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ECHO
a
group catalog
MARCH 3, 2023 - MARCH 24, 2023
ARTISTS FEATURED
LLOYD MARTIN
FRANK PHILLIPS
CAMERON WILSON RITCHER
ALAIN VAES
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.
Opposite Page, from left
“We adore chaos because we love to produce order.”
M.C. EscherLloyd Martin, Orange Rift | Frank Phillips, Memo 2 | Alain Vaes, Tunami | Cameron Wilson Ritcher, Tripoley II
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LLOYD MARTIN
Orange Riff, 2016
Oil on canvas
56 x 60 inches
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LLOYD MARTIN
Folio Weave, 2018
Oil on canvas
54 x 72 inches
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LLOYD MARTIN
Grey Quad, 2021
Oil on canvas
66 x 72 inches
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LLOYD MARTIN
Carbon, 2014
Oil on canvas
66 x 72 inches
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LLOYD MARTIN
Yellow Step, 2015
Oil on canvas
66 x 72 inches
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LLOYD MARTIN
Folio 8, 2016
Oil on canvas
66 x 72 inches
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LLOYD MARTIN
Folio 10, 2016
Oil on canvas
54 x 80 inches
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LLOYD MARTIN
Sheaved, 2017
Oil on canvas
60 x 66 inches
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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.
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
FRANK PHILLIPS
Memo 2, 2017
Acrylic and pencil on canvas
70 x 52 inches
$8,000
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FRANK PHILLIPS
Smudge Pot, 2012
Acrylic and graphite on canvas
68 x 62 inches
$9,000
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FRANK PHILLIPS
Roscoe, 2013
Acrylic and pencil on canvas
62 x 50 inches
$7,000
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FRANK PHILLIPS
508, 2014
Acrylic and graphite on canvas
60 x 84 inches
$10,000
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FRANK PHILLIPS
Mezz, 2019
Acrylic and graphite on paper
22 x 16 inches
$1,250 framed
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FRANK PHILLIPS
NM, 2016
Acrylic and graphite on canvas
76 x 60 inches
$9,000
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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.
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
CAMERON WILSON RITCHER
Tripoley II, 2022
Mixed media on cut + assembled wood panel
74 x 62 inches, orientation variable
$12,500 framed
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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
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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
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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
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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.
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
ALAIN VAES
Blue jays and Grapes, 2011
Acrylic on canvas
50 x 46 inches
$8,500
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ALAIN VAES
Run of the Salmon, 2011
Acrylic on canvas
72 x 60 inches
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ALAIN VAES
All Seagulls, 2013
Acrylic on canvas
50 x 46 inches
$8,000
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ALAIN VAES
Cactus wren, 2011
Acrylic on canvas
40 x 40 inches
$4,000
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ALAIN VAES
Water Lilies and Carps, 2011
Acrylic on canvas
55 x 47 inches
$7,500 framed
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ALAIN VAES
Tunami, 2018
Acrylic on canvas
72 x 60 inches
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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.
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
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
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