Tuesday, December 21, 2010

Gute Brandao: Magical and Musical Revelations

When selecting pieces for Still Point Art Gallery's current exhibition, Rhythmic Sensation-Visual Sensation, I came across the images submitted by Gute Brandao and I stopped in my tracks. I could not leave these images...these incredible drawings...ink and watercolor on paper. Soft, pale colors on a pale background...ink-drawn lines and curves and stars...unusual figures that seem to bounce, dance, hang, and march. Figures that dance, lines that act like moving walkways, things that revolve and spin...  Suddenly I'm reminded of a vast array of automaton...toys that move! Wind-up toys that walk or dance or march or spin! Dozens of wind-up toys that are perfectly and beautifully orchestrated to create a stunning masterpiece of musical and theatrical bliss.

The Electric Churchland   [Enlarge    
Acola a gente do sonho pariu o espaco   [Enlarge  
The New Revelations of Being   [Enlarge]
For the work shown here, Gute Brandao was named an Artist of Distinction and will be a Gallery Artist beginning in February 2011. He will then have the opportunity to show more of his wonderful work. Gute Brandao is an amazing artist -- self-taught and without categorization. If anything, Brandao likes to describe his art as musical. He translates the sounds he hears into lines, forms, and colors. A kind of frustrated musician, he constantly listens to music, and it seems that it moves through him onto his canvas or paper. Brandao's art may also be described as complex. There are many things going on, and you can't grasp it all by one quick look. Brandao admits to being obsessed with pattern and repetition. Even the artist himself discovers something new when he goes back to look at his own work. There is always a new revelation waiting to be found. 

There is also a childlike innocence to Brandao's art. Interestingly, Brandao had difficulties with art as a child. His schoolmates in Brazil made fun of him in art class because he would always mess up his colors. Brandao is color blind...an interesting affliction for an artist. His mother helped him by writing the names of the colors on little labels of paper and taping them to his pencils. Now, Brandao doesn't worry about his color blindness. He uses colors randomly and in whatever way works for him. "Now I think I am reaching back to those early days for a pure and honest attitude when confronting the complexities of life." A friend said of Brandao's work: "[He is] seeking a return to the wholesome sincerity and spontaneity found in children's art. . . . seeking a . . . haven from the bewildering and often hypocritical cultural conventions of the modern world." When Brandao speaks of his art, he talks about mental objects that come to him in visions or his imagination. These objects need to be organized through pattern and repetition, form and color. This is how his paintings and drawings are created. It's amusement for him. It's magic for his viewers. The magic of beautiful wind-up toys moving together in harmony.  

Works by Gute Brandao
The Electric Churchland was drawn by Gute Brandao while he was in Brazil, visiting a little colonial mining town called Ouro Preto (Black Gold). The town is known for its beautiful baroque architecture and is protected by the UNESCO Organization as a World Heritage Site. The churches in the town are fabulous, known both for their architecture and for the statues made of soapstone and wood by Master Aleijadinho, a sculptor who had leprosy and so tied his chisel to his rotten fingers in order to work on hard surfaces. The town is a magical place, especially at night. The town's many churches have a custom of tolling all the bells at once to announce death, birth, marriage, and other important moments. Brandao loved the feeling and sensations of walking in this town. The Electric Churchland celebrates Ouro Preto with many symbols...cosmic rain, mandalas, spaceships, and more.

Acola a gente do sonho pariu o espaco is difficult to translate into English, but it means something like: the people of the dream gave birth to the space. It belongs to a series called The Psychonauts of Inner Space. 

The New Revelations of Being was inspired by teepees as well as by a text by Antonin Artaud, a French writer of the early twentieth century. Brandao put together the idea of displacement and the lives of the native Americans with the text Artaud wrote about the Tarahumara people of northern Mexico. For each layer of teepees in Brandao's drawing, there is a figure worshiping nature, the sun, and the spirits.


Gute Brandao is a self-taught artist and weaver who was born in the city of Belo-Horizonte, the capital of and largest city in the state of Minas Gerais in the southeastern region of Brazil. His creativity was manifest at a young age with his early works in wood, metal, and fiber, and he received awards for his fiber work in Brazil at a young age. Brandao came to the United States in 1988, settled in Washington, D.C., and started doing drawing and painting. Since then he has shown his work regularly in the broad Washington, D.C. area in both solo and group shows. He also regularly shows his work in New York City, Chicago, Paris, and Brazil. Brandao's art, like that of a child, bursts forth with refreshing brilliance and energy. Also like the work of a child, Brandao's work lacks the sour taste often found in protest or political art. Brandao takes viewers by the hand, so to speak, and pulls them through a world of uplifting, raw art, keeping them from falling into the chaotic darkness found in the depths below. 

