Reflections of Nature

REFLECTIONS OF NATURE

A l i c e C a r p e n t e r ■ S t e p h e n P e n t a k ■ C a r o l S n y d e r ■ M a r y J a n e Wa rd

REFLECTIONS OF NATURE OCTOBER 3 - OCTOBER 31, 2025 OPENING RECEPTION: FRIDAY, OCTOBER 3 (6:30-8:30PM) VALET PARKING RSVP: CAROL@KENYGALLERIES.COM OR 614.464.1228

FRONT COVER, Clockwise from top left: STEPHEN PENTAK, 2024, IV.II, oil on panel, 32” x 72”; CAROL SNYDER, Old Fence, wheel thrown high fired porcelain 4 3/4”h x 6 3/8”; ALICE CARPENTER, Landscape 24.14 (September Full Moon), 2024, hand pressed monotype with sgraffito, 2 ¾” x 4 ½”.

MARY JANE WARD, Milo Apples, Blue Sky, 2022, oil on panel 6 x 8 inches

300 EAST BECK STREET COLUMBUS, OH 43206 P: 614.464.1228

For additional information on the exhibition: www.kenygalleries..com

We are excited to exhibit a rich range of landscapes – f rom the painterly organic to incisively expressive to reductively abstracted works of art. These landscapes have been created in distinctive media including hand pressed monotype, oil, and porcelain. The artists’ mastery of their means of expression enables visual nuances that are unique to the artist and media utilized. Technical excellence and aesthetic creativity yield visual poetry. That poetry resonates with the viewer long after one’s initial exposure to it.

Hopefully you can join us to enjoy these artists' reflective, inspiring visions of nature. Each artist will contribute a personal statement about their art on view.

Tim Keny

ALICE CARPENTER

My early monotypes are based, not on landscape observed, but on childhood memories f rom rural Ohio. With my recent move to rural Connecticut, I am once again enriched by the influence, and now, direct observations of nature.

I continue to be drawn to the magic of evening light, the wonderment of moon in night skies and the mystery of isolated structures.

For me, limitation of image size and limitation of palette are fundamental to an expression of intimacy I hope to capture.

Landscape 24.14 (September Full Moon), 2024 Hand pressed monotype with sgraffito 2 ¾ x 4 ½ inches $600

ALICE CARPENTER

Landscape 15.5, 2015 Hand pressed monotype on Stonehenge paper 2 ¾ x 3 ¾ inches $575

Landscape 24.3 (Owl's Light Along Mackenzie Reservoir), 2024 Hand pressed monotype with sgraffito 2 ½ x 2 ⅞ inches $400

ALICE CARPENTER

Landscape 25.1 (Neighbor's House with Full Moon), 2025 Hand pressed monotype with sgraffito 5 ½ x 3 inches $800

Landscape 15.4, 2015 Hand pressed monotype on Stonehenge paper 4 ½ x 3 ½ inches $625

Landscape 24.8,

Hand pressed monotype with sgraffito 4 ¼ x 2 ½ inches $450

ALICE CARPENTER

Landscape 23.5, 2023 Hand pressed monotype with sgraffito and gouache 5 ½ x 3 ⅞ inches $800

“Carpenter uses both additive and reductive methods to make the images, manipulating the ink while also employing a palette knife on the plates and a utility knife on the paper to etch the outlines of buildings, trees and country lanes. Sometimes Carpenter uses gouache to lend a lunar glow to the landscape.”

Joel Oliphint, Columbus Alive (July, 2021)

STEPHEN PENTAK

One of the things I have appreciated about your representation of my work is the gallery's commitment to context and history. And the limted number of artists you are committed to.

I believe most people who have collected my work have been quite naturally drawn to the landscape." First you see the hills in the painting, then you see the painting in the hills." I would like this to be better understood over time.

Scratching and scraping. A long time method of my painting has been used to reveal a ground or structure beneath the painting’s surface.

(Journal Entry 7.24.25)

2024, IV.II

Oil on panel 32 x 72 inches $9,200

STEPHEN PENTAK

2018, I.V

Oil on panel 23.75 x 23.75 inches $3,200

VII.IX, 2008 Oil on panel 14 x 18 inches $2,000

IX.I, 2017 Oil on panels (triptych) 14 x 42 inches $3,800

STEPHEN PENTAK

2022, VIII.I, 2022 Oil on panel 32 x 72 inches $9,200

VII.VI, 2014 Oil on panel 18 x 14 inches $2,000

STEPHEN PENTAK

2021, I.I

Oil on panels (diptych) 20 x 28 inches $3,400

Stephen’s art is a distillation of nuances of light and color that inform the landscape and diverse locales in all seasons and varied times of the day. His paintings have a sophisticated abstract structure which invites our contemplation.

