Annual Holiday Exhibition
On the Cover Stephanie Rew Final Touches 40 x 20 oil on linen
Red Kimono Series. Oil Paintings By Stephanie Rew 2011 This series of painting depicts a selection of moments that take place as a woman is dressing. The wearing of the kimono has various parts and can become a ritual. I wanted to portray the quiet contemplation that a woman goes through when getting ready for an event or ceremony – whether she is wearing, a wedding dress, kimono or a suit, it is the same process of self evaluation and preparation of the outward appearance that gives a person a sense of security and control. Much like an actor prepares for a role – putting on make up and costume before a performance - a woman takes this time of solitude and self awareness to put on her outward mask. I am interested depicting in the moment where she is still he true self and her guard is still down. ‘Preparation’ and ‘Final Touches’ lets us see a glimpse of these quiet moments a woman has when she is alone with her thoughts. She is reflecting on her appearance and making sure everything is perfect, quelling her nerves before a big event. She has sense of pride in her looks without vanity. The Kimono used in this series of paintings is a Furisode Kimono. This is worn on special occasions by unmarried women, and has typically long sleeves and elaborate embroidery. The colour red is significant to me. It is simply my favourite colour – I have always been drawn to it. You will find it appearing in most of my works. Often seen a sign of danger, I, in turn, find it an empowering colour. Sensual and strong it also is believed to be fortuitous. In Chinese and Japanese cultures red is worn at a wedding as it is seen to be lucky. The kimono is important to my art. I find it brings a sense of structure and design to my paintings. I have long been interested in Japanese Art. There is a unique use of composition to be found in the wood block prints of the Ukiyo-e and wonderful controlled colour palette. This design has been transferred to the print of the kimono – quite often each square panel that makes up the garment has a composition of its own that is designed to be beautifully balanced when seen at all angles. This attention to detail appeals to me. Strong colour and strong lighting are typical of my paintings. I love the theatrical and try to convey a sense of drama whenever I can. My techniques are a combination of alla prima painting finished off with a series of glazes. I look to the Baroque Masters for inspiration and employ some of their techniques with my own.
Annual Holiday Exhibition New Works
Wendt Gallery Tel: 877-936-3838 Email: email@example.com Web: www.wendtgallery.com
The paintings of Glenn Harrington are recognized and collected internationally and have been featured in such publications as American Arts Quarterly, American Art Collector, International Artists Magazine, the covers of American Artist & US Art, New Art International, The New York Times, GQ Japan, and The Philadelphia Inquirer. He has had numerous solo exhibitions in New York, Japan, London, South Carolina and Pennsylvania, and has exhibited at the Norman Rockwell Museum, The Museum of American Illustration, the USGA Museum, The Gibbs Museum, and the Raushenberg Gallery at Edison College, FL.
Glenn Harrington Passage oil on linen 24 x 20 The Yellow Shop oil on linen 36 x 24
Ron Cheek My Days are a Handbreath Oil 24 x 48
Painting realistically is an act of observation and reflection by the artist. Every painting is an expression of the light, space, structure and form that are the grammar and syntax of a language perfectly suited to describing visual experiences. “Here is something beautiful.” says the artist as reporter, as objective witness to the physical world. But realism in painting is more than mere description. Even the most faithful representation is not simply a record of nature, but an impression passed from the eye to the mind to the hand of the artist. Hundreds of decisions, both conscious and unconscious, combine through the artist’s physical manipulation of paint to make every picture unique, elevating it beyond prosaic description into the realm of meditation - a profound and quiet reflection on the physical world around us. This hybrid of depiction and contemplation is the singular strength of realist painting, and is the reason it remains compelling despite technological advancements in image-making. Each painting offers its own combination of how something looks and how it looks to the artist. The Canadian painter Alex Colville has rightly observed that while a photograph is taken, a painting is made. I feel this is an important distinction that lies at the heart of my continued fascination with the painted image.
David Jamieson Ladle and Lemon 12 x 12 Oil on Panel
David Jamieson Green Glass with Cups 20 x 16 Oil on Panel
Seth Garland Artist Statement “My work embraces a collection of influences from the Renaissance to fashion photography. My main aim as an artist is to blur the distinction between my representational goal and the painting as a document of my thought process and decisions. Even though I choose representation to express my ideas, I try not to make the paintings too much about the real world. Instead I like to think they possess a ethereal quality which is why I always include a landscape which intentionally makes placing the context of the sitter ambiguous. Representation and abstraction go hand in hand. In my opinion there is nothing more abstract than a Rembrandt. A cacophony of paint texture, translucent, opaque, syrupy, dry and then you step back and it all makes perfect sense, this is what excites me the most as a painter. My methodology stems from two main areas of interest. The first being hidden geometry, where the compositions are laid out to a strict formula. This underlying structure gives my work a common thread, linking individual pieces like painterly DNA. My second methodology is the technology of the paint. It is the emotive qualities of paint and how it can be manipulated to express a myriad of things which intrigues me. Modern artists have been blessed with recent scientific discoveries into the composition of the paints used by the ‘Old Masters’. It is this area of my work which dominates my every waking thought. I used to be obsessed about how paint was applied such as impressionism, expressionism but it dawned on me that to create something new I had to reinvent oil paint itself. To go back and explore what made the old masters possess such magic. For so long I had been working with what I liken to a piano with only one key, and note by note I am adding more emotional texture. My studies are documents of this exploration.”
Blue Sunset Blue Sunset Oil & Tempera on Oil & Tempera on Panel Panel 16 x 12 16 x 12
Seth Garland Halcyon Drift 20 x 38 oil & tempera on panel
Eric Wert Roses 12 x 16 oil on panel
“Most of the flowers and plants that appear in these paintings are fairly common. They are found in the garden department of the hardware store or growing in my lawn. At first glance, these subjects can seem innocuous, but upon closer observation I think they begin to appear otherworldly. Each subject has its own unique characteristics and bizarre peculiarities. I often work from a 4” x 5” transparency photograph and use a magnifying glass to zoom in on every detail. My goal in each painting is to exaggerate the details that I find most interesting. Within those details I create references and associations from sources as diverse as art history, natural history and popular culture. For example, in the painting The Tipping Point, to help give the flesh and rind of the watermelon a sort of topographic appearance I studied landscape paintings by Frederic Church and Pieter Bruegel, as well as photographs of arctic ice floes. Images of forest fires were studied to help make the background fabric seem billowing and smoky. I think of my work as passive-aggressive still lifes: intended to be both sweet and destructive at the same time. They have the components of a traditional still life but the subjects are smashed or upended. This gives a narrative suggestion - the aftermath of a jilted lover or a domestic disturbance. They’re vanitas paintings, not just about the transitory nature of life but of relationships as well. David Lynch meets Martha Stewart, you might say.”
Uzumaki 6x8 oil on panel Perch 12 x 16 oil on panel
German Aracil Rosas de Verano Pastel on Board 55.12 x 43.31 inches Mant贸n y contraluz Pastel on Board 24 x 18
Strawberry Ice Cream oil on masonite 10 x 8
George Gonzalez Lemons on a Pedestal 8 x 10 oil on masonite
Gary Weisman Unasking Whispers Life size Installation 38h x 68w x 26d
JosĂŠ Antonio Sorolla Gallen A Stroll after the Storm 40 x 40 inches oil on canvas
(877) 936-3838 www.wendtgallery.com
Published on Nov 30, 2011