement with this work of art as space permits.

While installing Not Again?! in the Masur, I had an opportunity to interview Myatt regarding his studio practice and influences. One artist he admires greatly is the Post-Minimalist, Bill Bollinger, whose use of readily available commercial materials appeals to Myatt because they are ubiquitous, broadly understood by his audience, and can be easily altered if needed. This idea is in keeping with Myatt’s deliberate use of familiar found objects in much of his practice. In his own words, “using vernacular objects lets me take things I see in the landscape that are not art and twist them into art.”3 Their interest in materials is an invitation to explore a space and experience the nature of the materials used. The fact that Bollinger’s and Myatt’s work share a common interest in materials is fitting in the context of this essay because Bollinger and other artists shown at the Whitney Museum of American Art in 1971 were accused of using found and mass-produced materials as a protest against their generation’s inability to effect societal change for lack of authority. In an article in Art Education, the critic Cindy Nemser said artists at the time purposefully continued to reject traditional visual strategies as artists in the early twentieth century had, but for the sole sake of being unpredictable and seeing how far they could push the art establishment.4 While Nemser failed to present any hard evidence of this phenomenon, it seems that being unpredictable and making uncomfortable work as protest is an effective and coherent aesthetic platform, just one she did not agree with. Today Myatt works in a similar vein, but using familiar forms and their implied humorous content, i.e., comic strips, to create an air of open discourse, perhaps to question the value of communication in a climate that is exponentially more saturated with information than Bollinger could have imagined in 1971.

A final set of references will round out Myatt’s art historical context: the manner in which he works is related to Marcel Duchamp and Pop artists like Roy Lichtenstein and Andy Warhol, all of whom used irony to evaluate the importance and art status of what they made. As a group they used mass-produced objects, found objects, facsimiles of mass-produced objects, and pop culture images as source material. Their work undermined the concept that art accurately reflects reality, and challenged what materials and subject matter constituted art. Simply put, they used playful indifference to ask, “What is art?” while also showcasing popular culture and mass-produced objects as important parts of their milieu.5 I hope I have provided a sense of Myatt’s work without spoiling it with rambling scholarship centered on the specious and hollow nature of how our society copes with ideas. His work is to be enjoyed intuitively first and foremost. While such a summary is certainly a platitude, a thing to be avoided, it is what his work demands. My own engagement with Plateaus of Platitudes then is a cautionary tale and critical engagement with the human drive to package information into over-simplified and easily consumed little morsels.6

Benjamin M. Hickey Curator of Collections & Exhibitions

Mieke Bal, “Narrative Inside Out: Louise Bourgeois’ Spider as Theorteical Object,” Oxford Art Journal Vol. 22, No. 2 (1999).

2 Amy Coplan, “Empathic Engagement with Narrative Fictions,” The Journal of Aesthetics and Art Criticism Vol. 62, No. 2 (Spring 2004).

3 Greely Myatt, interview with the artist, 1 Jul. 2o14.

4 Cindy Nemser, “An Art of Frustration,” Art Education Vol. 24, No. 2 (Feb. 1971).

5 For more information about Duchamp as progenitor of many of these concepts see Thomas McEvilley, Sculpture in the Age of Doubt (New York: Allworth Press, 1999).

6 For more information about the difficulties commonly associated with interpreting art, see Susan Sontag, Against Interpretation (New York: Farrar, Straus & Giroux, 1966).

1

Verb

Four Corners

Here I...

Dammit

Tumbleweed

Snake Oil

roomrug

Tumbling Blocks

Juggler

A Brief History...

DRain

sep-oct DLG Memphis

and

Marks

Plank

Delta Blue

LALA

Weathervane: ?

Weathervane: !

Big ReDot

Small Town Talk

?/!

air

play I

n Greely Myatt’s current exhibits, and and Not Again?!, air makes its debut in the lexicon of the artist’s sculptural components that include steel, aluminum, stone, wood, mirrors, plaster, fluorescent lights, reclaimed metal and wooden signs, used light bulbs and neon signs, broom handles, soap and a variety of found domestic objects, outdoor implements and cast offs that catch Myatt’s eye and fit in his truck. All of them represent solid stuff, unlike air, the gaseous substance that wraps Earth in its life-sustaining blanket.

Don’t all 3D art works incorporate air? Well, no. Air is not space. Space, as in “negative space,” the open area within and around the material, is essential to the understanding of sculpture as three-dimensional form. All sculpture is inevitably in dialog with the space it inhabits. After World War II, among global artists who were engaged with the properties of materials, air became a kinetic and volumetric sculptural element in inflatable plastic forms, bubble machines, electric- fan-lofted silk, billowing forced air environments, condensation boxes and other manifestations. A 1968 traveling exhibition entitled Air Art assembled a selection of 10 international artists including Hans Haacke, Les Levine, Robert Morris, David Medalla and Andy Warhol.

