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Santa Fe

David Richard Gallery

Exhibition Detail
Un-titled (Abstraction)
544 South Guadalupe Street
Santa Fe, NM 87501

July 20th, 2010 - August 28th, 2010
July 24th, 2010 5:00 PM - 8:00 PM
You Can\'t Stop Paddling  , You Can't Stop Paddling ,
2007, Acrylic on vinyl, stretched panel, 56 x 68"
Untitiled 3, Peter DemosPeter Demos, Untitiled 3,
2010, Acrylic on polyester, 53 x 45"
Flexible Bias  , Shirley KanedaShirley Kaneda, Flexible Bias ,
2010, Oil on linen, 64 x 54"
Everyday Activity, Clarence MorganClarence Morgan, Everyday Activity,
2008, Acrylic, black gesso, ink, graphite & collage on canvas over panel, 30 x 30"
Incomprehensible, Matthew PenkalaMatthew Penkala, Incomprehensible,
2009, Acrylic on canvas stretched panel, 60 x 60"
High Fructose Corn Syrup  , Ben WeinerBen Weiner, High Fructose Corn Syrup ,
2009, Oil on canvas, 32 x 48"
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Guadalupe, Railyard
Tuesday - Saturday, 10:00 a.m. - 5:00 p.m.

David Richard Contemporary is pleased to present Un-Titled (Abstraction), an exhibition of paintings by Jay Davis, Peter Demos, Shirley Kaneda, Clarence Morgan, Matthew Penkala and Ben Weiner that explores abstraction through optical illusions created via two trajectories. The first exploits photographic properties, while the second is focused on form and the illusions provided by color and surface texture.


The work of Davis, Penkala and Weiner exploits aspects of photography to create unique abstractions. Davis’ paintings contain representational elements that are nearly photographic in detail, but abstracted as they are collaged in surreal, dream-like settings with psychedelic overlays, taking the viewer on a journey that requires active participation to construct a narrative. Penkala investigates the dynamic potential of static objects that are digitally derived from his camera and presented on the canvas with dispersed particles of paint to imitate pixels and bits of information. Weiner’s paintings are of beauty and food products photographed at such extreme close range to abstract them beyond the point of recognition.


Kaneda, Morgan and Demos explore abstraction through form, color and surface texture. Kaneda’s paintings are fluid and dynamic, creating vibrations through overlapping undulating forms and gradations of color like a light show at a concert from the late 1960s. Morgan moves between painting and drawing, utilizing form, line, repetition and complex systems to create multi-faceted abstractions. Demos creates optical effects with the greatest economy of means as he manipulates rectangular panels with a simple palette of black, white and grey, making them move into or out of the wall based largely upon their matte or glossy surface quality.

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