ArtSlant - Recently added en-us 40 Ethelinda - Manitou Galleries - September 5th - September 19th <p style="text-align: justify;">Manitou Galleries is proud to present <strong><em>Spirit of the Horse</em></strong> featuring new works by <strong>Ethelinda</strong>.<br /> &nbsp;<br /> Born in Hawaii, a fourth generation descendant of an Island family, Ethelinda has always painted, first sketching the characters of the books of her youth. Using strong brushwork and vibrant colors, Ethelinda creates her signature, grand oil paintings of beautiful horses, sensual still lifes, and mysterious Native American portraits. Horses seem ready to gallop off the canvas in her equine compositions, with wild manes flowing in the wind. Her stately portraits of Native Americans are meticulously researched to ensure accurate representation of dress and beadwork.<br /> &nbsp;<br /> Ethelinda's artistic philosophy is to paint things that aren&rsquo;t seen elsewhere in a manner they are not painted elsewhere. Charlotte Berny, in Focus/Santa Fe Magazine writes, "Ethelinda&rsquo;s vision transforms her subjects.&nbsp; She begins with things that are real &ndash; horses, Indians, fruits, flowers &ndash; and then through some alchemy, recreates them as grander versions of themselves."<br /> &nbsp;<br /> Show will be on exhibit for two weeks.&nbsp; The same evening is the West Palace Arts District&rsquo;s First Friday Art Walk. &nbsp;Mariachi Porvenir will be playing live music on our shaded patio that overlooks Palace Avenue.</p> Mon, 25 Aug 2014 13:01:34 +0000 Irving Greines, Ysabel LeMay - Verve Gallery of Photography - September 12th - October 25th <p style="text-align: justify;">VERVE Gallery of Photography is pleased to present a two-person exhibition with the work of artists <strong>Irving Greines </strong>and <strong>Ysabel LeMay</strong>.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The public reception will be held on Friday, September 19, 2014, from 5 to 7 p.m. There will be a Gallery Talk with the artists on Saturday, September 20, 2014 at 2pm. The exhibition will be on view through Saturday, October 25, 2014.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The works by our artists in this exhibition represent two distinctly disparate photographic art forms. The juxtaposition of their visions makes for compelling discourse with respect to photographic process, style, composition, techniques and subject matter. However, they also share some common attributes in that their works are their own creations and not works of nature. Both artists spend days in search of beautiful objects to photograph. Both have a passion for the painterly&mdash;texture, surface, pattern, form, composition, color and emotional warmth. They both seek to preserve: Ysabel, the beauty that is nature encroached upon by urban sprawl, and Irving, the loss of character inherent in older neighborhoods to gentrification. In addition, each of their work has been organized to be pleasing to the eye and to bring some order to the chaos of the natural world.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">That said, the photographers have approached their art from different ends of the spectrum. Irving&rsquo;s images in this show&mdash;&ldquo;found&rdquo; urban portraits&mdash;are selected images of layer upon layer of wheat-pasted paper posters, not unlike an archaeological dig through poster artifacts on urban walls. One rarely sees a complete poster but rather a selected view of the chaotic wall, wherein Irving seeks to create micro-works that stand on their own. Ysabel, on the other hand, creates, from scratch, digital compositions using hundreds of images pieced together to make a whole. It is as if Ysabel begins the process, whereas Irving peels back the process, one small peek, one layer at a time.</p> <p style="text-align: justify;">Irving&rsquo;s images in the exhibition <em>Portraits</em> are a subset of his earlier series, <em>Urban Wilderness&mdash;Chaos Transformed</em>. Whereas his previous images were analogue, nondigital photographic takes, he now uses a digital camera. He still shoots with available light, preferably open shade, and he uses a tripod if necessary. This technique allows optimal aperture settings for perfect detail and saturated colors. Thus, his photography can be described as both documentary and expressionistic. Irving asserts that his photographs reflect &ldquo;reality <em>exactly</em> as I found it.