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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.
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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. 


Biography

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