ECHO - LLOYD MARTIN, FRANK PHILLIPS, CAMERON WILSON RITCHER, AND ALAIN VAES

ECHO LLOYD MARTIN FRANK PHILLIPS CAMERON WILSON RITCHER ALAIN VAES

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ECHO a group catalog MARCH 3, 2023 - MARCH 24, 2023

LLOYD MARTIN

ARTISTS FEATURED

FRANK PHILLIPS CAMERON WILSON RITCHER ALAIN VAES

Cover Frank Phillips, NM, 2016 3

ECHO / ekō /

1. a sound or series of sounds caused by the reflection of sound waves from a surface back to the listener.

2. a close parallel or repetition of an idea, feeling, style, or event.

Page Bond Gallery is pleased to present the group catalog ECHO featuring artists: Lloyd Martin, Frank Phillips, Cameron Wilson Ritcher, and Alain Vaës.

As we transitioned to a virtual platform over the past several months, we were able to begin actively engaging online with new artists in and beyond Virginia. ECHO features work from artists new to the gallery in Martin, Phillips, Ritcher, and Vaës.

Throughout their artist statements, each painter describes the power that lies in editing compositions. Martin in his rhythmic arrangement of vibrant color, Phillips in his construction of “blueprint” compositions, Ritcher in his assemblage of found and recycled materials, and Vaës in his meditative creation of pattern paintings.

A focus on color, line, and repetitive form allows the paintings to evoke movement without imposing a concrete narrative.

While the twenty-four artworks range in subject matter and format, they share a framework that references structural organization, rhythm, and architecture. The collection of paintings, while often abstract, remains grounded in the real world and this structural framework allows the works to carry a sense of gravity and cohesion.

“We adore chaos because we love to produce order.”

M.C. Escher

Opposite Page, from left Lloyd Martin, Orange Rift | Frank Phillips, Memo 2 | Alain Vaes, Tunami | Cameron Wilson Ritcher, Tripoley II 4

LLOYD MARTIN Orange Riff, 2016 Oil on canvas 56 x 60 inches INQUIRE 6

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LLOYD MARTIN Folio Weave, 2018 Oil on canvas 54 x 72 inches INQUIRE 8

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LLOYD MARTIN Grey Quad, 2021 Oil on canvas 66 x 72 inches INQUIRE 10

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LLOYD MARTIN Carbon, 2014 Oil on canvas 66 x 72 inches INQUIRE 12

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LLOYD MARTIN Yellow Step, 2015 Oil on canvas 66 x 72 inches INQUIRE 14

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LLOYD MARTIN Folio 8, 2016 Oil on canvas 66 x 72 inches INQUIRE 16

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LLOYD MARTIN Folio 10, 2016 Oil on canvas 54 x 80 inches INQUIRE 18

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LLOYD MARTIN Sheaved, 2017 Oil on canvas 60 x 66 inches INQUIRE 20

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LLOYD MARTIN Artist Statement

These compositions have been derived from observations of architectural incidents.

Unlike the reductionists interests of mid-century, (20th), painting and sculpture, these works do not contemplate an end game, a formal rigor that may suggest innate or static staging. Instead they may exact a capacity for incident and nuance. An implicit pictorial space advanced by a series of organized painting events.

Much of the process explores my ideas about staged “painting events”. Based initially on observations of architecture and nature’s interventions. Relationships evolve through process and compositional commitments. The painting’s components play a role in the evolution of the process as the manipulation of color and some given reductive elements serve the whole. The results of these actions may reveal the unexpected, alternating between some uniform deliberate constructions. The artifice may be breached by the unintended and the accidental. ​