&rdquo; In other words, his work fairly and accurately depicts what it portrays. In addition, he eschews the use of any post-capture digital manipulation.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The work of this contemporary urban photographer, with a focus on eye-grabbing, richly colored photographs of urban grittiness, is both pungent and stunning. Images of graffiti, weather and grime, when seen through Irving&rsquo;s lens, are remarkably beautiful and fleeting.</p> <p style="text-align: justify;">Each evokes the discovery and demise of man, and a photographer&rsquo;s passion to reconcile them. Vibrant colors, layered in textures commonly unnoticed by the passing eye, explore the grit and diversity of urban decay. Scale and size transform chaos to structure and order, making each new environment ephemeral and unique. Irving sees city walls as exhibition spaces for the display of contemporary social, political and creative imagery. Just as prehistoric art, the works found on contemporary urban walls, whether wheat-pasted posters on a building&rsquo;s side or a disembodied handprint, reflect the spirit and diversity of urban decay. At the same time they represent the collective urban psyche of our contemporary period in time.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">In contrast, Ysabel&rsquo;s vision is to create illusory images. Her computer desktop is her canvas. And, like a painter she begins with a blank canvas. On that surface she creates this body of work, <em>Gracia</em>, wherein she reinvents nature to her taste. Each of her hundreds of images of creatures and plants has its individuality, and she enhances that uniqueness. &ldquo;A leaf may appear commonplace at first glance, but when our eyes linger over it, the mundane becomes something of wonder,&rdquo; she reveals. Thus, when a leaf, a flower or a bird is placed on her palate, she gives each a new and novel interpretative reality.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">In other words, each of Ysabel&rsquo;s images is like a musical score. She begins with a blank chart and first creates the melody and then the accompanying chords. By comparison, Irving&rsquo;s work is like a musical improvisation: he searches walls of disordered graffiti for color, texture and content, and transforms the chaos into structure and order. Greines&rsquo; improvisation is &ldquo;to find a beauty that escapes most as they rush to pass through the neighborhoods&rdquo; and &ldquo;to try to transform the chaos that [he finds] into micro-works that stand on their own.&rdquo;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Whatever their creative differences, the works of both Irving Greines and Ysabel LeMay &ldquo;clarify, intensify or otherwise enlarge our experience of life.&rdquo; Each of their work is created to have lasting value.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>YSABEL LeMAY</strong></p> <p style="text-align: justify;"><strong><em>Gracia</em></strong></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Artist and photographer Ysabel LeMay was born in Quebec, Canada. She describes her artistic life as a &ldquo;Journey into Simplicity.&rdquo; She began her career as a graphic artist working for prominent advertising agencies and later opened her own firm in Vancouver, BC. She made the transition to fine art studying painting at the Emily Carr University of Art + Design. In 2002 she left corporate advertising and devoted her time to her painting. Since then her work has been displayed in more than 40 exhibitions throughout the United States, Europe and Canada.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Ysabel turned her attention to photography in 2010. She combines her technical skills and deep-seated roots as a painter in her exploration of nature through a unique richly detailed and vibrant process she calls &ldquo;Photo-Fusion.&rdquo; In October 2010 she was selected as one of six winners of the KiptonART Rising Program in New York. The Kipton team dedicated a full year to promoting her work to art collectors, museums, patrons and major corporations throughout the United States. Her work also appeared in several significant gallery exhibits in New York City.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Ysabel takes her cue from Albert Einstein, who said, &ldquo;Look deep into nature, and then you will understand everything better.