The Electric Churchland, ink and watercolor on paper, 17" by 14", not framed, $600
Acola a gente do sonho pariu o espaco, ink and watercolor on paper, 14" by 17", not framed, $400
The New Revelations of Being, ink and watercolor on paper, 17" by 14", not framed, $400

Still Point Art Gallery
December 21, 2010 

Thursday, December 16, 2010

The Swirling Sensuality of the Work of Tom Barnes

Strong contrasting colors without shadow or nuance; a design that seems made of undulating layers and folds of a thick oozing liquid; a slight bit of symmetry that provides just the right amount of order and organization; and the subtle appearance of a buried object...a bird, a banana, a butterfly. It did not take me long to fall in love with the work of Tom Barnes. His work is the stuff of wild imagination...captivating and very sensual. You can feel the curves and swirls on his canvas as you move your eyes over and around each turn and bend. Nothing jagged. Nothing sharp. This work is pliable and penetrable, slowly and gracefully bending and twisting, inviting the viewer into the rhythm of its movement...into the center of its existence.

Untitled (Butterfly on a Banana)
Untitled (Mauve Bird)
Untitled (Monkey Watching Snake Eat Bug)
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For the work shown here, Tom Barnes has been named an Artist of Distinction in Still Point Art Gallery's current exhibition: Rhythmic Sensation-Visual Sensation. Indeed the rhythmic movement that one feels by looking at Barnes' work is extraordinary. I asked Barnes to say a few words about this small grouping of paintings. He started by saying that he believes that inspiration comes from working in the studio with the perceptions from experience.   
These perceptions manifest in my paintings, and hopefully, penetrate into the nature of things. What is concealed by the phenomena of the world has always been of great interest to me. Storytelling and feelings are not something that I want in my work. I want my work to connect what we know with what we cannot know and I feel it is at this connection that the greatest experience happens. When working in the studio and the idea is unfolding, I am more in touch with the unknown. Although I have a basic idea what my paintings will look like, chance plays a large part in making the connection. When I feel the work is finished I hope that on some level the connection is communicated. 
Barnes worked in sculpture for years, but his current ideas now seem to be best expressed two-dimensionally with paint. There is something about the immediacy of oil painting that he finds very effective in carrying these ideas. This current series of paintings started out as small paintings that were made very quickly using a fluid paint. The pouring of paint created the patterns, lines, shapes and textures. These small paintings were then developed into larger pieces using traditional straight-painting techniques with oils. 

Artist Statement

In creating the techniques needed to express my ideas, I have focused on the physical immediacy of paint. The originality of the structure of my paintings is the result and the revelation of what is essential. What is essential is unknown, but can be sensed. What is sensed, I believe is heightened by the arbitrariness of the image. The image coming from chance and intuition has an appearance of reality, but seems fleeting and works immediately and strongly on the sensory system. As perceived it is an image that appears like a hallucination experienced on the threshold of consciousness. Recognizable forms are conjoined with abstract forms in such a way that one is not sure of the visual experience being navigated. Although at first glance what is perceived is an ordered arrangement of visual phenomena, there is something irrational in the imagery. Objects of awareness of a known reality seem to be emerging from the movement of paint or the paint is pouring out of and away from the known. All forms seem to be exchanging or sharing the same visual information. Within these paintings, butterflies do not light on flowers, but on bananas; pelicans sit not on pilings, but among snow-covered tires, which are merging with the flow of the paint. In these paintings there is no narrative, irony or intentional symbolism. It is the recreation of an event, an event that affects states of consciousness regarding objects of consciousness. How the perceived event and the objects of consciousness affect the senses, ultimately loops back to the physical immediacy of paint, and by engaging with that, what is essential is experienced.

Biographical Statement

Tom Barnes received his Master of Fine Arts from the University of South Florida and currently teaches at The University of Alabama. He also taught for two years at Valparaiso University and in a summer program at The University of San Carlos in Guatemala City, Guatemala, where he received Recognition for Educational Advancement and Cooperation. In addition to teaching Figurative Modeling and Three-dimensional Design, he devotes his time to the practice of painting, although he is also an accomplished sculptor. He lives and works in Tuscaloosa, Alabama and Marfa, Texas.

His paintings and sculptures have been in over 165 group and solo exhibitions. His work is in the permanent institutional collections of the Alexandria Museum of Art, Southwest Texas State University, The University of Alabama, Stillman College, Indianapolis Museum of Art, University of Utah Museum of Fine Arts and the Pentagon. Corporations that have collected his work include the Energen Corporation, Economic Development Corporation of Alabama, The Burdines Corporation of Florida and the Business Center of Alabama. Other public collections include the Porter County Arts Commission, Valparaiso, Indiana, the Chattahoochee Valley Art Association, La Grange, Georgia and the Arts Council of Tampa, Florida. He is also in numerous other public and private collections.

See more of Tom Barnes' art on his website.

Untitled (Mauve Bird), oil on canvas, 16 by 16, NFS
Untitled (Monkey Watching Snake Eat Bug), oil on canvas, 20 by 20, NFS
Untitled (Butterfly on a Banana), oil on canvas, 12 by 12, NFS

Still Point Art Gallery
December 16, 2010

Tuesday, December 14, 2010

It's In Print -- Still Point Arts Quarterly!

As artists or art enthusiasts, we love to look at art. It's that simple. We go to art shows, visit galleries and museums, and buy great art books whenever we get the opportunity. In recent years, our viewing opportunities have increased; we can not only see art in person and in print, but we can also view art on artists' own websites or on any of the hundreds of online galleries that have come into existence. We can now see much more art by local or regional artists or emerging artists due to the existence of online or virtual art galleries like Still Point Art Gallery.