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LLOYD MARTIN Abbreviated CV EDUCATION BFA Rhode Island School of Design, Providence, RI SELECT EXHIBITIONS 2023 Lloyd Martin - William Campbell Contemporary, Fort Worth TX (upcoming) 2020 Monument - K. Oss Gallery, Detroit, MI (Postponed due to Covid 19) 2019 Lloyd Martin - Friesen Gallery Ketchum, Sun Valley Idaho 2019 Lloyd Martin – Incidental Structure William Campbell Contemporary Art,Fort Worth TX 2018 Lloyd Martin Ambit Friesen Gallery Ketchum, Sun Valley Idaho 2017 Lloyd Martin Robishon Gallery Denver, Colorado 2016 Lloyd Martin Cynthia Reeves, Mass MOCA Campus Gallery Lloyd Martin Lew Allen Gallery, Santa Fe, New Mexico 2015 Interval Stux+Haller Gallery New York, NY SELECT COLLECTIONS The Cleveland Museum of Art, Cleveland, OH Museum of Art, Rhode Island School of Design, Providence, RI The Federal Reserve, Washington DC Mead Art Museum, Amherst, MA Bannister Gallery, Rhode Island College, Providence, RI International Collage Center, Milton, PA University Art Museum SUNY, Albany, NY UCLA Medical Center, Los Angeles, CA Fidelity Investments, Smithfield, RI Saks Fifth Avenue, New York, NY The Sovereign, New York, NY MGM Grand, Las Vegas, NV Wellington Management Company, Boston, MA

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FRANK PHILLIPS Memo 2, 2017 Acrylic and pencil on canvas 70 x 52 inches $8,000 INQUIRE 24

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FRANK PHILLIPS Smudge Pot, 2012 Acrylic and graphite on canvas 68 x 62 inches $9,000 INQUIRE 26

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FRANK PHILLIPS Roscoe, 2013 Acrylic and pencil on canvas 62 x 50 inches $7,000 INQUIRE 28

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FRANK PHILLIPS 508, 2014 Acrylic and graphite on canvas 60 x 84 inches $10,000 INQUIRE 30

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FRANK PHILLIPS Mezz, 2019 Acrylic and graphite on paper 22 x 16 inches $1,250 framed INQUIRE 32

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FRANK PHILLIPS NM, 2016 Acrylic and graphite on canvas 76 x 60 inches $9,000 INQUIRE 34

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FRANK PHILLIPS Artist Statement

My work uses a flat plane to convey the visual ideas of construction, mass, and volume. The formally arranged imagery is all invented, but takes cues from architecture and engineering (materials and the structures themselves), as well as the erosion and the decay of perceived ruin. The display of process is an integral component to the work; it tracks the time, mistakes, revisions, and the experience used to arrive to a resolved composition. The end results are pieces that embrace surface and relate the ideas of: the used, the weathered, the discarded, and the beaten. I aim to create a quiet calm to the work that is still able to convey a stoic presence.

At its core, the compositions are about physicality and decision making. The immediacy of drawing and painting allows me to attack spaces on the canvas. The size of the plane forces me to use my entire body; the act of painting, drawing, erasing, and sanding all require a certain balance of touch and force. One idea completion may necessitate removal, thereby initiating another physical activity. As an artist, I need the action, and the work needs to be work; the labor is chronicled in the surface as removed elements are never really gone, only ghosts of the materials’ (pencil, charcoal, and paint) permanence.

Compositions are constructed primarily with line. Line acts as a device for the illusion of suspension as well as enclosing or mapping a shape. There emerges a printmaking look to the surface (at times with embossed marks) achieved through rubbings and other treated materials. Subsequently, the compositions read as a sort of blueprint. The line-play between the “exact” straightedge is offset by the “imperfect” hand and creates a diagrammed visual tension. ​