&rdquo; When viewing her work you might think you are looking at a hyper-realistic painting. Not so! Her innovative technique is a lengthy process wherein she relies on an inventory of the hundreds of photographs she has taken; this is Ysabel&rsquo;s digital palette. Thereafter, the light and visual properties of each image are attuned. &ldquo;Every insect, every plant, every bird that I capture with my lens has an individuality that I want to enhance and share with the viewer,&rdquo; she explains. &ldquo;I want the viewer to look &lsquo;deep into nature&rsquo; with me.&rdquo;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">With this collection of images, Ysabel begins her meticulous and precise still-life reconstructions of nature on her digital canvas. At this juncture her artistic vision and creative imagination are at their finest. So as to create her dreamscape, she describes, &ldquo;each branch, each flower, each leaf is positioned, one by one, in the composition.&rdquo; In a painterly fashion, she assembles patiently one detail at a time, with each single composition taking up to eight weeks to complete. Thus, the viewer is treated to a masterful body of work. One who saunters through Ysabel&rsquo;s masterpieces, her &ldquo;Shangri-la,&rdquo; finds Ysabel&rsquo;s <em>Gracia</em> is fanciful, detail rich, mysterious, beautiful, ethereal and full of peace and harmony. Her work, she says, &ldquo;is a tribute to Nature. It is an offering&mdash;a moment of contemplation&rdquo; and enlightened consciousness.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>IRVING GREINES</strong></p> <p style="text-align: justify;"><strong><em>Urban Wilderness</em></strong><strong><em>&mdash;Chaos Transformed</em></strong></p> <p style="text-align: justify;"><strong><em>Portraits</em></strong></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>Urban Wilderness&mdash;Chaos Transformed </em>is a series of photographs revealing a few of the &ldquo;found&rdquo; images Irving Greines discovered while wandering through blighted urban neighborhoods and back alleys in Los Angeles, Manhattan, San Francisco, Austin, Havana, Paris, Rome and other densely populated cities. This body of work represents a 25-year exploration, commencing in 1990 in San Francisco&rsquo;s Chinatown. Irving describes:</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Amidst the litter, decay and blight&mdash;condemned by most as unsightly&mdash;I find beauty&mdash;beauty that I endeavor to portray within each frame. It is the beauty of ugliness, a beauty that escapes most as they rush to pass through the neighborhoods that some feel are unsafe. My goal has been to try to transform the chaos that I find into micro-works that, I hope, stand on their own.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp; What I&rsquo;ve noticed over the years is that my subject matter is steadily disappearing, being replaced by urban renewal undertaken in the name of progress. I mourn the transformation from authenticity and uniqueness into sameness. As a <em>Washington Post</em> review of my 2000 Washington, DC, show reported, &ldquo;Urban renewal and gentrification are supposed to be good things. But here [in the images of <em>Urban Wilderness&mdash;Chaos Transformed</em>], these improvements seem almost sad.&rdquo; I agree.</p> <p style="text-align: justify;"><br /> The images on display in this exhibition are a subset of the <em>Urban Wilderness&mdash;Chaos Transformed </em>series. All are &ldquo;portraits&rdquo; randomly discovered during Irving&rsquo;s wanderings, and all are untitled. All but one image (recently captured) have been erased by renewal or by the next layers of weather, grime and graffiti that, like a living organism, transform the scene on a daily basis. He says,&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">All the images are displayed exactly as I found them. There is no digital trickery. I&rsquo;ve abided by a self-imposed rule: I will not alter anything that I find, either physically or through digital manipulation. What you see is exactly what I saw, without embellishment.