Myatt, an astute student of Minimalism, Post-Minimalism and their international counterparts Zero and Nouveau Realism, among other movements, has wittily reprised Air Art, notably in his 2007 piece The Blind Leading The Blind in which a plugged-in electric fan activates a facing, but unplugged fan, by the force of air, and A Brief History of Modern Sculpture 1995-2014, a Medalla-inspired work of a continuously rising and slumping soap bubble column pumped from the interior of a rectangular pedestal.

Air is not listed as an ingredient in these works.

The Blind Leading the Blind, 2008, electric fans, electricity, installation view at NP40, Amsterdam, the Netherlands

All of Myatt’s new air pieces consist wholly or in part of wordless dialog and thought clouds, bubbles or balloons derived from cartoon or comic book imagery, and all are essentially outline drawings in steel. The earliest of these, like Untitled Page (Beetle Bailey) are modified grids extended from the wall to a parallel plane by thin steel supports. The works’ shadows energize the volume between the cartoon grid and the wall. In a conscious effort to capture more dimensionality, Myatt combined several pages into a giant free-standing open book, Verb, and subsequently freed clouds and bubbles from the grid and combined, like Tumbleweed or stretched them, as in Snake Oil into fully 3D sculptures. Regardless of their spatial behavior, Myatt names air as a primary material. What part does air play that is unique to this body of his art?

A productive approach to Myatt’s art is through examination of the language he uses. In some cases, word works are materialized in the linear pastiches of salvaged signs, like the title pieces of both current exhibits. The one for and, constructed of two robustly glowing red lower-case neon letters, “a” and “n”, and a clumsily illuminated and puny lower-case “d”, is wickedly ambiguous. In English usage, the article “an” replaces “a” before nouns or noun phrases that begin with a vowel sound to indicate a single example from a class of things. And is a conjunction that links any two things. As many writers about his work have observed, Myatt’s art always celebrates multiplicity and ambiguity and promotes light-bulb moments of insight.

Myatt does not confuse his air with space, and he is not following his predecessors’ kinetic and pneumatic experiments.

Like all substances used to make sculpture, air is a noun, but like steel, plaster and stone and unlike wood, aluminum and electricity, it is also a verb. The “air” in the air works is located in the dialog and thought clouds, bubbles, balloons. Verbs are either passive or active indicating states of being or action. In Untitled Page (Beetle Bailey) we see small active dialog balloons within big passive thought bubbles, and in Verb we are visually inundated by the restless, overlapping pages and competing shadows of zappy anger bubbles and arrows.

As a verb, air means to express, to ventilate, to display. In these works, air is more verb than noun. This is the air that we breathe, but it is also the airing of ideas, commands, queries, complaints, pleasantries, banalities and exasperation. We can visualize the conversations, and we animate the dialog by shifting ourselves relative to the steel outlines and their cast shadows. We see dialogs and monologs. We see assertiveness, passivity or equality. Without knowing the words being aired, we are able to contemplate the content of conversations, while we know from experience that, like the play of steel and shadows, spoken words are as shape shifting and evanescent as clouds, vulnerable to misstatement, misinterpretation and oblivion. Blank, but with endless potential for meaning, the airy clouds or balloons represent limitless, fertile ambiguity.

The two exhibitions, as is appropriate to the distinction between museum and gallery, have different scopes. Not Again ?! encompasses a broader sweep of Myatt’s career in time and type than and, which intrduces the artist’s latest work. As the title implies, Not Again?! is a returnengagement that attempts to leap across the chasm between 1979 and a few months ago. A mere four pieces from the 1990s strive to provide context for 16 works from the last four years. Of these, the most important is roomrug (1999), four quarter sections of oval braided rugs made of broom handles, each bounded by right-angled mirrors. Arranged in a rectangle to multiply reflections, the rugs spread into infinity the reach of pop Americana, an affectionate, but tongue-in-cheek Myatt specialty. Also included among the retrospective works is A Brief History of Modern Sculpture, mentioned above, a knowing wink at Modern and Post-Modern art.

A more recent history of Modern sculpture greets you in the entry hall of the Masur Museum. Here I… (2014) is the conjunction of stacked faux featherweight (cast aluminum) dinged and nibbled styrofoam cups and ponderous slabs of limestone. Combined, they can be seen as the marriage of a low-rent knockoff of Brancusi’s elegant polished brass (over cast iron) Endless Column to a reprise of Carl Andre’s Minimalist sculptures consisting of precisely cut, but otherwise raw stone. Unlike the Brancusi original, which visibly stops, Myatt’s column one-ups the master’s, by soaring out of sight before ending rather unceremoniously in the second floor stairwell.