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FRANK PHILLIPS Abbreviated CV EDUCATION MFA, Maryland Institute College of Art B.A., Hobart College, (High Honors) SELECT EXHIBITIONS 2023 Solo Exhibition, Quirk Gallery, Charlottesville, VA 2022 Solo Exhibition, Hidell Brooks Gallery, Charlotte, NC “Color Notes,” Solo Exhibition, George Gallery, Charleston, SC 2021 POETS Group Exhibition, Page Bond Gallery, Richmond, VA Selected Work, Two-Person Exhibition, Colthurst Gallery, Charlottesville, VA 2019 “Pentimento,” Solo Exhibition, Shockoe Artspace, Richmond, VA “Intro7,” Hidell Brooks, Charlotte, NC “Those Who Can,” Group Exhibition, Marshall Arts, Memphis, TN “Continuum,” Solo Exhibition, The George Gallery, Charleston, SC 2018 “Too Much of Too Much,” Juried Exhibition, McLean Project for the Arts, McLean, VA SELECT COLLECTIONS U.S. Embassies, U.S. Department of State AWARDS & HONORS 2018 Juror Prize for FROM 500 SKETCHES*, “Too Much of Too Much” Exhibition, McLean Project for the Arts 2017 Olsson Sabbatica 2016 Cochran Mastership for Fine Arts for Excellence in Teaching 2014 Robert E. Latham Mastership for Excellence in Teaching 2013 Excellence in Teaching Art Mastership 2012 Cochran Mastership for Fine Arts for Excellence in Teaching 2009 Cochran Mastership for Fine Arts for Excellence in Teaching 2006 Excellence in Teaching Art Mastership 2005 Faculty Incentive Award for Excellence in Teaching 2002 Norman Farquhar and Gordon N. Farquhar Mastership for Excellence in Teaching 1997 Arthur Dove Award for Excellence in Studio Art

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CAMERON WILSON RITCHER Tripoley II, 2022 Mixed media on cut + assembled wood panel 74 x 62 inches, orientation variable $12,500 framed INQUIRE 38

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CAMERON WILSON RITCHER Opportunity Knocks, 2022 Mixed media on cut + assembled wood panel 50 x 38 inches, orientation variable $5,800 framed INQUIRE 40

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CAMERON WILSON RITCHER Sugar Grove, 2023 Latex, 24k gold leaf, and mixed media on cut + assembled wood 50 x 38 inches, orientation variable $5,800 framed INQUIRE 42

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CAMERON WILSON RITCHER Black Jack, 2023 Latex and mixed media on cut + assembled wood 50 x 44 inches, orientation variable $6,500 framed INQUIRE 44

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CAMERON WILSON RITCHER Artist Statement

Often, the greatest innovations come not from abundance but from scarcity. We can recall examples of this in almost any aspect of our culture: architecture, music, food. Some of the most inventive culinary strategies were originally conceived out of economic or agricultural dearth.

I like to play a game in the studio where the only rule is that I cannot buy new materials. Instead, I try to convince myself that there is already a good painting somewhere in my studio, in the heaps of scraps from previous works and housing renovations and rusted buckets of salvaged house paint. While my marks maintain a child-like innocence, the weathered materials evoke nostalgia. When combined with the structural organization of the pieces, this suggests an urban, industrial history, and yet does not impose any concrete narrative on the viewer. The process of painting, cropping, and reassembling allows me to synthesize disparate ideas, in order to create works that are simultaneously spontaneous and available to the accident, yet is entirely within my control.

Of course, my work does not exist within a vacuum and it is only responsible for me to think of what impact my work may have on the world. I know, at my core, that I was designed for a very specific job: making paintings, simply for the sake of making paintings. I feel an intense and spiritual excitement and curiosity while making my work. Maybe it is a glimpse of heaven. My hope is that the viewer would feel at least a fraction of that. ​

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CAMERON WILSON RITCHER Abbreviated CV EDUCATION B.S., Studio Art, James Madison University SELECT EXHIBITIONS 2023 Two Person Exhibition, TEW Galleries, Atlanta, GA 2023 Solo Exhibition, Hidell Brooks, Charlotte, NC 2023 25th Anniversary Exhibition, Hidell Brooks, Charlotte, NC 2022 Class of ’22, Sorelle Gallery, Westport, CT Vivid Views, Sorelle Gallery, Westport, CT Good Will (group show), Page Bond Gallery, Richmond, VA SELECT COLLECTIONS Braden Holtby (Former Goalie of the Washington Capitals) McKesson Corporation Della Watkins (Director of the Columbia Museum of Art) James Madison University School of Integrated Science and Technology James Madison University School of Art Education AWARDS Honorable Mention - Riverviews Artspace Annual Juried Show, Lynchburg, VA Award of Merit - Edna Curry/John Bower Exhibition, Bedford, VA Jay D. Kain Scholarship in Art Education Marion Park Lewis Foundation Scholarship JMU Studio Art Achievement Award - Painting Concentration Juror’s Award - James Madison University Undergraduate Juried Show 2015 Juror’s Award - James Madison University Undergraduate Juried Show 2016

