In & Out, Gallery Artist Exhibition, Juror: Marjorie Kaye, Galatea Fine Art
Jan 13–Feb12, 2012 • Opening Reception: January 13, 6–8 pm
Juror’s Statement
A juror’s statement usually begins with the juror proclaiming the difficulty of choosing work from such a widely talented pool of artists, etc. etc., and that is, of course, accurate. One might feel, also, that the title of “In and Out” is one in which there is a broad spectrum of interpretation. That is also true. However, as I was contemplating the wide array of fine work submitted to this show, the exhibition formed before my eyes rather quickly. “In and Out” took on a very definite path. What struck me immediately, were the number of works that had a more elusiveness to them then might have been submitted under a different exhibition theme. This elusiveness took the form of shadow and light, as well as within spiritual and psychological components. Many times it was a combination. And in a few cases, the theme is taken almost literally, usually in the form of whimsy and humor.
The natural world is represented, with its passages of birth, growth, and decay. Paintings, photographs and sculpture illustrate different aspects of time measured by the sun, water, trees, etc. In “Variations” by Marie Peters, the artist depicts plant life in relation to night and day. The leaves of the plant seem to close up and sleep, only to spread once again to welcome the sunlight. Michelle Meister’s “Forest: Hidden Views” exposes parts of the deep forest we might naturally not stumble upon ordinarily. The use of deep sepia-like tone reflects the mystery of the wood.
We have also a more philosophical approach, with some works inviting the viewer to consider their own experience as being subject to transition and change. Anne Heywood’s “Deux Ex Machina” shows a congo-line of cars; they are either being manufactured, or just manufacturing ourselves, appearing and disappearing off of the surface as one more is lowered into the mix. Jack Foley’s “You” shows 5 Uncle Sams. To this juror’s eye, how many years of war? How much sacrifice?
Some works were chosen fully on the visual aesthetic, the composition and/or design drawing the eye in and out of the surface. In Dana Malcolm’s “Surge of Surf” it is the surf line itself that draws the eye in and out of the surface of the work. Beverly Rippel’s painting “Yellow Kayak (Rocks at Lanesville)” actually utilizes the surface to draw one’s vision in and out of the painting simultaneously. It is by virtue of the texture of the paint that the artist accomplishes this, variations suggesting direction in a subtle manner.
There are the humorous translations such as Robert Beaulieu’s “One Cat In, One Cat Out”, in which the two felines are placed in a yin-yang formation as they choreograph their comings and goings. Pam Golden’s “Inner Feline” lights from within, literally; (A glimpse into the source of those luminescent eyes, perhaps).
I was extremely pleased to find these and more among the connecting elements of the some 39 pieces of work in this exhibition. The exhibition is comprised of the beautiful and the mysterious; the intriguing; the humorous; and the compelling. All will bring the viewer through an individual and interesting interpretation of “In and Out”.
— Marjorie Kay
First Place:
“Between Flights”, Sara Holbrook
The passengers waiting for a flight appear wax-like – the truth about in-between flights seeming like oblivion is apparent on their faces, as they are pulled apart from the control they have over their daily lives. Not even anxiety or expectation is mirrored or suggested, as they have become jaded to what can be a sense of adventure to those who are not as well traveled. All is taken as a matter of fact.
The artist has impeccable timing. Each individual reflects a different state of ambivalence in this photograph. The chances of snapping the photograph at that incredible moment can’t be measured. The play of light and shadow in this work also increase the sense of the transition of time.
Second Place:
“Thresholds”, H. Collins
This image by H. Collins suggests the actions of being magnetized inward and repelled outward simultaneously. We are invited to advance into a chambered infinity, yet at the center is an apparent door, a wall or “roadblock” into that infinity. We stop short and make our way back out to the edges of the image; and start the viewing process once again. This play on light, shadow and structure is enhanced by the subtle sepia-like tones, which afford a mysterious, almost historical presence.