Despite the amount of time I spend in front of my computer, there is still a place in my life for PRINT. I subscribe to several wonderful art magazines and I love to browse through and sometimes buy art books. I return to some of my favorite magazines over and over for enjoyment and inspiration. Art helps me form ideas; it engages my mind in important ways; it challenges my intellect; it enlightens me and inspires me. Sometimes, rather than sit at my desk, I want to sit in my comfy chair with a hot cup of tea and a book or magazine. The richness of an art print in a high-quality magazine or book is better than what you see on a screen, and there is a time and a place for that in my life. 

So, Still Point Art Gallery is moving forward with the printing of an art magazine -- Still Point Arts Quarterly. The publication will focus on artistic expression and creativity. Each issue will include extensive art portfolios as well as original and thoughtful short articles or essays about art and artistry. The Quarterly will engage, enlighten, inspire...four times a year...in January, April, July, and October.

The inaugural issue of the Quarterly will be the April 2011 issue -- timed to help celebrate the two-year anniversary of Still Point Art Gallery.

Subscriptions are now being accepted
Subscribe now and be part of Still Point Arts Quarterly from the very beginning!

Still Point Art Gallery
December 15, 2010

Friday, December 10, 2010

Call for Artists: "Still Life: Ordinary and Extraordinary"

Still Point Art Gallery announces that submissions are now being accepted for its next online exhibition -- Still Life: Ordinary and Extraordinary.

A still life. A vase filled with flowers, an apple or pear, some books, feathers, a teapot, candles. Maybe a stuffed bird. Inanimate objects. A bottle of perfume, a cell phone, a water bottle, children's toys. Maybe even cheap sunglasses or fake diamonds. The inanimate objects of our lives...the ordinary and the extraordinary objects of our lives...to honor, to preserve...to hold still...to remember, to venerate.

The deadline for submissions is January 24, 2011. More details about submissions, along with the entry form, may be found here.

Still Point Art Gallery
December 9, 2010

Wednesday, December 08, 2010

Still Point Art Gallery Opens "Rhythmic Sensation-Visual Sensation"

I am very pleased to announce the opening of Still Point Art Gallery's online exhibition: Rhythmic Sensation-Visual Sensation.

 Rhythm is all around us - in music, in poetry, in patterns of speech, in architecture, in nature. Rhythm is within us - our hearts beat, our lungs take air in and let air out, our running feet hit the ground in a set pattern. This exhibition explores the ways that rhythm is part of visual art...the rhythm that is created by pattern, repetition, and movement...and formed by line, color, shape, and texture. Artists were invited to submit compositions that use these elements to create rhythm, giving the viewer the opportunity to experience rhythmic sensation and visual sensation.


This show will make you want to move! If you are like me, you will start to hear music or sounds while viewing this show. Music that flows, music that bebops, music that pings and pongs, music that sways, shimmers, and rocks. Johann Sebastian Bach, Ludwig van Beethoven, Claude Debussy, John Cage...Elvis Presley, The Grateful Dead, The Flaming Lips. It's all here...pattern, repetition, movement, rhythm...a real visual sensation!


A - Waves by Darren Baylor, acrylic, 24" by 18", framed, $1500
B - Wavy Sound by Giannis Tsaganos, paper rolls on wood painted with acrylic colors, 18.5" x 15.7" x 2.8", $900
C - Pixel-Neutral, 001 by Mikel Patrik, acrylic on canvas, 48" by 36", $2633

Still Point Art Gallery
December 8, 2010

Friday, November 19, 2010

Still Point Art Gallery: Selections From 2010 Exhibitions

Still Point Art Gallery: Selections From 2010 Exhibitions has just been released and may now be purchased from Blurb! This is the Gallery's first publication and, as such, provides yet another way for us to support and promote the work of our amazing artists. The book may be previewed below.

The images in this collection were selected from art that was exhibited by Still Point Art Gallery during 2010. Paintings, photographs, and mixed media artwork from about seventy artists were each specially chosen to be included in this wonderful collection of contemporary art. Artwork was selected from the following 2010 exhibitions: Geometric Abstraction; THE Painting Exhibition; Still Point II, True Artist; and Global Lifestyles: Big Cities, Small Towns, Tiny Villages.

Return to Still Point Art Gallery

Christine Brooks Cote
Still Point Art Gallery
November 19, 2010

Monday, November 15, 2010

Still Point Art Gallery "Yearbook" Has Gone to Print

This year Still Point Art Gallery is printing a collection of art works chosen from its 2010 exhibitions: Global Lifestyles, True Artist, American Portraits, Still Point II, THE Painting Exhibition, and Geometric Abstraction. The book - Selections From 2010 Exhibitions - will showcase the work of about 65 of the roughly 250 artists who exhibited work at one of the gallery's shows in 2010.

The book is being published through Blurb and should be available for purchase in a couple of weeks. The book's cover is shown above.

