Dedicated to covering the visual arts community in Connecticut.

Wednesday, November 28, 2012

Sunday closing party for Harris & Kaczmarek show at City Gallery

City Gallery
994 State St., New Haven, (203) 782-2489
There Are Places: New Work by Jane Harris & Sheila Kaczmarek
Through Dec. 2, 2012.
Closing Party: Sun., Dec. 2, Noon—4 p.m.

Press release from City Gallery

There will be a closing party this Sunday for the show There Are Places, featuring new work by Jane Harris and Sheila Kaczmarek. The event will run from noon until 4 p.m. and there will be wine.

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Hank Paper photo show opens at Willoughby Wallace Memorial Library Sunday

Keyes Gallery at Willoughby Wallace Memorial Library
146 Thimble Islands Rd., Stony Creek, (203) 488-8702
Two Sides of the Street: Photographs by Hank Paper
Dec. 2—26, 2012.
Opening Reception: Sun., Dec. 2, 4—6 p.m.

Press release from Hank Paper

Photographer Hank Paper will exhibit his photographs of the United States and Cuba, inviting a compare and contrast between the American Dream and the Cuban version of the same.

Hank Paper: "Trombone Player on the Malecón"

Hank Paper has photographed around the world. His many solo exhibition venues have included The African American Museum in Philadelphia; Hebrew University in Jerusalem, Israel; the High Point Historical Museum in North Carolina (Grand Opening Exhibit); The Jewish Museum of New Jersey; the Morgenthal-Frederics Gallery, the Tamarkin Leica Gallery and The Harlem School of the Arts in New York. He has also exhibited extensively in New Haven.

Hank Paper: "Virgin"

His awards and honors include acceptance in the 2011 and 2009 Juried Members Exhibiton of the New Britain Museum of American Art; the 2011 and 2010 (2nd Prize) Ridgefield Art Guild Juried Exhibition; the East Coast Juried Show 95 Artists at Umbrella Arts Gallery, NYC, the 2009 Soho International Competition and The Piedmont Juried Show (Piedmont Award). He received Honorable Mention in the 2010 and 2007 Images, Connecticut's statewide juried photography show. He received a 2006 Grant from the Connecticut Commission on Culture and Tourism. His photography has been spotlighted in Art New England.

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New gallery opens in Ridgefield Saturday

Seven Arts Gallery
54 Ethan Allen Highway, Ridgefield, (203) 278-3204
Interpretations: Inaugural Invitational Exhibit
Dec. 1, 2012—Jan. 8, 2013.
Reception: Sat., Dec. 1, 6 p.m.

Press release from Seven Arts Gallery

Seven Arts Gallery, a fine art gallery, has its grand opening on Sat., Dec. 1. The gallery will open its doors at noon and a reception will be held at 6 p.m.

The Interpretations: Inaugural Invitational Exhibit will highlight works by Californian Jim Phillips, whose iconic designs have shaped surf, rock, and skateboard art; still life paintings by Silvermine Arts Center faculty member Justin Wiest; mixed-media works by internationally-exhibited artist Camille Eskell; paintings by Daniela Kinsbourne of Ridgefield; and drawings and paintings by gallery owner Paul Fernandez-Carol.

Camille Eskell: "Ezekiel Project: Aurora"
"I wanted to open the gallery because my friends who are area artists and I are always looking for new places to show our work and to see art that inspires us," said owner Paul Fernandez-Carol. The Norwalk resident, who has exhibited in Los Angeles and New York City as well as Connecticut, was excited to find the right space to house the gallery. "With the Aldrich downtown and Silvermine nearby, Ridgefield is the perfect home for a gallery with a modern sensibility."

Seven Arts Gallery is the newest addition to the Fairfield County fine arts scene. The intimate, minimalist gallery exhibits artists creating contemporary works on paper, paintings, photography, and works in other media. The gallery's mission is to provide opportunity for local and regional artists, as well as those from outside the area, to share their work with art enthusiasts and buyers in southwestern Connecticut.

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Two exhibits open at Middlesex Community College Thursday

Middlesex Community College Pegasus Gallery
100 Training Hill Road, Middletown, 1-800-818-5501
Judith Randall De Graffenried: Diverging Processes in the Pegasus Gallery
(Pegasus Gallery is located within the library on the first floor of Chapman Hall)
Kathleen Sumpter: A Tea Party in The Niche
(The Niche is located in Founders Hall across from the Registrar’s Office.)
Nov. 16, 2012—Jan. 3, 2013.
Opening Reception: Thurs., Nov. 29, 4—5:30 p.m.