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">A Los Angeles native, Irving has pursued his passion for photography for more than 50 years. His fine art work is held in prominent collections, including the permanent collections of the Museum of Photographic Arts (San Diego, Balboa Park), the Harry Ransom Humanities Research Center (University of Texas, Austin), the Frances Lehman Loeb Art Center (Vassar College, New York), the Sheldon Memorial Art Gallery and Sculpture Garden (University of Nebraska, Lincoln) and the Eli and Edith Broad Collection (New York). Irving's work has been exhibited in multiple venues, including a solo show in Washington, DC, at the Headquarters Museum of the American Institute of Architects, and has been published in the <em>Washington Post</em> and in <em>Camera Arts, Hasselblad Forum, Camera &amp; Darkroom</em> and <em>Popular Photography</em> magazines.</p> <p>&nbsp;</p> Mon, 25 Aug 2014 10:45:58 +0000 Silvia Levenson - David Richard Gallery - August 29th - October 11th <p style="text-align: justify;"><strong>Silvia Levenson Explores <em>A Subject To Avoid</em> With Glass Sculptures and Photographs in Her Second Solo Exhibit at David Richard Gallery August 29, 2014.</strong><br /> <br /> Levenson tackles a challenging subject, violence against women and girls, largely committed by males the victims know and love in their family, such as husbands, fathers and brothers. This unspoken subject is explored with symbols of matrimony&mdash; such as wedding cakes made of fragile glass&mdash;glass casts of the objects most frequently used by males to harm these females and photographs that capture awkward moments between couples suffering from this horrible dilemma. <br /> <br /> <strong>David Richard Gallery</strong> will present the newest body of work by Silvia Levenson that explores domestic violence against women. She explores this difficult subject using installations, glass sculptures and lenticular photographs in her second solo exhibition with the gallery. <em><strong>A Subject To Avoid</strong></em> will be presented August 29 through October 11, 2014 with an opening reception with the artist on Friday, August 29 from 5:00 - 7:00 PM. A fully illustrated on-line catalogue will accompany the exhibition. The gallery is located at 544 South Guadalupe Street, Santa Fe, New Mexico 87501, phone 505-983-9555 in the Santa Fe Railyard Arts District.<br /> <br /> Silvia Levenson uses objects and images to say what is generally not said aloud, either because the subjects are considered taboo or because of the potential shame and fear of retribution or harm to the accuser. She explores this unspeakable space that is situated between what can be seen or guessed by observers. The exhibition consists of installations, objects made in glass, photos and lenticular prints meant to explore feelings and actions that we often prefer to avoid. She explores this awkward &ldquo;double feeling&rdquo; in different ways. We are all raised with the notion of family as a sanctuary, while evidence shows that it can also be a very dangerous place. Family can imperil lives and breed some of the most drastic forms of violence perpetrated against the female gender. In Levenson&rsquo;s exhibition, &ldquo;Until Death Do Us Part&rdquo;&mdash;a beautiful wedding cake that is empty and fragile with a pink hand grenade on top&mdash;and &ldquo;Body of Evidence&rdquo;&mdash;a wall installation of kiln-formed glass and found objects frequently used by men to cause harm to females&mdash;underscores this condition. Statistics speak to the violence in families, as the aggressors are mostly &ldquo;known&rdquo; by their victims and people who were once loved by the women and girls they harm. In others works, such as photos and lenticular prints, Levenson explores the dynamics and tensions in relationships between couples, those razor thin differences between what we really feel and what we actually express. Sometimes it&rsquo;s hard to face our feelings. Since we wish to fit into the idealized and idolized picture of &ldquo;happy ever after&rdquo;, we often pretend that things are OK; which is easier than confronting the real issues, our feelings or those who we once loved. Often, we worry too much about the other person&rsquo;s feelings or we simply fear them. That is why it is &ldquo;A Subject To Avoid&rdquo; and "let's not talk about it&rdquo;.