OPENING RECEPTION: Thursday, May 18th, 5-9pm. Artists will be present.
OPENING RECEPTION: Thursday, May 18th, 5-9pm. Artists will be present.
We're celebrating the close of 2016 by showcasing our artists' best work, so come celebrate with us! Food, drink, and amazing art - what more could you ask for? Maybe you'll even find a special gift for someone you love this holiday season...
DECEMBER 15TH – JANUARY 29TH, 2016
ARTISTS RECEPTION: DEC 15TH, 5 PM – 8 PM
MARKS AARDSMA | PAT AARON | MONICA AIELLO | TYLER AIELLO | KATE BECK TONIA BONNELL | TAIKO CHANDLER NANCY CHARAK | DIANE CIONNI | JEFF CURRY | CARLENE FRANCES | KAREN FREEDMAN MICHAEL GADLIN | AMBER GEORGE | JASON LEE GIMBEL | JANE GUTHRIDGE | HOWARD HERSH | JEFF JUHLIN |NANCY KOENIGSBERG | JOANNE MATTERA | MICHAEL MCCLUNG | DIANE MCGREGOR | LISA PURDY | MIKE RAND LYNDA RAY | JODIE ROTH COOPER | BETSY STEWART | WILLIAM STOEHR | SARAH WINKLER
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LEOPOLDO CUSPINERA: MEXICO
For more than twenty years I have been focused on the dynamic relationship between landscape and memory as a painter and academic. I think because I do not want to lose my own memory, I use many objects to trigger it. I have taken what is already there, in different places, and I transform it. I have memories collected while on an intense journey, starting in my home country of Mexico; later in Europe, and currently in the United States. In this way, I give the landscape back what it has given me and what I need to remember.
My paintings function as memorial artifacts, in some way they show veiled and unveiled segments of reality or aspects of life: fascinating, mysterious, complex and sometimes also dramatic. These segments permit me to observe details which otherwise would be lost in the immensity.
Because of the nature of the technique used, the form emerges from the material itself: water and vegetable fibers. The technique is based on ancient paper fabrication: the Japanese Washi and the Mexican Papel Amate. I have transformed these techniques by adding resins and other materials such as recycled paper pulp, oils, chalk, charcoal, gold, silver, and bronze.
The paintings have been created in an intuitive way; nevertheless there is an underlying imaginary structure that supports them, revealing the logic in the resulting forms. The structure follows an essential movement:
For each descending line there is a corresponding ascending line. Light returns us to the Divine Light.
Human beings reach out to that which is immaterial by means of that which is material.
JEFF JUHLIN: UNITED STATES
Often we see only the surface of things when in reality there are many levels and layers holding artifacts, histories and clues that hint of something curious and magical lurking beneath the surface waiting to be discovered, excavated and explored.
My work is about discovery and the hint of possibility. It’s about the layers and strata of things substantive, imagined, physical and implicit. I work by accumulating layers of material, images and color that make up the whole of a work, then I go back in and explore, excavate, expose, obscure.
Although I use various materials and mediums to create these works, encaustic is often the primary medium. It’s luscious translucent luminosity suits this process.
YIANNI MELLIOS: GREECE
Yianni frequently applies paint in thick layers and then makes cuts into it to produce paradoxical images in an existential style, whether they depict animals or abstracts. One of his favorite methods is taking his aluminum skimmer and pulling translucent color across the surface, varying the pressure slightly as he moves along the panel. His techniques are constantly evolving and changing, asare the world and its inhabitants.
SARAH WINKLER: ENGLAND
I seek out geologically interesting landscapes. It might be a specific rock formation, mountain range or natural wonder. I conceptualize a collection of work by relating the action of painting to the geological process of erosion and formation. The materials I use are themselves mixed with natural minerals such as marble, mica and iron oxide, cementing the narrative connection of the works to their subject. Seasons and dramatic weather in my mountainous Colorado surroundings also affect my creative directions. I seem to get hooked on a color palette for a while and work with it until organically shifting to another area of the spectrum.
Each painting is the final product of an extensive method that begins with sketches and photographs of landscapes I have visited on my walks. These visuals are translated into collages using paper that I have designed using an experimental process of my own making. The collages are then further developed into highly stylized paintings, which are created by applying acrylic paint to large wood panels. Each panel is sanded and treated to achieve a satin sheen, which highlights the multiplicity of textures, layers and spatial depths.
I am fascinated by the environmental factors that shape the natural world, and seek to imitate their destructive and constructive qualities in an artistic technique. I experiment with solvents, paints, carving implements and sanding tools to mimic the kinetic processes of erosion and deposition, as well as the physical forces of wind, water and temperature. By applying paint in this way, I am creating a history of gestures and actions that form into naturalistic abstracted landscapes with painted geological textures.
The work lies at the boundaries of abstraction and realism, modernism and minimalism. The paintings are often described as "Dreamy"as they evoke sensations of fantasy or partial reality. I intended the imagery to be at once familiar, but to carry an air of play and human curiosity about the natural world as if your discovering a place for the first time.