Return to Still Point Art Gallery

Christine Brook Cote
Still Point Art Gallery
November 15, 2010

Wednesday, October 27, 2010

Call to Artists: Rhythmic Sensation-Visual Sensation

Still Point Art Gallery announces that submissions are now being accepted for its next online exhibition: Rhythmic Sensation-Visual Sensation.

Rhythm is all around us - in music, in poetry, in patterns of speech, in architecture, in nature. Rhythm is within us - our hearts beat, our lungs take air in and let air out, our running feet hit the ground in a set pattern. This exhibition explores the ways that rhythm is part of visual art...the rhythm that is created by pattern, repetition, and movement...and formed by line, color, shape, and texture. Artists are invited to submit compositions that use these elements to create rhythm, giving the viewer the opportunity to experience rhythmic sensation and visual sensation.  

The deadline for submissions is November 22, 2010. More details about submissions, along with the entry form, may be found here.

Still Point Art Gallery
October 28, 2010

Tuesday, October 12, 2010

Frank Myers Captures the Spirit of New Orleans

Frank Myers, of Raleigh, North Carolina, has been named an Artist of Distinction for work showing in Still Point Art Gallery’s current exhibition, Global Lifestyles: Cities, Towns, Villages. Myers’ wonderfully unique, impressionistic images are photographs that were developed using a technique called digital Polaroid manipulation (explained below). His images capture the spirit of New Orleans…the city’s unique style of music, unique approach to jazz, interesting instrumentation and one-of-a-kind musicians, and evenings spent enjoying the company of friends in an amazing city that never sleeps. With careful attention to light and digitally-produced impressionism, Myers' photography captures the action, movement, vitality, tradition, and sound of the city that the entire world has come to love and respect--New Orleans.

New Orleans Trumpeter                       
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New Orleans Buskers Skinny Tuba   
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 New Orleans Washboard Player
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Myers has been drawing, painting, and taking pictures his entire life. In college he studied with Herb Jackson who introduced him to action painting and abstract imagery. That exposure was instrumental in moving his thinking about imagery from purely literal to conceptual. This important shift had a tremendous impact upon Myers’ artistic vision.

As life moved forward Myers found himself working almost entirely in photography. Several years ago he began to experiment with digital painting. Myers has enjoyed rediscovering painting and drawing using a combination of the latest digital tools combined with analog techniques. One such technique is Polaroid manipulation. The technique involves using a stylus or toothpick to move the emulsion around on a Polaroid image as it is developing to create an impressionistic version of the photograph. The digital version of this technique involves using different brushes, paints, and masks to create a stylized rendering that, like a true Polaroid manipulation, is a very loose interpretation of an actual photograph.

Myers produces limited edition prints of his digital works that are limited to fifty (50) and are printed on traditional papers, canvas or handmade papers whichever provide the texture and quality that best represents the images.

New Orleans Trumpeter, digital polaroid manipulation, 16 x 24, not framed, $250
New Orleans Buskers Skinny Tuba, digital polaroid manipulation, 16 x 24, not framed, $250
New Orleans Washboard Player, digital polaroid manipulation, 36 x 24, not framed, $450

Return to Still Point Art Gallery

Christine Brooks Cote
Still Point Art Gallery
October 10, 2010

Monday, October 11, 2010

Peter Kempson, Artist of Distinction, Paints "Love Notes to Los Angeles"

As stated by one of his critics, Peter Kempson paints “love notes to Los Angeles,” amazing pieces that allow the viewer to step right into the painting and be in Los Angeles. For his contribution to Still Point Art Gallery’s current exhibition, Global Lifestyles: Cities, Town, Villages, Kempson was named an Artist of Distinction. His paintings are remarkable for their detailed precision, a style that can only be called photorealism.

Rodeo Drive                                Sunset Plaza
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Kempson holds a B.A. in English from the University of Virginia, which is reflected in the story-telling quality of his work. Much of his career was spent working as advertising art director and creative director at Ogilvy & Mather in New York and McCann Erickson in Los Angeles. His work earned him numerous awards for creativity, including several Clios and an Emmy.

Amazingly, Kempson is a self-taught artist, and, though relatively new on the fine art scene, he has already exhibited at the prestigious Los Angeles County Museum of Art (LACMA). Kempson has also recently been awarded the commission for a large painting to grace the lobby of the Los Angeles Firemen’s Credit Union. Though he has begun painting other cities, beginning with his hometown of New York, Kempson’s primary focus remains capturing the unique and ironic character of Los Angeles where, as he puts it, “…validation may come in the form of an Oscar statuette or a stamp on your valet parking ticket.”

Artist's Statement  

Her full name in Spanish is El Pueblo de Nuestra Senora la Reina de Los Angeles[1], but she’s usually referred to by her initials, with the casual reverence one might pay a ball player or a beloved boss. She’s blessed with a majestic coincidence of mountains and the sea, yet her iconic structure—her Eiffel Tower—is a half-ruined real estate sign from the 1920’s. L.A. spins paradox on top of paradise with unselfconscious ease. She’s a city where validation may come in the form of an Oscar statuette or a stamp on your valet parking ticket—a place where people live in palaces, cottages and sometimes in cardboard boxes, and where palm trees vie with telephone poles for dominance of the sky.