The illusion of infinity is a trope of Myatt’s recent work. Based on his homey quilts made of recycled metal signs in authentic traditional patterns that are not otherwise represented in the show, Tumbling Blocks (2014) is a daring pole vault away from tangible sculpture into light installation. While roomrug creates the illusion of infinite lateral extension, the broomsticks and mirrors are concrete, and the illusion is self-revealing. The rug of Tumbling Blocks is immaterial, evanescent and its production is mysterious. The outlines of the tumbling block quilt pattern are laser cut into a sheet of aluminum that is suspended across and completely obscures a large opening in the ceiling that normally lets natural light from the floor above into the lower gallery. Lamps installed out of sight on the second floor above the aluminum sheet project the pattern onto the polished floor of the darkened room below, which reflects back onto aluminum panels in the ceiling, creating a magical spatial conundrum.

Beam, studio shot

The three versions, cutout, projected and reflected, have different intensities of light, but none is experienced as more real or explicable than the others.

Plateaus of Platitudes (2014), as well as four of the steel and air pieces discussed above, return the exhibition Not Again?! to comic books and wordless dialog balloons.

This installation consists of 14 small vintage household tables of different heights, colors and functions arranged approximately according to height in a casual grid that resembles comic book cells. The top surface of each table is cut out to liberate solid shapes of one or two dialog balloons suggesting that tables are common sites for the inconsequential exchanges that characterize routine communication. The excised areas displayed on the walls reverse positive and negative components.

The exhibition and, aside from the title piece, consists entirely of recent wordless dialog and thought cloud works plus punctuation symbols—quotation marks, question marks and exclamation marks used abundantly in cartoons as shorthand for words or thoughts. Three cloud pieces wordlessly demonstrate mysteries of visual perception, and two provide tangible alternatives to Tumbling Blocks in converting dialogue balloon patterned quilts into floor pieces. In Small Town Talk (2012) and LALA (2014) like “Plateaus of Platitudes,” Myatt creates dialog balloons from recycled household tables.

Small Town Talk, projecting from the wall with the top parallel to the wall, anticipates the Beam, installation shot steel and air cartoon drawings of 2014. LALA consists of three nesting tables.

The largest and smallest of these support works on paper with whited-out images surmounted by long sausage-shaped dialog balloons, one with no words, the other with LALALALALALALALALALALALA, etc., reminiscent of the sound impertinent kids make while plugging their ears to mute unwelcome speech. The top of the middle table is almost entirely cut away, leaving only an elongated dialog bubble with two tails. The void parts of the excised section and the tabletop are both filled in with beeswax, recalling another familiar childhood taunt.

“Will globalization denature Myatt’s unique humor? Where there is

native wit, there is a way to make people smile.”

Three pieces, Big ReDot, Orbit and Beam (all 2014) are made of steel, wax and air. Big ReDot is one of four pieces where clouds or balloons wordlessly discuss matters of visual perception in which the mind’s eye combines fragments into complete forms, but it is the only one that is a steel drawing, the only one made of air. Orbit is a steel drawing of four elliptical dialog balloons, each with part of a perceived independent lozenge of pale golden wax, and Beam is a stack of three dialog balloons graduated in size linked and conceptually illuminated by parallel rays of the same translucent wax.

I have occasionally wondered if Ai Wei Wei would understand Myatt’s work, which though fluent in the language of international modern and contemporary art, has relied for its humor on the resonant twang of American vernacular culture vested in found materials. Looking at these current shows and the vocabulary of Myatt’s recent work, we can observe a tendency toward universal concepts expressed through forms and materials that may have been collected locally, but might as easily be found on another continent. More significantly, intangible “materials” like air and light open Myatt’s structures to expanded possibilities for personal and imaginative interpretation. Will globalization denature Myatt’s unique humor? Where there is native wit, there is a way to make people smile. For the moment, comics provide Myatt with globally accessible literal and conceptual framework for “airing” an infinity of attitudes and ideas.

