ABSTRACTED LANDSCAPES: FOUR WORLD VIEWS
Art Opening : July 1st, 6-9pm
Four painters from four different countries (Mexico, Greece, England, and the United States) present four unique interpretations of the natural world.
Featuring new work by:
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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.