To one who grew up associating the very idea of a city with the vertical thrust and paved-over urbanity of Manhattan, L.A.’s sweeping vistas and naked relationship to Nature seem exotic, and her gifts for nonchalance and self-parody provide a refreshing change from cities that take themselves a bit too seriously.

Like Oz, L.A. is at turns both wonderful and frightening, but ultimately the goal of quests that originated all over the world. Louis B. Mayer came here from New York’s lower east side, Howard Hughes from Texas, Alfred Hitchcock from England, Katherine Hepburn from New England, Governor Schwartzenegger from Austria. Even L.A.’s emblematic palm trees are originally from the Central American tropics. Non-native transplants like myself have long taken root and flourished here.

Though I’ve lived here for over a decade, perhaps it’s because I came from elsewhere that I find L.A. a source of endless visual fascination. I see a city of angels and demons, at once magnificent and profane—a place where dreams and disillusionment, grace and greed, triumph and tragedy collide on a daily basis, generating an energy uniquely L.A.’s own. Working from my own photographs, painting in acrylics on canvas, the aim of my LANDSCAPES TM is to capture the idiosyncratic character of this fabulous, flawed city in images that are not the usual tourist views.

A critic told me that my paintings were like “love notes to L.A.,” which is a little surprising as I portray the city billboards, graffiti and all, but I suppose the affection I feel for my adopted home town comes out in my work.

Rodeo Drive, acrylic, 40 x 30, NFS
Sunset Plaza, acrylic, 40 x 30, $4000
Return to Still Point Art Gallery

Christine Brooks Cote
Still Point Art Gallery
October 10, 2010

Wednesday, October 06, 2010

Photographer Ron Testa Named Artist of Distinction

Ron Testa, named Artist of Distinction in Still Point Art Gallery's current exhibition Global Lifestyles: Cities, Towns, Villages, has been making photographs since 1962. His experience and confidence is evident in his work, as is his eye for subject matter and composition. Three of the five images he has in the exhibition are shown below. They are scenes of structures from Illinois and Utah. The structures are interesting, but the stories that lie hidden, yet speak so eloquently from within these images, are even more interesting, In some fascinating way, these images are as essential, realistic, and respectable as any rural American town is expected to be.

Melvin, Illinois                                                Cisco, Utah                                                Utica, Illinois
 [Larger Image]                                            [Larger Image]                                          [Larger Image]

Testa has been making photographs for nearly fifty years and has had his work exhibited in a broad array of formats and venues - nationally and internationally, solo and group, casual and elite, publications, galleries, and museums. It began with Testa receiving a bachelor of fine arts degree in photography from the Cleveland Institute of Art. He then took on a brief stint as assistant photographer at the Cleveland Museum of Art before joining the U.S. Navy as a combat photographer and serving three tours of duty in Vietnam stationed aboard an attack aircraft carrier in the Tonkin Gulf. In 1973 Testa received a masters of fine arts degree in photography from the Visual Studies Workshop in Rochester, New York. He went on to teach at the Baldwin School of New York City from 1973 to 1975 and was head photographer at the Field Museum in Chicago from 1975 to 1989. During that time he taught photography at Columbia College in Chicago and was a consultant to the collection at the Chicago House archeological dig in Luxor, Egypt.

Testa’s work has been shown internationally in England - 200 American Photographers, American Arts Centre (1970) - and in France - Contemporary Artists, Centre International d'Art (1986). He has exhibited nationally at numerous solo and group shows over the last forty years, including the acclaimed George Eastman House (1968, 2006), Cleveland Institute of Art (1974), School of the Art Institute of Chicago (1982), University of Memphis (1992), Anchorage Art Museum (2006), University of Indianapolis (2009), and the University of Illinois, Urbana (2010).

Examples of his work are represented in the permanent collections of museums across the country, including the George Eastman House, the Museum of Modern Art, the Museum of Contemporary Art  in Chicago, the Minneapolis Institute of Arts, the International Center for Photography in New York, the Center for Creative Photography in Tucson, and the Corcoran Gallery of Art in Washington D.C.

Melvin, Illinois, digital inkjet print, 14 x 11, framed, $300
Cisco, Utah, digital inkjet print, 14 x 11, framed, $300
Utica, Illinois, digital inkjet print, 14 x 11, framed, $300

Return to Still Point Art Gallery

Christine Brooks Cote
Still Point Art Gallery
October 5, 2010

Wednesday, September 29, 2010

Photographer George Gati Named Artist of Distinction

Still Point Art Gallery has named George Gati an Artist of Distinction for work he is showing in its current exhibition, Global Lifestyles: Cities, Towns, Villages. The idea behind this exhibition is to draw attention to the vast and magnificent range of what we can see around the globe...natural and man-made structures, people, customs, ways of living.

Photographer George Gati brings us to Morocco and provides images that give us a genuine feeling for life in Morocco. Five of his photographs are included in the exhibition; three are shown below.