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ALAIN VAES Blue jays and Grapes, 2011 Acrylic on canvas 50 x 46 inches $8,500 INQUIRE 48

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ALAIN VAES Run of the Salmon, 2011 Acrylic on canvas 72 x 60 inches INQUIRE 50

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ALAIN VAES All Seagulls, 2013 Acrylic on canvas 50 x 46 inches $8,000 INQUIRE 52

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ALAIN VAES Cactus wren, 2011 Acrylic on canvas 40 x 40 inches $4,000 INQUIRE 54

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ALAIN VAES Water Lilies and Carps, 2011 Acrylic on canvas 55 x 47 inches $7,500 framed INQUIRE 56

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ALAIN VAES Tunami, 2018 Acrylic on canvas 72 x 60 inches INQUIRE 58

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ALAIN VAES Artist Statement

I am drawn to depicting dense scenes populated by the beautiful and the hideous, where the dominant pattern slowly reveals the presence of a rich natural world filled with flowers, plants, animals and insects, slightly ominous, luscious and teaming with life.

The repetition of the tension between prey and predator such as in “Crows and Toads” interests me.

On a formal level, I like the abstraction created by a repeating pattern. Familiar with the work of M.C. Escher and William Morris, I am intrigued by the idea of a single composition repeating as a tessellation. In mathematics, to tessellate is to cover a plane by repeated use of a single shape without gaps or overlaps.

Each painting in this series is made up of an individual composition replicated many times, as in fabric or wallpaper. Only the size of the canvas limits a pattern that could go on indefinitely.

Painting the same thing over and over again is a meditative process that comes with an array of feelings and surprises. As I execute each repeat, the result evolves in various ways. It is my hope that the paintings do not appear static, but evoke movement and energy and intrigue the viewer.

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ALAIN VAES Abbreviated CV EDUCATION Ecole des Arts Decoratifs de Nice Ecole des Beaux-Arts de Montpellier SELECT EXHIBITIONS 2018 Secrets of The Twisted & Entwined (group show), RJD Gallery, Bridgehampton, NY 2011 Alain Vaes: New Paintings, George Adams Gallery, New York, NY 2010 Alain Vaes: Watercolors, George Adams Gallery, New York, NY SET & COSTUME DESIGN Boston Ballet Charlotte Ballet Cincinnati Ballet Fort Worth-Dallas Ballet Kansas City Ballet National Ballet of Flanders New York City Ballet Pennsylvania Ballet Richmond Ballet Royal Danish Theater Sacramento Ballet SELECT PUBLICATIONS The Porcelain Pepper Pot, Little, Brown and Company The Wild Hamster, Little, Brown and Company The Steadfast Tin Soldier, Little, Brown and Company The Princess and the Pea, Little, Brown and Company Puss in Boots (in collaboration with Lincoln Kirstein), Little, Brown and Company Reynard the Fox, Turner Publishing.

29 Bump Street, Turner Publishing.

SELECT COLLECTIONS The French Government Anne H. Bass Lincoln Kirsten

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LLOYD MARTIN, FRANK PHILLIPS, CAMERON WILSON RITCHER, & ALAIN VAES

Catalog Design Rachel Crawford, Registrar Back Cover Cameron Wilson Ritcher, Sugar Grove (Detail), 2023 For inquiries, please email us at page@pagebondgallery.com

PAGE BOND GALLERY 804-359-3633 pagebondgallery.com P.O. Box 14551, Richmond, VA 23221

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