<br /> <br /> <strong>Silvia Levenson</strong> was born in Buenos Aires and currently lives and works in Italy. She is an international artist and has had more than 40 solo exhibitions in Venice, Rome, Milan, Amsterdam, Lyon, Buenos Aires, Barcelona, Berlin, Portland and San Francisco, among other cities, and her work has been included in numerous group exhibitions. Levenson&rsquo;s art can be found in the permanent collections of the Museum of Fine Arts (Houston, TX), New Mexico Museum of Art (Santa Fe), Corning Museum (Corning, NY), Mus&eacute;e du Verre (Sars Poteries, France), Tikanoja Art Museum (Vassa, Finland), Glasmuseum Ebeltoft (Denmark), Ernsting Glass Collection (Coestfeld, Germany), Museo Leon Rigaulleau (Argentina) and Museo del Vetro (Altare, Italy) among others.<br /> <br /><br /></p> Mon, 25 Aug 2014 10:15:19 +0000 Group Show - TANSEY CONTEMPORARY - August 29th - September 23rd <p>A diverse group of artists&rsquo; work communicates how women in specific cultures&nbsp;respond and adapt to societal expectations and norms. Artists include:&nbsp;Clea Carlsen, Susan Taylor Glasgow, Teri Greeves, Krista Harris,&nbsp;Beckie Kravetz, Patrick McGrath Mu&ntilde;iz, Roger Reutimann,&nbsp;Stephanie Trenchard, Sheryl Zacharia, and Irina Zaytceva.</p> <p style="text-align: justify;"><strong>Beckie Kravetz&rsquo;s</strong> two sculptures provide the perfect entry point to the show&rsquo;s theme. Kravetz states: &lsquo;The Closet&rsquo; (bronze and mixed media) captures a moment that we all confront every day: choosing what face we present to the world. Our wardrobe of moods and expressions, as much or more than the clothing we wear, lets us decide how much of ourselves we want to reveal- even as it signals to others whether we are conforming to or rebelling against expected behavior. &lsquo;Dismay Pole&rsquo; (ceramic) depicts a woman immobilized by the competing demands of her inner and outer life. Overwhelmed by the chaos of her swirling emotions, she feels simultaneously bound and out of control.&rdquo;</p> <p style="text-align: justify;"><strong>Clea Carlsen&rsquo;s</strong> ceramic pieces complement Kravetz&rsquo; works beautifully and are also cornerstone to the show&rsquo;s overall theme. Carlsen&rsquo;s works are characteristically teeming with emotional conflict yet evoke a certain sense of triumph at the same time. &ldquo;I think my sculptures are always an attempt to express the battles that are the inevitable result of being a terribly imperfect and always deteriorating human being (especially female) in a world in which one always feels one should be better than one is.&rdquo;&nbsp;</p> <p style="text-align: justify;"><strong>Stephanie Trenchard&rsquo;s</strong> and <strong>Susan Taylor Glasgow's</strong> glass works address the overarching themes of domesticity and maternity. Taylor Glasgow, who creates exquisite glass versions of objects with highly feminine association (dresses, brasseries, high heel shoes, baked goods, handbags, etc.) states, &ldquo;My work embraces the feminine ideals of sensuality, in a seductive but unforgiving material, offering conflicting messages of comfort and expectation.&rdquo; Trenchard shares her perspective: &ldquo;I find when looking at art I always check to see if the artist is a woman. In addition to trying to look at art with an open heart and mind, I inevitably project my own experience on the work, which is to say, that I look for answers to my personal questions through comparison. I am fascinated by how [women] have navigated the difficulties of parenting while devoting their lives to their fine art careers. I know I am not alone in this challenge, which is helpful.&rdquo;</p> <p style="text-align: justify;">Two key works from <strong>Teri Greeves</strong> have been selected for the show; &ldquo;Wa-Ho: The First Song After the Flood&rdquo; and &ldquo;She Loved Her People&rdquo;. Greeves&rsquo; words best describe these two powerful pieces: &ldquo;I didn't make these pieces in reaction to the definitions of womanhood but rather&nbsp;from my experience <span style="text-decoration: underline;">of being</span> a Native woman living within the community that I come from.&nbsp; With "She Loved Her People", I was trying to explore what would motivate a woman to violence-something I know women across the world must feel when their families are violated.&nbsp; That we Southern and Northern Plains women continue to honor, symbolically, what this one woman did not only flies in the face of the stereotypical "Warrior" image of Indian men, it recognizes that our contributions are not forgotten and are held in high regard to this day.&nbsp; With "Wa-ho" I was moved by being a mother, the first teacher of our children, and the love that demonstrates our understanding of preciousness of life.