Laundry hanging out of windows...the large stucco-sided apartment building facing the bright hot sun of midday
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A simple street scene...street made of stone or brick...an ancient and decaying wall...a traditionally-dressed woman selling merchandise...two men in western caps resting next to a colorful, dilapidated wagon
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A man pushing a cart near a large residential complex...the desert literally meets the front door of the building...the hot sun beats down on the scene creating a contrast of very bright areas and very harsh shadows 
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For much of his life, Gati worked as an engineer. It was not until he retired that he had the opportunity to seriously pursue his long-time interest in photography. Gati is mainly a self-taught photographer, but realizes that learning is an ongoing process. He constantly reads about photography, studies photographs, and attends as many exhibitions as possible. He writes photography exhibit reviews and frequently judges contests for photography clubs.

Gati believes that the world around us is a fascinating place. As an engineer working in research and development for many years, Gati's sense of observation and composition had been well developed and finely tuned. He particularly values finding and taking pictures of those scenes that most people would walk by without even noticing. These are the scenes that often make amazing photographs. This is the magic of photography...the magic of Gati's photography...creating wonderful images that enable others to SEE what is typically unnoticed or taken for granted.

Drying Clothes, archival digital pigment-based print, 20 x 16, not framed, $225
Street Scene, Morocco, archival digital pigment-based print, 16 x 16, not framed, $225
Somewhere in Morocco, archival digital pigment-based print, 16 x 13, not framed, $195

Return to Still Point Art Gallery

Christine Brooks Cote
Still Point Art Gallery
September 29, 2010

Tuesday, September 28, 2010

Still Point Art Gallery Opens "Global Lifestyles: Big Cities, Small Towns, Tiny Villages"

I am very pleased to announce the opening of Still Point Art Gallery's online exhibition - Global Lifestyles: Big Cities, Small Towns, Tiny Villages.
Some people love the big city, others love small towns, and still others enjoy a stay in a tiny village. Around the globe...the city, the town, the village...each has its own skyline, view, personality, flavor, aroma, and feeling. Perhaps your art is inspired by where you live or maybe it is the product of your travels. In any case, artists were invited to share expressions of the global lifestyle...be it in the big city, a small town, or a tiny village.
Drying Clothes by George Gati                              Cisco, Utah by Ron Testa
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A fascinating collection of scenes from around the world, this exhibition may inspire you to pack your bags and travel. Far beyond that, however, we hope it will bring forth a desire to see ... really SEE the world...perhaps the world that is your own hometown. See the world's diversity of landscape...dry and dusty, green and lush, sometimes mountainous, sometimes flat; its wonderful and interesting people with their different customs and lifestyles; and its amazing man-made structures...buildings, bridges, super highways, winding roads, places of worship. You can choose to travel far or just go around the corner. There is so much to SEE!

 Village by Linda LaRose
Artists of Distinction for this exhibition are George Gati, Peter Kempson, Frank Myers, and Ron Testa. Be sure to view their amazing art in the gallery, and keep your eye on this blog for upcoming articles about these artists and their work.

Cisco Utah by Ron Testa, digital inkjet print, 14 x 11, framed, $300
Village by Linda LaRose, digital photograph, 10 by 7, framed $500
Drying Clothes by George Gati, archival digital pigment-based print, 20 x 16, not framed, $225

Return to Still Point Art Gallery

Christine Brooks Cote
Still Point Art Gallery
September 29, 2010

Thursday, September 16, 2010

Susan Gainen's Nanoscapes

Nanoscape? That's different. Yet another word to join landscape, cityscape, seascape, and skyscape. Nano. Something very tiny. One billionth of a second. So I guess a nanoscape is a view of something very tiny.

Susan Gainen is the artist behind nanoscapes. She creates, envisions, and paints nanoscapes. Gainen is exhibiting three of her nanoscapes in Still Point Art Gallery's recent show, True Artist. [He is the true artist whose life is his material. --Henry David Thoreau] These pieces are called Fractured Glass 1, 2, and 3. Amazing work...tiny bits of bright color...small geometric shapes...shapes creating more shapes...pulsating color...all starting with tiny, tiny pieces, some like specks, of color. So in what way are nanoscapes related to Gainen being a True Artist? I asked her, and the answer was as fascinating as her work.
- - - - -

Susan Gainen: The three Fractured Glass paintings are quintessential nanoscapes because they celebrate intense color and tiny details, generate their own motion and energy, and because they are prime examples of my creative process, Painstaking Exuberance. I can’t recall not loving all of the bright colors, but I know with certainty when I became entranced by detail.

Fractured Glass #1     [Larger Image]

I was in sixth grade when it became clear that I couldn’t read the blackboard. Between the time I saw the eye doctor and the time I picked up the glasses, my Girl Scout troop had a Saturday morning bird watching trip during which I saw nothing...neither red birds nor blue birds. I was memorably cranky. When I got the glasses and suddenly could see every leaf on every tree and every blade of grass, I knew that there was magic in detail, and I never looked back. 
Fractured Glass #2     [Larger Image]
How I enjoyed working with detail! I painted tiny designs on Plaster of Paris eggs (1970s), created seed mosaics (1970s), crocheted with tiny threads (1970s & 80s), painted two 4x8-foot acrylic “mosaics” on closet doors with ½” brushes (1993), and stitched blue-ribbon-winning needlepoint oriental rugs on 22-mesh-to-the-inch canvas (1990s).