Third Place:
“The Sensualist”, A.D. Pilla
What at first appears to be a humorous, lighthearted play on the words and corresponding forms very quickly becomes a suggestion of cycles of life, growth, aging and experience in this piece. The forms suggest parts of the body, while the drawings within bring the senses into the view – the combination reflects the fact that these two aspects of the human experience can’t be separate – our senses are acutely dependent on the actions of the body. There is a certain sense of irony the artist has towards this, the pin in the eye being a take on our vision being obstructed by expectations and fears of the natural
passages of time.
Honorable Mention:
“For Those Who Serve”, Mary Taylor
The artist has honored those who serve our country in this beautifully emotional artist’s book. To view this piece, the eye is drawn into the form of it, accordion book style. By doing this, the artist affords the viewer a glimpse into the ephemeral action of experience of those who serve. Time moves extraordinarily quickly and not at all. Her use of color reflects burning and ashes; of flares, blood, and that time of day between day and night. It is the time of a kind of limbo that modern day warriors find themselves in, that between life and death.
Name |
title |
media |
|
Robert Beaulieau |
One Cat In - One Cat Out |
Oil on Canvas |
|
Janet C. Blagdon |
Garden Party |
Acrylic |
|
Karen McEachern Cass |
Purple Passage |
Mixed Media Collage and Oil on Panel |
|
Karen McEachern Cass |
The Raven |
Mixed Media Collage and Oil on Panel |
|
Nancy Colella |
In Bound |
Oil |
|
Nancy Colella |
No In and Out |
Oil |
|
Heather Collins |
Give and Take |
Soft Pastel |
|
Heather Collins |
Wash Day at the Ghat |
Color Photography |
|
Heather Collins |
Thresholds |
Color Photography |
|
Susan Denniston |
Untitled |
Etching and chine colle |
|
Jack Foley |
You |
Color Digital |
|
Sue Gallagher |
Park Street Station |
Color Photography |
|
Pam Golden |
Inner Feline |
Clay, Glass, Light |
|
Anne Heywood |
(Deus Ex) Machina |
Pastel |
|
Anne Heywood |
Passage IV |
Pastel |
|
Sara Holbrook |
Between Flights |
Photography |
|
Virginia Holloway |
Between the Lines |
Fabric (Quilt) |
|
Andrea Kemler |
Portrait - Big Bird |
(Scanner) Photograph |
|
Kay Kopper |
Conkers, Aesculus hippocastanum |
Watercolor |
|
Danguole Rita Kuolas |
No Direct Route |
Digital Print |
|
Danguole Rita Kuolas |
Into the Abyss |
Digital Print |
|
Dana Malcolm |
Surge of Surf |
Oil |
|
Jan McElhinny |
Sky Holes |
Oil |
|
Michele Meister |
Through the Trees III |
Monotype |
|
Michele Meister |
Forrest - Hidden Views |
Monotype |
|
Marie Peters |
Variations |
Photography |
|
A.D. Pilla |
The Sensualist |
Assemblage |
|
Beverly Rippel |
Yellow Kayak (Rocks at Lanesville) |
Oil on Canvas |
|
Stephanie Roberts-Camello |
Precipice |
Oil |
|
Stephanie Roberts-Camello |
Sudden Disturbance |
Oil |
|
Judy St. Peter |
Out Standing in Their Field |
Acrylic |
|
Judy St. Peter |
Out of Control |
Acrylic |
|
Vcevy Strekalovsky |
Fish Shacks |
Oil |
|
Vcevy Strekalovsky |
Big Apple |
Oil |
|
Mary L. Taylor |
For Those Who Serve |
Artist's Book |
|
Mary L. Taylor |
Chinook, We'll Sling the World |
Painting & Pigment on Canvas |
|
Mary L. Taylor |
Vietnam (in country) |
Altered Film Canister |
|
Jeanne Wiley |
Guierrmo (Look Inside) |
Paperclay, Cane Weaver, Glass |
|
Jeanne Wiley |
Inside-Out |
Ceramic, Dyed Round Weaver, Vine |
|
Images at top from left to right: The Raven, Karen McEachern Cass, Inside-Out, Jeanne Wiley
Images at left from top: Yellow Kayak, Beverly Rippel, Garden Party, Janet Blagdon, Out of Control, Judy St. Peter