Tim Keny, 2022

CAROL SNYDER

My work strives to continue the ceramic craft tradition of wheel thrown vessels but moves beyond what we perceive as domestic objects to those that speak of aesthetic form and my interest in the patterns and textures of the landscape. My tiles present another way to explore working with porcelain, f rom layering colored slips, to sgraff ito, to MIshima, the Japanese tecnique of creating linework in clay.

These are records of experiences I have had in nature but condensed and abstracted so that the work becomes less representational. This reductive method allows for the form to embody a blur of a journey’s memory and perhaps become a contemplative moment for the viewer.

My works are not just about a process or a glaze; they are to express a sense of quiet, balance, and ties with the natural world.

Old Fence

Wheel thrown high fired porcelain. Colored porcelain slip, Mishima 4 ¾"h x 6 ⅜"d $1,000

CAROL SNYDER

Early Snow

Handmade porcelain tiles with colored porcelain slip, MIshima 7”h x 17 ⅛” – 21”w $1,000

Ghost Trees

Handmade porcelain tiles, colored porcelain slip 7"h x 46 ½"-50 ½"w $2,200

Autumn Woods

Wheelthrown, hand carved high fired porcelain, colored porcelain slip 6 ½"h x 6 ⅝"d $1,500

CAROL SNYDER

Almost Frozen

Handmade porcelain tile, colored porcelain slip, Mishima 7” x 35 ½" w $1,200

Swallows: A Landscape in Cups

Wheelthrown high fired porcelain, colored porcelain slip, Mishima 3 ½"h x 24"l x 4"d $2,500

CAROL SNYDER

Waterfalls

High fired porcelain, colored porcelain slip 2 ⅝”h x 5”w x 1 ½ ”d $450

Vessel with Wire

Ghost Trees

High fired porcelain, colored porcelain slip 3 ⅜”h x 5⅜’ w x 2 ¼”d $450

Wheelthrown, altered high fired porcelain, high temperature wire 6 ⅛”h x 4 ⅛” d $800

Snyder examines and explores her chosen medium to full-effect, highlighting the simple forms, warm translucency and graceful lines that porcelain affords. Further, Snyder’s work seems to exist outside of time, assuming shapes that are both fundamental and timeless, yet executed with such delicacy as to appear fleeting.

Jeff Regensberger, Columbus Underground

MARY JANE WARD

These works are visual odes to a place, a moment, or a detail in a landscape. Whether it is the particular colors and shapes in the sky at sunset or the arrangement of tangled leaves on an apple tree, I try to record what I see. I f ind the most inspiration in the presence of my subjects, whether sitting in a studio with a model or still life, or immersing myself in a landscape—en plein air. I am interested in the meditative nature of this process—entering the focused f rame of mind that comes with hours of direct observation.

French philosopher Simone Weil said, “Attention, taken to its highest degree, is the same thing as prayer.” I want my work to convey a reverence for nature, so I strive to make sensitive, accurate and clear renditions of my subjects, while balancing that clarity with my personal attention and interpretation for composition, balance, and color.

My experience of painting is often meditative, full of wonder, curiosity and awe, and I hope the work can open the door to that wonder and love for the natural world in the viewer as well.

Milo Apple Tree, 2022 Oil on panel 6 x 8 inches $700

MARY JANE WARD

The Lafayette-Moraga Trail and Mount Diablo, 2023 Oil on panel 5 x 7 inches $650

July Sunset Orange Sky, 2024 Oil on panel 6 x 6 inches $700

MARY JANE WARD

Milo Apples, Blue Sky, 2022 Oil on panel 6 x 8 inches $700

Mist over Mudge Pond, 2025 Oil on panel 5 x 7 inches $650

Apple With Leaves, 2019 Charcoal, graphite, ink wash on paper 15 x 11 inches $760

Five Persimmons, 2019 Charcoal, graphite, ink wash on paper 11 x 15 inches $760

Equipped with some of the best education possible in today’s art world, Ward seeks to learn more about the natural world and how to depict it in a truthful and personal way. . . Each turn of a leaf, each fruit catching the light, every twig has something to say, if an artist will listen. Skill and sensitivity are needed so the subject is not only presented honestly, but also says something about the artist’s perception and artistic vision.

Bob Bahr, Plein Air Magazine (February-March 2022)

Pink Cloud Bank and Waxing Moon, 2022 Oil on panel 5 ¾ x 7 inches $650

“. . . In some withdrawn, unpublic mead Let me sigh upon a reed, Or in the woods, with leafy din, Whisper the still evening in: Some still work give me do,Only-be it near you!. . .”

From Nature Henry David Thoreau