Eventually I moved on to painting. I had heard that James Boyd-Brent is an excellent teacher, so in 2006 and 2007 I took “3 Days of Outdoor Watercolor” through the Split Rock Arts Program. In time, the "outdoor" aspect of the class got the better of me. On the last day of the second class, a 3-inch Katydid spent four hours in the small of my back. Combined with mosquitoes in my paints and ants on my paintings, I marked that day as my very last session of outdoor painting. Fortunately, I had taken a class with Russ Dittmar, who never met a color he didn’t want to enhance, and I knew that I would be happy painting indoors and creating my own visions of the world.

That is exactly what happened...I created nanoscapes. Nanoscapes began as paintings on postcards. Some were landscapes, but the most interesting ones to me were just shapes...all kinds of shapes...and shapes that generated motion. At the urging of a friend (“I love your work but I can’t put a postcard behind my sofa.”), nanoscapes eventually grew into full-size paintings.

Fractured Glass #3     [Larger Image]
So, back to my creative process, which I call Painstaking Exuberance. My vision and purpose as an artist are tied into the process and the result. Whether large or small, each nanoscape begins with a creative question, and the Fractured Glass question was “What happens when triangles go wild?” Answering the question with "painstaking exuberance" works like this: (1) make a pencil drawing; (2) paint a Davy’s Gray (light gray watercolor) outline of each shape; (3) paint inside the lines with multiple layers of color; (4) paint an outline of each shape in a contrasting watercolor; and (5) paint an outline for the entire piece.

Adding the first color to begin Step 3 requires the most courage. Even though the painted shapes are waiting, putting on the first bit of color makes me take a deep breath and sit up very straight. I feel, at that moment, as if I am about to walk off a cliff. I always begin with a red, and once I’ve started, I don’t want to stop. How will it turn out? How will the colors and shapes connect with one another? Will they create their own motion and energy? What dimensional qualities will they have? How will they change in Step 4, when I outline each shape?

The last questions to answer are: Will I smile when I’m finished? Will I like it? I never know until the last bit of paint is on the outline of each painting. 

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Fractured Glass #1 (14 x 10) watercolor, framed, $450
Fractured Glass #2 (14 x 10) watercolor, framed, SOLD
Fractured Glass #3 (33 x 22) watercolor, framed $1000

Return to Still Point Art Gallery

Christine Brooks Cote
Still Point Art Gallery
September 16, 2010

Thursday, September 09, 2010

Pat Hobaugh's Bodies

Artist Pat Hobaugh is showing three paintings in Still Point Art Gallery's current exhibition, True Artist. The exhibition was inspired by these words of Henry David Thoreau: He is the true artist whose life is his material.

These three paintings are from Hobaugh's Bodies series. Ten pieces in all, this series perfectly fits the theme of the True Artist exhibition as the material inspiring the work clearly came from his life. In Hobaugh's words:

My figurative work is a personal reflection on the human experience of sorrow, anxiety, fear, doubt, pain, and longing that accompany the event of a health crisis. These paintings represent the experience that my wife and I went through during her recovery period after colorectal surgery, wherein the universal emotions listed above are symbolically expressed on the canvases. The realist rendering of the figures reflects the reality of the situation’s effect on the body. The exaggerated proportions of the heads further reflect how thoughts and mental processes become distorted and deteriorated in such a situation. The backgrounds are mental projections, painted in gray flattened colors to further separate them from the figures. They represent memories and possibilities, which are both reality and enigma. The plants are symbiotic parallels of the figures, which are links between the reality of the figures and the surreality of the backgrounds.

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(above, left to right)
Dream of better lives, the kind, which never hate, 36 by 36, oil and acrylic on canvas, $1500
I'll stop the world and melt with you, 36 by 36, oil and acrylic on canvas, $1500 
Moving forward using all my breath, 60 by 60, oil and acrylic on canvas, $2000

Still Point Art Gallery
September 9, 2010

Friday, September 03, 2010

Antoine Faddoul Exhibits The Moon-After, Virginia Tech Memorial

Antoine Faddoul is exhibiting his amazing painting, The Moon-After, Virginia Tech Memorial, in Still Point Art Gallery's current exhibit, True Artist. Being 40 by 30 inches in size, the piece is undoubtedly imposing and arresting. Executed mainly in black, gray, and white, it is somber and dispiriting. The work is a memorial to those who died in the Virginia Tech Massacre, which occurred on the campus of Virginia Tech on April 16, 2007. Faddoul began work on the memorial during the first full moon after the massacre and completed the piece early in June 2007.

The words of the artist...
It is the first time the full moon is observed after the massacre of Virginia Tech. For many, the moon will never look the same again.

This is a quest to extract the feelings for the souls that will be missed in the lives of many, and for the souls among us that were touched in different ways.

A trans-mix of materialistic and spiritual elements is represented by colorless buildings, lilies to convey an overwhelming feeling of surprise, shock, grief and hope. Thirty-two different types of lilies in white and orange emerge from the gray-shaded mix of figures, symbolizing the spirits of the 32 victims.

