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Lori Glavin | New Between

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Catalog: ©2017 Lori Glavin Text: ©2017 Patricia Miranda Photography: Patrick Vingo Design: Susan Leggitt, Leggitt Associates Published for the exhibition Lori Glavin | New Between The George Gallery 50 Bogard Street, Charleston, SC 29403 843-579-7328 georgegalleryart.com cover detail: Aquafir | 2017, oil on canvas, 42”x 56”


Lori Glavin | New Between October 6 – 27, 2017

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At first glance, Lori Glavin’s work appears deceptively casual, with a modesty that belies its confidence and strength. This body of work pairs painted and cut paper collages alongside large-scale oil paintings on canvas. The juxtaposition of hard-edged collages and gestural paintings highlights Glavin’s central painterly concerns, lending the two genres a familial conviviality that might otherwise not be evident. Together they reveal an ongoing artistic dialogue in their penchant for awkward biomorphic shapes, unexpected overlap, crooked line, and masterful tertiary color. Glavin’s facility with design, her ability to embed humor in a mark, and her use of chromatic neutrals in bolstering the complexity of saturated color, makes the works function beyond the merely decorative to an exhaustive investigation of painting languages. 4

Lori Glavin | New Between

Glavin’s painting is indebted to abstract expressionism, to artists such as Joan Mitchell, Grace Hartigan, Perle Fine, and contemporaries like Amy Sillman, whose biting humor and direct design sense she reflects. The paper works draw from more cerebral domains of collage and print, which allows the humor to be sharper, the voice more distinct, while still maintaining the biomorphic nature of the shapes. There’s a toughness in Glavin’s design of invented space, concerns of the domestic are present without pulling the work into sentimentality. While formally abstract, the work feels anthropomorphic, at times even gendered. The collages’ bulbous forms in bubblegum colors sit in a field of white space, all bellies, nipples and protruding stomachs. They strut without concern for decorum, like gleeful, oversized children who have yet to discover a world that will divide them differently. Figurative without


figures, they are emphatic and humorous bodies. They occupy a space of commanding whimsy born of the dexterity of Glavin’s canny artistry. The oil paintings engage in a more formal painterly discourse, they are looser, quieter, less ardent than the playful, hard-edged collages. While still whimsical and with pops of candy color, their softer transitions and gestural marks feel more explicitly feminine, with images inferring domestic environs, ancestral gardens and aerial fields. More landscape than figurative, yet near the collages they present like eccentric aunties, worldly and observant. The mediums communicate differently, the collages in precise autonomous shapes, the oil paint viscous and expressive; the result is an engaging back and forth that maintains autonomy yet brings a freshness to each. The humor of the collages bounces to the oil paintings, while the paintings slow the pace of the collages. Colors are mirrored, shapes flip in scale and appear to jump from one genre to the next, changing just enough to suit the new environment. She anchors the delicate tertiaries with dense saturated shapes; a burst of cadmium orange in a painting becomes a vivid arm shape in a collage, a black elbow in a collage forms a fleshy dark square in a painting. This starts an unexpected banter – we are invited to participate moment to moment in the artist’s private studio deliberations. Glavin peers over her shoulder at art history through a lens of specific domesticity, bringing abstraction as a story without a narrative to an acute sense of color and two-dimensional space. Patricia Miranda, September 2017

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Remains | 2017, oil on canvas, 40” x 50”


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from left: Strong Arms | 2017, oil on paper, 25”x 19” And Then | 2017, oil on paper, 25”x 19”


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from left: Snowballs in August | 2017, oil on paper, 25”x 19” Sugar Coat It For Me | 2017, oil on paper, 25”x 19”


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opposite page: Forget Me Not | 2017, oil on canvas, 48” x 66” from left: Lumpy Bumpy | 2017, monotype with chine collé, 30” x 22” Gotta Dance | 2017, monotype with chine collé, 30” x 22”


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from left: Sinew | 2017, collage on paper, 30” x 22” What Got Dropped | 2017, collage on paper, 30” x 22”


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New Moon | 2017, oil on canvas, 38” x 50”


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Upside | 2017, oil on paper, 38” x 38”


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opposite page: Aquafir | 2017, oil on canvas 42”x 56” from left: Amethyst | 2017, collage on paper, 30” x 22” Quiet Now | 2017, collage on paper, 30” x 22”


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Wishful | 2017, oil on paper, 38”x 50”


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Stage Presence | 2017, oil on canvas, 42” x 56”


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Smokey | 2017, oil on canvas, 48” x 38”


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Cats and Dogs | 2017, oil on canvas, 48” x 60”


Lori Glavin (born Buffalo, NY 1958) is an abstract painter, printmaker and collage artist. Glavin earned her BFA from Syracuse University’s School of Visual and Performing Arts and started her career as a graphic designer and art director in New York City. For the past 20 years she has focused on her fine art practice. In 2007 she co-founded Wilson Avenue Loft Artists, a community of artist studios in Norwalk, CT. She was a Vermont Studio Center grant recipient and resident in 2015. Lori exhibits regularly throughout the Northeast and Southwest and is an artist member at The Silvermine Guild in New Canaan, CT. “My work is inspired by the visual clatter of the mundane places I know best, the domestic environment, or the tilted landscape of my weekend garden. In my home, possessions are stacked and scattered, organized and misplaced, remembered and forgotten. This dichotomy informs and inspires my studio practice. I make piles to gain control and find order in a world of excess data, information and consumer goods. In my work I combine, collect, and sort – layering small bits to make an arrangement of color and shape that becomes a monument to the minutiae of my daily life.” — Lori Glavin

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Glavin catalog singles