Leslie Luebbers, PhD Director, Art Museum of the University of Memphis

Beam

Here Now

Marks

nov Cedarhurst

Verb

Untitled Page (Beetle Bailey)

Drawing for Plateaus of Platitudes

Tumbleweed

Snake Oil

having said that - David Lusk Gallery-Nashville, Apr

having said that, 2014, reclaimed signage, plastic & metal, 38x95x7” Impossible Object (arch), 2014, steel, concrete & glass, 144x80x33” Untitled Page (Hagar), 2011, painted & polished steel & air, 73x53x3” Untitled Page (Beetle Bailey), 2011, painted & polished steel & air, 73x53x3” ReTreat, 2014, cookie tins, 108x84x12” Orbit, 2014, steel, wax & air, 84x124x82” Oh $#*t, 2014, reclaimed shop tabletop, wax & aluminum, 23x115x7” Red Balloons, 2012, cabinet door & wax, 17x12x9” Not a Table, 2012, cut table, wood & air, 40x63x40” Mark of Excellence (GM-C/GM), 2014, cut tin roof, electricity, sunlight & shed, dimensions vary Mark of Excellence (GM-C/GM), 2014, two parts: ink on napkin and digital print, each framed, 5.5x8.5” Verb, 2012, steel & air, 92x44x53” Tumbleweed, 2014, steel & air, 30x30x30”

Not Again?! - Masur Museum of Art, Monroe, LA, Jul - Oct not again?!, 2014, found signs & wood, walnut, florescent light, electricity, 12x45x12” Plateaus of Platitudes, 2014, reclaimed tables, room: 9x19x22’ Verb, 2012, steel & air, 92x44x53” Four Corners, 2014, reclaimed wood & steel, 64x80x7” Here I..., 2014, cast aluminum, 156x33x13” dammit, 2014, plaster & walnut, 7x6x3” Tumbleweed, 2014, steel & air, 30x30x30” Snake Oil, 2014, steel & air, 84x124x82” roomrug, 1999/2014, broom handles, mirrors, 28x120x120”, room: 9x15x21’ Tumbling Blocks, 2014, aluminum, light, floor, room: 9x33x21’ Juggler, 1996, straightjacket, bronze, 48x86x4” A Brief History..., 1997-2014, water, soap, painted wood, pump, electricity, 56x12x12” DRain, 1991, oil, wood, and artificial bird, 84x14x10” Tumbling Dialogue, 2011, relief print with collagraphy, 60x48” Reoccuring Storm, 2011, relief print with collagraphy, 60x48” Word, 2011, relief print & etching with chine colle, 20x30” Another Word, 2011, relief print & etching with chine colle, 20x53” The Last Word, 2011, relief print & etching with chine colle, 20x53”

and - David Lusk Gallery-Memphis, Sep - Oct

and, 2014, reclaimed signage, wood, neon, wire, electric light & electricity, 60x48x7” Marks, 2014, wood, steel & rubberized paint, dimensions vary Plank, 2014, recliamed wood & steel, 78x28x8” Delta Blue, 2014, reclaimed wood & steel, 90x90x7” LALA, 2014, cut nesting tables, acrylic on paper, sketchbook & beeswax, 54x20x45” Weathervane ?, Weathervane !, 2014, rubberized paint & western cedar, 70x6x6” Big ReDot, 2014, steel, wax & air, 90x90x3” Small Town Talk, 2014, cut wooden table, 40x63x40” ?/!, 2014, soapstone & cedar boxes, 7x15x5” Beam, 2014, steel, beeswax & air, 168x120x24” Here, 2014, aluminum, linoleum & wood, 2x72x72” Now, 2014, aluminum, linoleum & wood, 2x72x72”

Left with this Myth: The Art of Greely Myatt - Cedarhurst Center for the Arts, Mount Vernon, IL, Nov - Jan Left with this Myth, 2012, aluminum, steel, found signage and florescent light, 14x102x10” Verb, 2012, steel & air, 92x44x53” Untitled Page (Beetle Bailey), 2011, painted & polished steel & air, 73x53x3” Plateaus of Platitudes, 2014, reclaimed tables, room: 10x50x10’ Tumbleweed, 2014, steel & air, 30x30x30” Snake Oil, 2014, steel & air, 84x124x82”

front cover: and back cover: Pie in the Sky, steel & air

Photography Credit for the Masur Musuem of Art Imaging: Gary Guinigundo

David Lusk Gallery exhibits and sells art created by a talented group of artists – living in the Midsouth and beyond. The artwork at DLG defines the creative spirit, diversity and excitement of our region.

DLG originally opened its doors in 1995 in Memphis with a commitment to exhibiting art that is well crafted, always intriguing, sometimes meditative and frequently thought provoking. DLG’s unique program and vision have made it a recognized destination for what is current and important in art of the Southeastern US. The Gallery is located in the heart of East Memphis, at Laurelwood.

In early 2014 the Gallery opened an outpost in Nashville in the happening Wedgewood/Houston Neighborhood.”

© 2014 David Lusk Gallery. Artist Greely Myatt and the Gallery retain sole copyright to the contributions to this book.

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4540 poplar ave memphis, tn 38117 901 767 3800

516 hagan st nashville, tn 37203 615 780 9990 gallery@davidluskgallery.com

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