october slotFine & Performing ArtsUpdated on Jun 19, 2008 View more like this | Visit JERSEY CITY, NJ | Contact www.artazone.com |
This is directed to the Pierro Gallery
Proposal for the October Slot
The following artists have very impressive resumes
So I did not include it in this presentation
However they are available upon request
As a curator I want to see works that have the sense of pure form, skilled freedom, color
and the mastery of completion.
The four artists chosen for this particular show are all mature artists with strong backgrounds in their artistic careers.
I find that it would not only be rewarding to have their work displayed at the Pierro Gallery but it would be a pleasure for all to get to know them personally.
After such an event like the Laurel Ptak, New Jersey show. It would be a change of pace to see something low key but yet powerful and exciting.
Thank you to all the board members.
Proposal for the October Slot
The following artists have very impressive resumes
So I did not include it in this presentation
However they are available upon request
As a curator I want to see works that have the sense of pure form, skilled freedom, color
and the mastery of completion.
The four artists chosen for this particular show are all mature artists with strong backgrounds in their artistic careers.
I find that it would not only be rewarding to have their work displayed at the Pierro Gallery but it would be a pleasure for all to get to know them personally.
After such an event like the Laurel Ptak, New Jersey show. It would be a change of pace to see something low key but yet powerful and exciting.
Thank you to all the board members.
May I present Bonnie Marantz
IPaint
Bonnie Marantz recent works has come full circle I have known about her work since the mid eighties
Her strength of composition and the abandonment of form has a spiritual freedom that is a joy to behold she is a master colorist.
IPaint
Bonnie Marantz recent works has come full circle I have known about her work since the mid eighties
Her strength of composition and the abandonment of form has a spiritual freedom that is a joy to behold she is a master colorist.
Bonnie Marantz
ARTISTS STATEMENT
Art has always reflected the place and time of its origins. In relation to the long and vast
history of Art, modern abstraction is a relatively “new” phenomenon. Some pinpoint
European abstraction dating back to Malevich and Kandinsky in the early 20th Century,
and a mere 60 years ago in the United States we think of the New York School of Abstraction
as a revolution.
Once again our world is a radically altered place since the cataclysm of 9/11. Events
and imperatives are shaping culture and the visual responses. Once again artists of all
kinds feel the need to clean the slate and find new ways to find those expressions of
spirit and mind we are all feeling.
My new paintings are self-reflective. I'm searching for a way to paint the dissolution of
boundaries while still retaining those outlines that we all want to cling to. I want the surface
to be active and bear witness to the immediacy of my inner necessity to project the
hope and outrage that are coexistent.
I'm turning to abstract painting because of it's opened ended possibilities. Objects and
our familiar realities no longer carry the weight nor the import of the cross currents that
are stirring the underground. Once again it feels right to turn to abstracted, nonobjective
forms of art for answers.
Welcome to the Future it feels the same and different at the same time.
Bonnie Maranz 2008
ARTISTS STATEMENT
Art has always reflected the place and time of its origins. In relation to the long and vast
history of Art, modern abstraction is a relatively “new” phenomenon. Some pinpoint
European abstraction dating back to Malevich and Kandinsky in the early 20th Century,
and a mere 60 years ago in the United States we think of the New York School of Abstraction
as a revolution.
Once again our world is a radically altered place since the cataclysm of 9/11. Events
and imperatives are shaping culture and the visual responses. Once again artists of all
kinds feel the need to clean the slate and find new ways to find those expressions of
spirit and mind we are all feeling.
My new paintings are self-reflective. I'm searching for a way to paint the dissolution of
boundaries while still retaining those outlines that we all want to cling to. I want the surface
to be active and bear witness to the immediacy of my inner necessity to project the
hope and outrage that are coexistent.
I'm turning to abstract painting because of it's opened ended possibilities. Objects and
our familiar realities no longer carry the weight nor the import of the cross currents that
are stirring the underground. Once again it feels right to turn to abstracted, nonobjective
forms of art for answers.
Welcome to the Future it feels the same and different at the same time.
Bonnie Maranz 2008
May I introduce Barbara Wallace.
ISculpt
Barbara Wallace has mastered the form. The sense of timeless space seem to be forgotten when viewing her work.
Her work can be placed in any century and it would not be out of place.
ISculpt
Barbara Wallace has mastered the form. The sense of timeless space seem to be forgotten when viewing her work.
Her work can be placed in any century and it would not be out of place.
BARBARA WALLACE
STATEMENT
I am a sculptor. The human figure is the inspiration and measure of all things in my artwork. I combine figurative elements that compositionally deal with 3-D space and scale. Conceptually the subject of the sculptures is the dynamics of relationships. My artistic training is in the traditional sculptural materials of clay, metal, stone, and wood. As a professional artist I have adapted techniques ordinarily reserved for clay and sheet metal for materials such as recycled paper and tin can lids. The results are large-scale, dramatic representations of human figures relating to each other in various psychological and emotional states. The process for creating the works, some as large as six feet in height, usually begins with a recycled clothing hanger from the dry cleaners. Layers of recycled newspapers, magazines, and cardboard are applied to this minimal armature with an adhesive of boiled wheat paste glue. The process mimics the additive/subtractive technique employed with clay. The fourth dimension of time is crucial in the drying process, as are the natural laws of gravity. Some of the sculptures include hammered metal disks formed from ordinary tin can lids. They are fastened to the paper sculptures with stationary clips. Other sculptures combine the paper core technique with a layer of wax. Creating emotionally charged, monumental, long-lasting sculpture from unlikely and somewhat ephemeral external materials of yesterday’s news and this afternoon’s lunch is the crux of my artwork.