&nbsp; It is something I think any mother can understand, no matter what time or place they come from.&nbsp; Both of these pieces were my attempt at understanding truths that women know and feel, but, at least for Native women, are often times ignored by the modern patriarchy.&rdquo;</p> <p style="text-align: justify;"><strong>Patrick McGrath Mu&ntilde;iz</strong>, who&rsquo;s work is heavily focused on the forces that shape our modern lives, created three new paintings for the show including &ldquo;Double Burden Worker&rdquo; which serves as a reminder of the women that are often neglected or ignored that prepare and serve food daily (both through paid and unpaid domestic labor). Consumo Ergo Sum (I Consume, therefore I am) according to Mu&ntilde;iz, &ldquo;ties in the Patriarchal Judeo Christian traditions with the continuous stream of media propaganda and consumerism that intends to define our lives and individuality through created fears and desires,&rdquo; according to Mu&ntilde;iz. This piece in particular brilliantly reinforces the show&rsquo;s theme as a whole.</p> <p style="text-align: justify;"><strong>Sheryl Zacharia</strong>, ceramic sculptor, and <strong>Krista Harris</strong>, modernist/abstract painter have also both addressed universal themes in their contributions to the show. Zacharia&rsquo;s sculpture &ldquo;Half Man, Half Woman&rdquo; comments on the changing roles of women in the workplace and at home, and evolving ideas of female sexuality. Harris&rsquo; painting &ldquo;Beauty Sleep&rdquo; explores her own evolving approach to the notion of beauty, which for many women expands and contracts with life experiences. &ldquo;As I have aged, and become a Mother myself, my understanding of beauty has grown more complex and has a far more complicated and broader definition. It is in flux, changing with the season, the light, my mood. My appreciation for beauty has become more multi-faceted and gentler. I revise my opinions at will,&rdquo; Harris comments.&nbsp;</p> <p style="text-align: justify;"><strong>Irina Zaytceva</strong> is known for her ceramic sculptures rich with scenery evoking notions of fairytale, illusion, and the majesty of nature and each work embodies complex threads of both beauty and tension. &nbsp;Zaytceva&rsquo;s cups featured in the show are directly based on the story of Madame Butterfly, a fantastic story rich with examples of the impact of culture on a specific woman&rsquo;s life.&nbsp;</p> <p style="text-align: justify;"><strong>Roger Reuitmann&rsquo;s</strong> bronze sculpture, &ldquo;Equity of Justice&rdquo; was inspired by social oppression and the epiphenomenon of various social dysfunctions such as discrimination, intolerance and discernment; themes with global relevance to women and men alike.</p> <p style="text-align: justify;">Mainstream media provides incessant exposure to many of these themes in the form of self-help books, blogs, talk shows, TV sitcoms and advertising messages (both overt and suggested), often diluting the significance of the individual&rsquo;s actual experience and response. Approaching these themes through artwork provides a new perspective and method of reflection, providing viewers with the opportunity to both understand the artist&rsquo;s intended message and to connect with the artwork in a unique way through their own experiences.</p> <p style="text-align: justify;">The show is the 3rd in a series of 4 group shows at Tansey Contemporary this year, each focused on leveraging works of contemporary art to reflect upon broad themes and topics that shape our lives on a daily basis.</p> Mon, 25 Aug 2014 10:34:16 +0000 Coleman Mills, Nigel Conway - Pop Gallery - September 1st - September 30th <p style="text-align: justify;">Join us as Contemporary Artists Nigel Conway &amp; Coleman Mills present new works during September's Annual Wine &amp; Chile Fiesta, Artist Reception Saturday September 27th, 6pm.&nbsp;<br /><br />CONWAY (MADRID,NM): Famous for his abstract figurative paintings with their captivating big eyes and lips, Nigel has made his career into an artistic adventure, continually exploring new subjects and creating paintings that excite him and his collectors. His self-taught style combines his playfulness and deep connection with the subjects he paints, working on a painting sometimes for months just to add a minute detail. Nigel&acirc;&euro;&trade;s paintings have an almost magnetic effect on their viewers, attracting collectors both nationally and internationally.