Sarah Winkler's highly stylized works are the result of a distinctive artistic practice deeply influenced by geological processes and elements. Drawn from memories of places she has visited, her fantastical and abstract landscapes possess a dynamism and energy that captures the exhilaration and presence of mind inspired by the beauty of nature. The materials she uses are themselves mixed with natural minerals such as marble, mica and iron oxide, cementing the narrative connection of the works to their subject.
Winkler's paintings are the final product of an extensive method that begins with sketches and photographs of landscapes she has visited on her travels. These visuals are translated into collages, using paper the artist herself has fashioned from an experimental process of her design. The collages are then further developed into paintings, which are created by applying acrylic to large, wooden panels. Each panel is treated and sanded to achieve a hard sheen, which highlights the multiplicity of textures, layers and depths that are characteristic of the artist's aesthetic.
Winkler is fascinated by the environmental factors that shape the natural world, and seeks to imitate their destructive and constructive qualities in her own artistic technique. She wields solvents, paints, carving implements and sanding tools to mimic the kinetic processes of erosion and deposition, as well as the physical forces of wind, water and ice. According to Winkler, "by applying paint in this way, I am creating a history of gestures and actions that form into naturalistic abstracted landscapes with painted geological textures."
FORMATIONS: the constructed landscape
New work by Sarah Winkler
March 3 - April 2, 2016
Sarah Winkler's work lies "at the boundaries of realism and abstraction, modernism and minimalism." In this exhibition of new work by the British-born artist, we are drawn into the rich and varied landscapes she constructs through her layered approach, the imagery inspired by mountainous Colorado surroundings and Western Deserts but ultimately formed by her signature aesthetic. Stay tuned for more information about this upcoming show at helikongallery.com.
My newest painting, Maroon Bells-Winter, 24x48", Acrylic on panel, 2015 will be exhibited for 6 weeks in the upcoming group show, Denizens III, at Helikon Gallery in the RINO art district of Denver, Colorado. I will be at the opening reception on April 24th and during First Friday Denver art walk in May. Look forward to seeing you there!
DENVER, Colorado - Helikon is pleased to announce Denizen III, the third installment of our annual tenant exhibit. This show brings together 14 of our in-house studio artists for a feature of their newest works. Ranging from painting and digital art to fiber and drawing, this eclectic exhibit is a great overview of the direction our studio community is moving in. The show has no limitations on theme or subject matter. Instead, Denizen encourages artists to express their personal style and most recent strides in their art, resulting in intimate connections between viewers and the artwork. Flowing variously from contemporary figurative art and portraiture to expressive abstraction and textiles, Denizen III bridges often times disparate genres into a single exhibit of local artists who work under one roof.
Artists featured in this exhibit include Annie Aqua, Keith Goble, Emily Wilcox, John Van Horn, Sarah Winkler, Janine Thornton, Vinni Alfonso, Debbie Brady, Jerry Eubank, Roxanne Rossi, Kyrie Wozab, Andrea Fast, Cayce Goldberg, and Justin Ankenbauer.
Entry is free and open to the public for all receptions and during normal hours of the gallery. All artwork from Denizen III will be listed for purchase online, following the opening reception, at www.helikongallery.com/shop.
About Helikon Gallery & Studios | 3675 Wynkoop St., Denver, CO | www.helikongallery.com
Helikon Gallery & Studios is a multifacted arts community and gallery located in Denver’s River North Art District (RiNo). Opened in 2013, Helikon is a family owned and operated art building comprised of two gallery spaces, 14 artist’s studios, a retail and coffee shop, and a dedicated classroom space hosting weekly life drawing and painting sessions. The gallery showcases dozens of exhibits each year, featuring illustration, imaginative art, narrative artwork, and other forms of contemporary art from Colorado and abroad. The building is open to the public from Tue - Fri, 10am - 4pm, and Sat, noon - 4pm.
Exhbition Dates: November 14, 2014 - January 24th, 2015
Opening Reception: Friday, November 14th , 5-7pm
China Brotsky Gallery at the Thoreau Center for Sustainability
Presidio Building #1014
Lincoln Blvd. & Torney Ave.
San Francisco, CA 94129
Phone: (415) 561-6300 PT
Open Monday-Friday 9-5pm
The work of these four artists looks at the transformation of landscapes. Diana Hobson has recorded threatened geological features in her delicate sculptural installations. Bob Stang's paintings contemplate our perceptions of the natural world in an evolving virtual culture. Martin Webb's night-scapes show the otherworldly side of familiar environments after dark, and Sarah Winkler paints and collages images reflecting the degradation of ocean reefs.
Sarah Winkler - Artist Statement for Forces and Perception
My artwork is about the process of landscape formation, the geology of place and environments in flux due to natural or human intervention. The paintings on exhibit are an interpretation of the biological structure and cycle of a coral reef from a healthy state, to distressed, to damaged, to extinct based on direct observations from exploratory trips to the Hawaiian Islands and research data from NOAA (National Oceanic Atmospheric Administration) on ocean acidification and a warming trend. Climate change effects on our oceans are causing rising sea levels and powerful swings in weather patterns as well as extinction to a variety of marine life. I’ve lived long enough to remember a healthier planet and cleaner ocean and feel compelled to use the raw emotional power of painting to convey what beauty is being lost to apathy.