Ted Kincaid’s work explores the fusion of multiple artistic media, including painting and photography. His digital images embrace qualities and challenge traditions of each, resulting in paintings informed by photography and photography influenced by painting.
The White series showcases seasoned master Dale Chihuly’s relentless pursuit to expand his highly original language of glass. As one of the greatest colorists in the history of the medium, his genius includes the application of colors in different sequences, mixing opaque with transparent, thus manipulating light as it travels through the glass.
Dave Greber believes that the conscious exploration of our own personal cosmic DNA through art unearths all sorts of seemingly unassociated pieces of ideas. He feels that making new work is an archeology of the sub-conscious—it turns up fragments of broken ceramics and jaw bones, and the scientist receives the gifts the soil has offered and pieces them together to discover a “new dinosaur.”
Drake’s recent “White Cut-Outs” are studies in composition and subtraction. The artist creates them by cutting the paper with an X-Acto blade. The elegant works are the product of complicated fabrication and technical expertise. Their impact is related to both the shadows they cast and their drawn line. The tone of Drake’s “Red Drawings” is complicated and political. The intensity and saturation of red chalk infuses the drawings with a different line and character.
In recent years Brooklyn-based still-life artist Richard Baker has painted true to size interpretations of vintage paperback book covers, particularly classic covers from the 1950s through the 1970s including literary luminaries such as Tennessee Williams, Truman Capote and William Faulkner. More recently, Baker has also begun painting classic record album covers.
Using an insider’s bag of tricks and trade lingo, Waters celebrates the excess of the movie industry. Word and image play permeate Waters’ work, and the movie industry and its various sleights of hand are a common target. Always ambitious and playful, some of the works are condensed narratives or “little movies” as Waters calls them.
John Pilson lives and works in New York. His film, video and photographic work humorously point to the unexpected while exploring social mores. Pilson has exhibited internationally including exhibitions at Centre Pompidou in Paris, Museum of Modern Art in New York and the Venice Biennale.
Common Ground. Curated by Jim Richard. Opening reception in conjunction with White Linen Night, August 6th from 6–9pm.
Steve Rucker’s “Focus Group,” a ceramic and mixed media installation references the billions of dollars spent on advertising the varied products, including medications and even wars, which are initially shown to focus groups in order to refine marketing strategies.
Elemore Morgan, Jr., was acknowledged for many years as the leading contemporary Louisiana landscape painter. He was especially renowned for his “en plein air” landscape paintings done in the heart of the rice growing region of southwest Louisiana. Many of Morgan’s landscapes were done in acrylic on oddly shaped Masonite panels, cut to fit his vision of the land, which he felt were integral to the design and composition of his works.