Artist Profiles

JAMES DEL GROSSO
King Zippo - 2012
oil on panel
18 x 24 in. (7 x 9 cm)

The objects depicted in the artist’s recent work are familiar ones. They are simple, man-made objects that produce light: flashlights, light bulbs, and the commonplace, iconic Zippo lighter. Del Grosso works with thin washes and glazes of color, slowly clarifying the images, adding one layer upon another to achieve the effects he desires. It allows him to give a clear and large-scale experience of the basic act of seeing.

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MARK PERROTT
Goodyear
gelatin silver print
35 x 58  in. (89 x 147 cm)

Rooftop signs used to be common, proclaiming well-known consumer and industrial products and corporations like Domino Sugar in Baltimore, MD; Firestone Tire, in Akron, Ohio; and Shelton Corrugated Paper Products, Secaucus, N.J. Over the past 20 years Perrott has been crisscrossing the country in an effort to document as many of these magnificent rooftop mounted signs as he can, before they succumb to the ravages of time, and the inevitability of modernization. Like the signs they document, these thumb tacked, multi-panel photographs are large, ranging from 4 x 5 feet to 3 x 10 feet.

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LAURA EVANS
Smokestack - 2009
cardboard tube, mdf, paper pulp
20 x 30 x 9 in. (51 x 76 x 23 cm)

Evans’ sculptures hover between mundane recognizable objects and mysterious abstracted forms that reference the body. She employs simple, recyclable materials and hand-built processes. In this exhibition, The Evolution of Tubes, Evans uses a direct additive process, coaxing cardboard tubes into anthropomorphic gestures. The quirky postures of the sculptures suggest an energy and intentionality of movement assumed to be absent in such common construction materials.


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SAND T KALLOCH
Rocky Mountain Sky - 2012
uv resin, graphite and acrylic paint on plexi-glass
17.75 x 17.75 x 2.25 in. (45 x 45 x 5.5 cm)

Kalloch’s intention in her non-objective work is to utilize the basic elements of visual language such as point, line, surface, color, form and light to create maximum visual impact. A simplifying approach to the process is the driving force behind the end product. The reductive aesthetic in her work is an overlapping of decidedly contrary elements; a play of many dualities. The work resides in a place where the interplay of line, dot and light and the relationship of harmony and balance play significant roles.


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GREG CONSTANTINE
Johns Object - 2011
oil and acrylic on styrene
24 x 37 in. (61 x 94 cm)

The Poetic Licenses are a play on words, and most viewers, when confronted by these groupings will at first see a random juxtaposition of weathered automobile plates from various countries and states. They refer to the phenomenon of ubiquitous so called “vanity” plates, with the exception of several which have been joined together to form full statements. Most of the statements are those of artists about art and some are humorous. It may be noted that each plate is rendered as a convincing entity (although created from vacuum-formed styrene) and the groupings appear to be an assemblage of found objects. The license plate format is that of objects of utility transformed into a functional object wearing the mantle of “high art”. They open another territory in the development of Text art.


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Art of the Real: Realist Watercolors

Art of the Real consists of four extremely successful British artists who have found each other as a confluence finds its meeting place. Angus McEwan, David Poxon, Denis Ryan, and Sandra Walker have common threads running through their work, not only the fact that they all use watercolor, but many other facets that bind them together as a group.

The group’s love of craftsmanship and the ability to provide a realistic interpretation of their chosen subjects is apparent. However their art is not just about portraying realistic elements, or proving their superb technical ability, but an endeavor to transmit hidden meaning. Their endearment towards and emotional attachment to each and every chosen structure is in itself a reason to form a collective celebration of real art.


ANGUS MCEWAN
Waiting for an Answer - 2011
watercolor
30 x 21.5 in. (76 x 55 cm)


DAVID POXON
John's Yard
watercolor
18 x 27 in. (45.7 x 68.6 cm)



DENIS RYAN
Philadelphia Neon - 2011
acrylic on paper
15.5 x 22 in. (39 x 56 cm)


SANDRA WALKER
Crossing Delancey - 2011
watercolor
36 x 36 in. (91 x 91 cm)

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