The Moon-After, Virginia Tech Memorial        [Larger Image]

Return to Still Point Art Gallery

Christine Brooks Cote
Still Point Art Gallery
September 3, 2010

Wednesday, September 01, 2010

Hadass Shereshevsky Named Artist of Distinction in "True Artist" Exhibition

I so enjoy the work of Hadass Shereshevky. I can easily get lost looking at her images...feeling every bit of the line and texture...and reveling in the overall creation. The word "primordial" comes to mind when I spend time with the pieces by Shereshevsky showing in Still Point Art Gallery's latest exhibition, True Artist. The vague and abstract figure, the wonderful rich texture, the dark lines that seem somewhat uncontrolled and without purpose, and the simple color palette all work together to connect with the viewer at a very fundamental level...the level where we take root and give birth...the level where all that we are originates...the level of our primordial self. Shereshevsky's images have such energy that they draw in the viewer and then leave the viewer in an entirely different spiritual and mental place. That's my experience. These are really wonderful pieces.

Following Van Gogh Series 4, 2, and 3
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Let's hear Shereshevsky's own words as she talks about her work:

Artist Statement

A work of art for me is a kind of “emergence of the soul.” In order to express myself in an art form, I make a move inwards—and from there create the journey forwards. I enter the regions of the absolute and gradually return to the world of living reality.

It always begins with touch: myself--touching life. Something that receives and emits incessantly. “It’s as though it happened to me like this;” it emerged from me, and yet some force did this to me. I was the channel through which this force acted. To sense the world as transparent—a sensation which sometimes astounds me—how is it possible?!

In the process of creating art, there exists the desire to detach oneself from the world, to withdraw into oneself, to negate oneself totally, to transmit sensations of want by disappearing. I go backwards to the dead spot, to the early stages, and I turn the process into the language of signs that are the paving-stones of creativity. I translate what I have undergone into a forward communication system, into an artwork. This is the very core of the artistic experience.

And with the work of art, comes the renewal, the rebirth: like the legendary phoenix. For after the absolute disappearance, new life is always born.

Hadass Shereshevky speaks about the Following Van Gogh series 

The series "Following Van Gogh" is a sequel to my two series of artworks "Shadows between Curtains" and "Exile and Wanderings." Using techniques that combine photography, drawing and reproduction, I explore questions about the fate of man within the existential reality of the world.

In this series, I interlace photos of the local landscape (near my home) with transformed excerpts from Vincent Van Gogh's work, The Painter on his Way to Work (July 1888). Van Gogh's wandering figure appears as a lit-up shadow that records an unceasing journey through the material world. As a reproduced contour shape, the figure has lost its individuality. It has become anonymous, surviving because it has gone beyond time and place. The image moves forward, whether due to persistence or because of its burning curiosity and impulse to remain in existence and try to uncover the new light just waiting around the corner. Perhaps that will satisfy to some extent the urge to discover, to glimpse the tomorrow that is surrounded by translucent curtains. 


Hadass Shereshevsky was born in Israel and studied art at Kalisher High School of Art in Tel Aviv and at the Midrasha Art Teachers College in Kfar Saba, Israel.
Shereshevsky has taught art at the Talpiot Teachers College, the Amit Technology College in Tel Aviv, and the Midrasha Art Teachers College in Kfar Saba, Israel.

Shereskevsky has been awarded numerous gallery opportunities and prizes for her artistic accomplishments, some of which are: Art Periscope (2008); The ARTROM Gallery (2008); the Norwegian International Print Triennale (1999); Petah Tiqwa Department of Education (1997); and Art Addiction (1997, 1996—silver and gold medals). 

Among her numerous solo exhibitions have been: Bet Gabriel, Tsemach (1999); The Country Club, Herzelia (1997); Nama Arts, Tel Aviv (1993); and Israel Painters and Sculptors Association, Tel Aviv (1982). 

She has participated in group exhibitions in Israel and abroad: Strassen Kunst, an international exhibition of work inspired by graffiti, Virginia, USA (2010); IconData World Prints, Cracow (2005-2010); Internet IBienniale 1 – 2009; Ein Hod Gallery, Israel (2009, 2010); Infinity Art video installation, Tel Aviv (2009); IMPRINT 2008, Warsaw (2008-10); International Print Triennial Society, Cracow (1997, 2000/3/6/7/9); The Institute Museum & Gallery, Macedonia (1997, 2000/3/6/7/9); Infinity Art, Israel (2008); Art Periscope – International Internet Artwork Competition, Poland (2007/8); ARTROM Gallery, Rome (2008); Synergy Group, Foundry Art Centre, Missouri, USA (2007/8); Tallinn Print Triennale, Estonia (1998, 2004/7); The Tel Aviv Museum of Art (2006); Tel Hai, Israel Museum of Photographic Arts (2000/6); International Biennale Exhib., Taipai, Fine Arts Museum, Taiwan (2001); Sapporo International Print Exhibition, Japan (2000); Norwegian International Print Triennale (1999); Kalmania, Kfar Saba (1998/9/2004); Art Addiction, Stockholm (1996/7).

Following Van Gogh 4, 2, 3 (6 x 8) color digital print, not framed, $630 each
Still Point Art Gallery
September 1, 2010