<br /><br /><br />MILLS (FAIR HOPE, AL): Preferring the title "painter" over that of "artist", Wm. Coleman Mills' work is an exploration of mnemonics. In his own words, Mills is far more interested in "the memory of a place, with its' inherent inaccuracies and overlays of emotions, than a photographic recollection". An avid outdoorsman, Mills draws inspiration from hours spent in the broomsedge fields, pinoak forests, saltmarshes and grassflats of the American South. He combines the saturated colors and organic forms of this natural world with the regulating lines of his architectural education to create richly textured compositions deeply imbedded with memory and place.&nbsp;</p> Thu, 21 Aug 2014 12:02:02 +0000 Lynden St. Victor, Clifford Bailey, Bryan Tubbs, Jeff Brock - Pop Gallery - September 1st - September 30th <p style="text-align: justify;">Featuring Lynden St. Victor, Clifford Bailey, Bryan Tubbs &amp; Jeff Brock among others. Annual event hosted during Santa Fe's Wine &amp; Chile Fiesta and the Santa Fe Concorso.&nbsp;<br /><br />Exhibit opens Sept 1st with artist reception &amp; art raffle to be hosted later in September during the 24th Annual Wine &amp; Chile Fiesta. Enjoy local chile infused delicacies from the Chocolatesmith, Saturday September 27th 6pm! Santa Fe's own Jeff Brock of Rocket Heads Studio will be showcasing new works and his latest record setting Bonneville Flats car, Bombshell Betty...Calling all fast cats to POP, one nite only!!</p> Thu, 21 Aug 2014 11:59:57 +0000 Lynden St. Victor - Pop Gallery - August 23rd - September 30th <p style="text-align: justify;">Lynden will be unveiling his newest work "Hope Floats" and offering a sneak peak into "Summer" still on the easel, only at POP Gallery Saturday August 23rd at 6pm.&nbsp;<br /><br />Excerpt from "Archer diary", a recent release from Lynden St. Victor will be featured amongst other works during our Un-Indian Market event. Join the artist in his first Santa Fe showing at the new POP Gallery Saturday August 23rd 6pm. Annual benefit for Assistance Dogs Of The West, raffle opens August 1st ends, Sept 30th.&nbsp;<br /><br />Acknowledging the good in our lives, whether a tree trunk or a sliver, is the foundation upon which peace is built. The Buddha says "Happiness does not depend on what you have or who you are, it soley relies on what you think. Praise and blame, gain and loss, pleasure and sorrow come and go like the wind. To be happy, rest like the giant tree, in the midst of them all."<br /><br />According to Eckhart Tolle, being spiritual has nothing to do with what you believe and everything to do with your state of consciousness. And what blurb about the essence of peace would be complete without Lao Tzu: "Simplicity, patience, compassion. These three are your greatest treasures. Simple in actions and thoughts, you return to the source of being. Patient with both friends and enemies, you accord with the way things are. Compassionate toward yourself, you reconcile all beings in the world."<br /><br />The Archer, while acknowledging the wisdom of the ancients and the discoveries of the present, puts the power of choice in our own hands as she shoots a silver lining into the clouds. Gratitude is our gateway to peace and peace our gateway to understanding the nature of all things. -LSV</p> Thu, 21 Aug 2014 11:57:04 +0000 Rebecca Bluestone, Chris Richter, Jay Tracy - Chiaroscuro Contemporary Art - September 5th - October 4th <p style="text-align: justify;">"The Edges" presents new work from three gallery artists which will hang around the edges of Renate Aller's solo exhibition. All the work is fresh from the studio: silk tapestries from Rebecca Bluestone, mixed media paintings from Jay Tracy and color-field paintings from Chris Richter.</p> Thu, 21 Aug 2014 11:48:28 +0000 Renate Aller - Chiaroscuro Contemporary Art - September 5th - October 4th <p style="text-align: justify;">Well-known for her series "Oceanscapes - One View, Ten Years", Renate Aller continues to awe with her elegant large scale, meditative photography. Our September 2014 exhibition will feature new Oceanscapes juxtaposed with "desertscapes." taken from her travels in the deserts of Colorado and New Mexico. The exhibition is presented in conjunction with the publication of her most recent monograph from Radius, titled, "Ocean | Desert."</p> Thu, 21 Aug 2014 11:45:23 +0000