Abstraction and Landscape

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Smashing Brie, 2006 Labels, Graphite, Stickers And Canvas On Panel 35 X 56 © 98ten Fine Art
Office Blues, 2006 Labels, Graphite, Stickers And Canvas On Panel 45 1/2 X 75 1/2 © 98ten Fine Art
Up and Under, 2007 Encastic, Mixed Media On Panel 24 X 36 © 98ten Fine Art
Where the Rocks Roll, 2007 Encastic, Mixed Media On Panel 24 X 24 © 98ten Fine Art
Dwelling in Ludlow, 2006 Acrylic, Ink And Color On Canvas 66 X 48 © 98ten Fine Art
Mill by Russell Gulch, 2006 Acrylic, Ink And Color On Canvas 60 X 48 © 98ten Fine Art
Nevadaville, 2006 Acrylic, Ink And Color On Canvas 24 X 24 © 98ten Fine Art
Push Up, 2007 Oil On Canvas 78 X 84 © 98ten Fine Art
Beyond Here Lies the Dragon, 2006 Oil On Canvas 76 X 66 © 98ten Fine Art
Blue Longing Down in Darkness, 2006 Oil On Canvas 76 X 66 © 98ten Fine Art
Bitches Brew, 2005 Acrylic, Ink And Color On Canvas 43 X 43 © 98ten Fine Art
Free from Ailments #1, 2003 Acrylic, Ink And Color On Canvas 44 X 42 © 98ten Fine Art
Untitled, 2007 Acrylic On Canvas 80 X 66 © 98ten Fine Art
Medal of Honorable Mention, 2007 Ink And Watercolor On Canvas 60 X 48 © 98ten Fine Art
Study of Discourse, 2003 Acrylic On Canvas 72 X 96 © 98ten Fine Art
Propagate/Amerliorate, 2006 Acrylic On Canvas 66 X 119 © 98ten Fine Art
If Perhaps the Smoke May Weep Your Eyes, 2007 Acrylic And Dye On Canvas 24 X 7 X 6 © 98ten Fine Art
Everytime I See a Mountain Lion, It's Always Running Away, 2007 Acrylic And Dye On Canvas 57 X 10 X 6 © 98ten Fine Art
Flutter #3, 2007 Mixed Media 61 X 48 © 98ten Fine Art
Aurora, NE, 2006 Acrylic On Canvas 48 X 30 © 98ten Fine Art
Baby Blue, 2003 Pvc On Wood 30 X 30 © 98ten Fine Art
Abstraction and Landscape

9810 Irvine Center Drive
Irvine, CA 92618
November 3rd, 2007 - December 12th, 2007

Monday - Friday 11-6pm Saturday by Appointment
abstraction, landscape, minimalism, abstract-expressionism, Deconstruction


98ten Fine Art is proud to present Abstraction and Landscape, a group show that highlights various provocative methods of abstract forms alongside landscape art that incorporates elements of minimalism and layers of surprising techniques. Artists included in the exhibition are Joshua Aster, Samantha Fields, Alison Foshee, Amber George, Karen Herold, Brian Hollister, Andy Kolar, David McDonald, Doug Meyer, Tim Nolan, Steve Schmidt, Natasha Shoro, Luke Whitlatch, Richard Wilson, and Andre Yi.

Collectively this exhibition will explore artists whose distinct approaches to abstraction are presented in the exploration of materials, shapes, and various other formal considerations. For instance, Aster’s compositions seem quite random yet also deliberate, and it is this perfect balance that completes the order in his work and lends a mathematical harmony to his canvas.  Herold’s non-objective works are a reflection of the California Light and Space artists. However, her works also closely relate to pattern and gesture painting, creating an overall ethereal quality. Hollister’s work has references to the southern California desert landscape, making the light of the desert the key to his work.  Like Herold, Hollister’s canvases are both textured and luminous; yet, his works seem to dance subtlety between representation and abstraction.  Kolar, on the other, explores flatness in abstraction. The large, bold shapes dominate his canvases yet his painterly treatment of lines is spiritual and moving. Schmidt uses modernist grids as his bases of exploration, but goes beyond the formalism that has often defined reductive geometric art. The formalism in his works gives way to exposing the dualistic qualities of the manmade and nature. 

Pairing with the abstractionists are artists, Foshee, George, Fields, Whitlatch, and Yi, who blur the boundaries of abstraction and landscape. Foshee’s collage-paintings are a mix of office materials such as pins, stickers, tape, and traditional media on monochromatic backgrounds. While her canvases capture the interest of viewers through a multi-layered experience, there lies a floating element of landscape and a deeper sense of illusion. Whitlatch explores gestural compositions on shaped canvases with depths ranging as much as 7 inches. Employing unique, unconventional canvases, Whitlatch is able to break up the landscape with almost totem-like shapes. These paintings are, in essence, comprised of three painted surfaces whose interaction break away from the traditional forms of painting, and further serve as an architectural body. On the other hand, Yi draws and paints on fields of expansive and subdued colors, often mirroring elements of minimalism and architectural rendering. Yet, he resolves in creating a powerful shift to landscape with gestural brush strokes and light circular movement that might suggest gravity and air.