January 14, 2014

Page 4

A4

LOCAL

THE ITEM

TUESDAY, JANUARY 14, 2014

Art shows ‘tasty,’ ‘insightful,’ ‘exceptional’ A REVIEW

Congratulations to Carole Carberry, Denise Greer, Sue Czerwinski and Rose Metz. All three local artists’ works were selected as part of South Carolina’s Watermedia Society’s top 60 entries. Carberry’s watercolor “Boys on the Bed,� a watercolor on cold press paper featuring her two cats, was also selected as part of the 30 for the competition’s traveling show. Juror Linda Baker chose paintings that offered her something extra in addition to skill — “perhaps a pushing of color, or a unique vision, or (an unusual) vantage point.� The exhibit lives up to her expectations. The pieces represent a tremendous variety of viewpoint and technique. The show is as tasty and tempting as “York Street Kitchen,� a watercolor and gouache painting by Barbara Rohde. Located in the entry hall wall, it sets the tone for the many visual treats to come. Selected as Best in Show, “Taking a Break,� a watercolor by Audrey Montgomery, highlights the artist’s exceptional use of the medium as well as provides an unusual topic, a worn pair of jeans stretched over the back of a ladder-back chair. Mary Ann Brock’s “Chasing the Foam� combines diluted shades of blue sky and waves with filtered light, especially on the red-haired woman, to create an atmosphere of a cold day at the shore. Carol HasBrouck in the colorful “Old Blue Eyes� and Vickie Bailey Ebbers in the sepia-toned “Looking for Straight Ends� employ contrasting palettes to emphasize character. “Friends of the Bride,� by Alexis Lavine, offers the viewer an unusual point of view — legs of all sizes and shapes. Anne Hightower-Patterson combines light and shade, detail, depth and message in “Hope for the Homeless.� “Daybreak 1,�by Sandra Roper, exudes strong impact with the forceful shaft of light. The flower compositions also underscore Baker’s desire to select pieces that push color or vision. Linda Beasley brings life and color to “Water Lily Nocturne.� Maura Kenny utilizes brazen orange, red and

yellow highlights to emphasize the poppies in “Sun News.� In a playful title, Monique Wolfe adds texture and impact to the lavender and pink spiked flower surrounded by pointed leaves in her watercolor “Pointillism.� Randolph New Armstrong’s style, vivid color and fascinating graphic designs give “Cheers and Chairs� a whimsically delightful tone, as does Ellen Long’s “Seagulls on Speed.� “Birds for Sale – bird seller series,� by Renee Kahn, exudes another very distinctive style. Carolyn Epperly in “Nevermore� infuses light and shade on objects that appear to float in and around the central figure of the stuffed bird. Baker also includes effective abstracts in her choices. Lynne Hardwick in “Silhouettes in Copper� produces an atmosphere of movement to contrast with the strong, white-backed insert. Georgia Mason leads the eye in “Being There� from the intricate upper section to the flowing, falling sections of aqua, canary yellow, rose and red. Both “Kaleidoscope II� by Carrie Burns Brown and “Unlocking the Secret� by Denise Athanas combine a profusion of color mass to establish energy and impact. This 36th Annual Exhibition is another example of the excellent quality of shows at the Sumter Gallery of Art.

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The Sumter Artist Guild Winners’ Show affords an excellent look at the artists who won at the Guild’s annual show. Along with their winning pieces, the artists are encouraged to include extra paintings that might add insight into their talent and artistic vision. This year’s entries reflect the high quality of the Guild entries. Although Rose Metz has provided several examples of her beautiful flower and watercolor pieces, her abstracts are wonderfully diverse. Her “Daybreak� and “Koi� with its flow of energy, hint of gold fish and movement of water-like shades of blue falling from the left-hand corner attest to her ability to create emotion and counterbalance focus. John Cotner’s “Red Bubble� on paper and “TUG,� with its definitive design and intricate graphic color blocks, offer a deeper look into the technique so successful in his “Aerial View.� Victoria Hagner’s mosaics provide a cross section of her style and creativity, especially “Aquifer� with its shades of blue mosaic water levels and “Four Moon Night� with nuts

and bolts. Honorable mention artists — Gerald Williams, Michael Broadway and Terrance McDow — have included exceptional work as well. Williams’ signature style, acrylic on layered Plexiglas™, is extremely impressive in “Watchnight 150,â€? a tribute to the evening in 1862 when Southern blacks kept an all-night vigil in anticipation of the official legalization of Southern blacks as free men on Jan. 1, 1863. The many faces and facial features in the composition create an aura of expectancy. His layers of Plexiglas establish a sense of depth that emphasizes the numbers of

people and years of hoping encompassed in the event. Broadway’s entries stress a connection with Andy Warhol, pop art and its influence on technique. “Warhol� includes not only the artist’s face, but also surrounds it with the signature red, yellow and emphatic black. In “Basquiat� Broadway edifies the Haitian-American artist (1960-1988) who led an informal graffiti group known as SAMO. He was influential in a number of areas and philosophies as part of his artistic development. Basquiat was also influenced by Warhol and painted a picture of them together.

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Broadway continues the pop art color pattern and style in this composition and in his other work. McDow also presents an identifiable style in his entries. There is great complexity but softness to the lines and detail in his work — “Veins,� “Nocturnal� and “The Root,� an intricate study of form and depth emphasized with shades of green. The shows, which are at the gallery through Feb. 6, can be viewed for free at the gallery, 200 Hasell St., from 11 a.m. to 5 p.m. Tuesday through Saturday and 1 to 5 p.m. on Sunday. For more information, call (803) 7750543.

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