Press release from Middlesex Community College

Judith Randall De Graffenried’s painting process considers the varying degrees of analytical, emotional, sensual and spiritual human sensibilities. In watercolor works like “Resort City,” pictorial plays of space and compositional juxtapositions create a multilayered series of visually charged settings. In other works painted in oil, figure model session poses are adapted into invented backgrounds.

Judith de Graffenried: "Resort City"

Judith de Graffenried is associate professor of fine arts/graphic design and program coordinator at Middlesex Community College. She earned a the University of South Carolina, an M.A.T. at the University of South Carolina, and an M.F.A. at City University of New York. She also attended a year-long painting program at the Art Academy of Munich, Germany and studied art at Queens College and Indiana University. She has exhibited her paintings in more than 50 national juried exhibitions.

Kathleen Sumpter: "Queen Bea Teapot"

Kathleen Sumpter’s A Tea Party is a series of glazed and painted ceramic cups, teapots and tea party food. These are functional and sculptural works that emphasize the whimsical and fanciful character of their handmade origins. Vessels like “Queen Bee Teapot,” transcend its utilitarian tradition through color, pattern and ornament as a harmonious union of grass, sky and swarming bees. Sumpter’s forms inhabit the intimate space of the mind and activate associations with the world of play, the nature and delicacy.

Since 2004, Sumpter has owned and operated Sumpter Design Middlefield, CT and is an adjunct instructor of digital arts at Middlesex Community College. She earned her B.F.A. at the University of Connecticut and has received numerous EdPress Design Awards (1993, 1994, 1995, 1996, 1997, 1998), the Weekly Reader President’s Award for Excellence (1995) and Young’s Printing Calendar Contest, Middletown (2003).

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Wednesday, November 14, 2012

"About Paper" opens Saturday at Institute Library

The Institute Library
847 Chapel St., New Haven, (203) 562-5045
About Paper: 8 Sculptural Forms
Nov. 17—Dec. 15, 2012.
Reception: Sat., Nov. 17, Noon—2 p.m.

Press release from Institute Library

A new show opens this Saturday at Institute Library in New Haven. About Paper was curated by Howard el-Yasin. Exhibiting artists are Meg Bloom, Giada Crispels, Ryan Cyr, Jennifer Davies, Nancy Eisenfeld, Howard el-Yasin, Susan McCaslin and Noel Sardalla.

There will be an opening reception on Sat., Nov. 17, from noon—4 p.m.

Meredith Miller: detail from "Untitled"

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Artist reception Saturday at New Haven Public Library

New Haven Free Public Library Art Gallery
133 Elm St., New Haven
Rosebud & Ebenezer
Nov. 17—Dec. 27, 2012.
Artist's reception: Sat., Nov. 17, 2—4 p.m.

Press release from Azoth Gallery

A show of the work of artists Rosebud Ebenezer and Ebenezer Sunder Singh opens this Sat., Nov. 17, from 2—4 p.m. at the New Haven Free Public Library.

Rosebud Ebenezer:

Rosebud Ebenezer: "Byway"

"My recent acrylic on canvas series New York is my rumination over my New York City life," writes Rosebud Ebenezer. "Born and raised in a very quiet countryside of South India, I moved to New York a few years ago. The concrete jungle that New York is famous for baffled my senses at first and later I started seeing the quintessential abstract and geometrical patterns that was hiding behind the physical facade of the city.

Rosebud Ebenezer continues:

Abstraction to me is the essence of my innermost feelings that stand with color and form. The subtle forms in my work hold a physical presence of the cityscape yet truly an inner manifestation of my own self of the objective exterior. I prefer to make sketches from my walk in Manhattan and other high-rises around Brooklyn area then transfer them on to my canvas to convert them as my personal images.

The bright colors that are characteristic of my palette help me bathe in vivid shades till I complete a work. I move to and fro between delicate color variations and intense shades until the form and the color converge to become a unique whole.

In Chennai, India, 1992, Rosebud Ebenezer earned her B.Sc. in Ceramic Design at Government College of Arts and Crafts, and an award for Excellence at the Victoria Technical Institute. During 2012, Rosebud has had two shows at A. Jain Marunouchi Gallery, on West 57th Street, New York City: Yudh Abhyas and New Beginnings.

