Texas Contemporary 2014

Texas Contemporary 2014!

Kathryn Markel Fine Arts!

Regular Fair Hours: Friday, September 5th - Sunday, September 7th, 2014! !

Benefit Preview Reception: Thursday, September 4th at 6:00pm to 7:30pm!

VIP Party: Thursday, September 4th at 7:30pm to 10:00pm !

George R. Brown Convention Center 1001 Avenida De Las Americas Houston, TX 77010

Kathryn Markel Fine Arts!

New York City/Bridgehampton!

Booth # 105!

Rocío Rodriguez!

Rocío Rodriguez's paintings and drawings consist of opposing and divergent forces. She examines the process of painting by taking apart her visual language and then reconstructing it anew from its various parts.! !

In her work she questions the boundaries of abstract and illusionistic space. Her compositions express open narratives that metaphorically suggest a world where nothing is fixed, differences are celebrated, and all is in the process of change. !

Rocío Rodriguez!

Pink Cloud, 2013!

Acrylic and oil on canvas!

84 x 96 inches!

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Rocío Rodriguez, July 25, 2013, 2013 Acrylic on wood " " " "" 16 x 20 inches

Rocío Rodriguez, September 22, 2013, 2013 Acrylic on wood 16 x 20 inches

Rocío Rodriguez, !

September 23, 2013, 2013!

Acrylic on wood !

16 x 20 inches!

Marilla Palmer! !

Marilla Palmer’s faux botanical studies are derived directly from shadows of handheld twigs and branches, and incorporate mushroom spores, pressed leaves and natural elements with theatrical embellishments made of sequins, glitter, holographic paper and beads. Her works on paper reflect her overall interest in combining natural elements with fabricated materials. She says her studio “looks like the day after a storm that somehow twirled together deep woods and a burlesque dressing room.”! !

Her mixed media collages humanize her subjects in a way that questions how what one puts on can shift the perception of who or what one is.!

Marilla Palmer!

Scarlet tree of luscious fruit, 2013!

Mixed media on arches paper !

56 x 43 inches!

Don Martiny!

As an artist, Martiny’s focus of inquiry is the gesture. In his own words, his interest “lies in freeing the gesture from the traditional, rectangular shaped support and exploring its potential.” His goal is to create work that encourages a dialogue within the architectural space where it resides. The energy in the work is not inwardly, but outwardly directed. The works are created on the floor; Martiny uses brooms as brushes to manipulate the “paint,” which is actually polymer mixed with pigment, resulting in the appearance of enlarged impasto brushstrokes.!

Don Martiny !

Cayuse, 2013!

Polymer and pigment !

56 x 31 inches!

Don Martiny !

Kaiwa, 2013!

Polymer and pigment !

16 x 14 inches! Â

Christian Haub!

Christian Haub’s floats consist of dancing stripes of colored light made with the most mundane of materials – strips of acrylic – opaque, transparent, and fluorescent. He exploits ambient light and the innate properties of the dyes to create floating layers of color. The colorful shadows and layers play off of the walls and each other, creating an ethereal experience despite the architectural structures.!

Christian Haub!

Float for Juan Gris, 2014!

Cast acrylic !

36 x 36 x 3½ inches!

Deborah Zlotsky!

“I draw and paint...to enjoy the unraveling of finding out what happens. When I begin a work, I start with something both accidental and familiar — a few colors, a few shapes or smears, a memory of a tangled pile of laundry or the movement of sunlight through my grandmother’s apartment. These initial colors and shapes begin a process of discovering unintended proximities and relationships, of finding logic and meaning in the unique situation that emerges. Accidents repeatedly redirect me, blurring my understanding of the difference between accident and intention...Eventually, the confusion of relationships slipping out of balance begins to create new structures and forms. These shifts and accumulations become a way for me to respond to the necessity of change, and the beauty and complexity of living. As I work, my process both brings me closer to and gives me distance from the friction between intention and coincidence, subtle forces which shape my understanding of being in the world.”!

Deborah Zlotsky!

Everything must go, 2012!

Oil on canvas!

60 x 48 inches!

Deborah Zlotsky!

On the tuffet, 2012!

Oil on canvas!

24 x 20 inches! Â

Deborah Zlotsky!

Situation, Two, 2013!

Oil on canvas!

30 x 30 inches! Â

Paul Behnke!

Using hi key colors, usually straight from the jar, Paul Behnke reveals shapes that purposely compete for their place on the canvas. He aims to facilitate a sense of spontaneity, intuition and recklessness. His work is process-oriented; he prefers to work out the composition on the canvas with layers of translucent color rather than doing preliminary sketches. He says about his working method, “The work is finished when I have run out of viable options, when no more choices are left. Before the end is reached, any approach is fair game.”!

Paul Behnke!

Robert Taylor’s Helmet, 2013!

Acrylic on canvas!

48 x 50 inches!

Paul Behnke!

Yellow Hilt, 2013!

Acrylic on canvas!

18 x 18 inches! Â

Paul Behnke!

Silver Block, 2013!

Acrylic on canvas!

14 x 13 inches! Â

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