STATEMENT
I am a sculptor. The human figure is the inspiration and measure of all things in my artwork. I combine figurative elements that compositionally deal with 3-D space and scale. Conceptually the subject of the sculptures is the dynamics of relationships. My artistic training is in the traditional sculptural materials of clay, metal, stone, and wood. As a professional artist I have adapted techniques ordinarily reserved for clay and sheet metal for materials such as recycled paper and tin can lids. The results are large-scale, dramatic representations of human figures relating to each other in various psychological and emotional states. The process for creating the works, some as large as six feet in height, usually begins with a recycled clothing hanger from the dry cleaners. Layers of recycled newspapers, magazines, and cardboard are applied to this minimal armature with an adhesive of boiled wheat paste glue. The process mimics the additive/subtractive technique employed with clay. The fourth dimension of time is crucial in the drying process, as are the natural laws of gravity. Some of the sculptures include hammered metal disks formed from ordinary tin can lids. They are fastened to the paper sculptures with stationary clips. Other sculptures combine the paper core technique with a layer of wax. Creating emotionally charged, monumental, long-lasting sculpture from unlikely and somewhat ephemeral external materials of yesterday’s news and this afternoon’s lunch is the crux of my artwork.
May I introduce Evonne Davis
IPhotograph
Evonne Davis is a master Photographer .She worked with wet plate process as well as
wonderful world of medium format 2.4by2.4. She is also well versed and extremely articulate.
I can see how photography has been her chosen craft. The strength of all images produced by this artist is so intriguing I am captivated by their lights and darks while bring to the stage fresh and bold newness to it’s surface. I can appreciate the pain staking process that goes into her work.
IPhotograph
Evonne Davis is a master Photographer .She worked with wet plate process as well as
wonderful world of medium format 2.4by2.4. She is also well versed and extremely articulate.
I can see how photography has been her chosen craft. The strength of all images produced by this artist is so intriguing I am captivated by their lights and darks while bring to the stage fresh and bold newness to it’s surface. I can appreciate the pain staking process that goes into her work.
Evonne M. Davis
IPhotograph
I use this to "work out" ideas. Many but not all of the things you see here will eventually become art works in the physical world. As a child I thought I would "grow up" and become a writer, as a result much of my work starts as text based strings of thought
New York City, United States
I am a self taught artist, Co Founder of Gallery Aferro and Gallery Director of City Without Walls.
IPhotograph
I use this to "work out" ideas. Many but not all of the things you see here will eventually become art works in the physical world. As a child I thought I would "grow up" and become a writer, as a result much of my work starts as text based strings of thought
New York City, United States
I am a self taught artist, Co Founder of Gallery Aferro and Gallery Director of City Without Walls.
May I introduce Drew Knapp
IDraw
Drew Knapp is in fact a master draftsman skilled with abilities coming directly from the renaissance
There is no mistake in his work. He takes the viewer on a journey of wonder and curiosity. Knapp
Is a painter with the ability to execute images on any surface with no hesitation.
IDraw
Drew Knapp is in fact a master draftsman skilled with abilities coming directly from the renaissance
There is no mistake in his work. He takes the viewer on a journey of wonder and curiosity. Knapp
Is a painter with the ability to execute images on any surface with no hesitation.
Drew Knapp
My work while in progress is densely layered, and often lingers in ambiguity before revealing itself. I live with it, watching, looking for clues to follow. A painting can come to life in a moment, but frequently this process takes years, with each preceding layer forming part of its history. The completed piece often does not represent anything specific, rather it becomes as if it were a fragment of nature itself. That, at least, is my hope. Rock clusters and waterfalls, atmospheric light, mist, stone walls, biological shapes, architectural constructs, outer space, human anatomy, graffiti and plant life are some of many elements which may appear and intermingle.
I am also inspired by: moonlight, the pulse of drumming, decisive and complex sidewalk cracks, frenetic music, the stirring of wine ... and intrigued by: brownish paintings in dusty lodges, antiquated record labels, mathematical equations, theories on the origin of the universe, etc. ...
How tedious to write artist’s statements, I’ll soon lose my desire to paint !
My work while in progress is densely layered, and often lingers in ambiguity before revealing itself. I live with it, watching, looking for clues to follow. A painting can come to life in a moment, but frequently this process takes years, with each preceding layer forming part of its history. The completed piece often does not represent anything specific, rather it becomes as if it were a fragment of nature itself. That, at least, is my hope. Rock clusters and waterfalls, atmospheric light, mist, stone walls, biological shapes, architectural constructs, outer space, human anatomy, graffiti and plant life are some of many elements which may appear and intermingle.
I am also inspired by: moonlight, the pulse of drumming, decisive and complex sidewalk cracks, frenetic music, the stirring of wine ... and intrigued by: brownish paintings in dusty lodges, antiquated record labels, mathematical equations, theories on the origin of the universe, etc. ...
How tedious to write artist’s statements, I’ll soon lose my desire to paint !
I would like to personally thank Judy and all the board members.
for a great year. My hat off to you all...
Marco Munoz
June 21, 2008
for a great year. My hat off to you all...
Marco Munoz
June 21, 2008