Ebenezer Sunder Singh:

Ebenezer Sunder Singh, a Fulbright scholar from Madras, India, constructs images with allegorical/religious references, displaying metaphysical aspects of Shiva, angels, and the human figure, with a mastery of texture, equilibrium, tonality, and rhythm. His references cross several cultures because he comes originally from the state of Tamil Nadu in southern India, studying at the Madras College of Art there, and at the Art Institute of Boston.

Building references in his writing to "elemental forces," the "Body's compulsions," "matter & energy," "memory packages," and "spiritual plethora," his artwork is committed to developing a visual vocabulary of his spiritual experience. His evocative figures each fall within a fixed translucent geometric form, visualizing personal thought and the intimacy of human emotions, such as the mutual sharing of breath and the experience of sexual parity in free-fall.

Working on hand-made paper in tempera, acrylics, or acrylic emulsion, Ebenezer explores the inner color complexity of the human torso: contrasts of blue, red, and orange blend to manifest the throat chakra and a mandala centered over the navel chakra. He describes a visionary experience invoking the symbolism of the Snake, representing its mythic history and the creation of the Universe. His writing is included in three catalogs: Fibre Glass Sculptures and Painted Books, The Hollow Men, The Stuffed Men, and Inspirationen.

Both Rosebud Ebenezer and husband Ebenezer Sunder Singh are currently represented by A. Jain Marunouchi Gallery on West 57th Street, New York City, and have their studios in Park Slope, Brooklyn, NY.

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Reception for Insook Hwang show this Saturday at A-Space Gallery

West Cove Studio Gallery
30 Elm St., West Haven, (203) 627-8030
Insook Hwang: Best Wishes from the Magic Temple
Nov. 17, 2012—Jan. 5, 2013.
Artist Reception: Sat., Nov. 17, 4—6 p.m.

Press release from A-Space Gallery

Best Wishes from the Magic Temple, which features works on canvas and a drawing installation by Insook Hwang (Web), opens this Saturday at A-Space Gallery in West Haven. There will be a reception for the artist on Saturday from 4—6 p.m. The show will be on view through Jan. 5, 2013.

Insook Hwang: "Jubilation" (detail)

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Landscape-oriented show opens Frday at Giampietro Gallery

Giampietro Gallery—Works of Art
315 Peck St., New Haven, (203) 777-7760
Nov. 16—Dec. 21, 2012.
Reception: Fri., Nov. 16, 5—8 p.m.

Press release from Giampietro Gallery

Giampietro Gallery is pleased to present LOOKOUTOUTLOOK, a landscape-based exhibition curated by Christopher Joy. The show will feature the works of Gregory Amenoff, Jake Berthot, Clint Jukkala, Thomas Nozkowski, Peter Ramon, Lucy Mink, Becky Yazdan, Dushko Petrovich, Willard Lustenader, Melissa Brown and Sharon Horvath. The exhibition opens on Fri., Nov. 16, with a reception from 5 until 8 p.m. and continues through Dec. 21, 2012.

Jake Berthot: "Janlori Loop"

Gone hysterical because of the weight and stillness of an impassable mountain of mist? Someone told me that there is no escape from history and memory. When the sun shines, it just makes claustrophobia clearer. Perhaps standing on your head would help. Or better yet, superimpose your head on the landscape, so your lower jaw sits at your feet. As high-functioning gray matter approaches infinity, it reaches toward the line. Escape to Bill Gates' perfect field. Is there awkwardness in nature, or is it merely cultural phenomenom?

Tom Nozkowski, Dushko Petrovich and Gregory Amenoff draw on the landscape as content for their paintings. Works by Jake Berthot, Melissa Brown and Clint Jukkala embed emotional presence within landscape conventions. Sharon Horvath's dreamy cosmic landscapes draw from peripheral vision. Will Lustenader loses himself in atmospheric deconstructive views. Works by Peter Ramon, Lucy Mink and Becky Yazdan explore and personalize the natural landscape.

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Wednesday, November 07, 2012

CWOS Alternative Space weekend

City-Wide Open Studios
50 Orange St, New Haven, (203) 772-2709
City-Wide Open Studios 2012
Through Oct. 21, 2012.
Weekend 3 Report: Sunday

Finally getting to wrap up my coverage of this year's "Crystal Anniversary" City-Wide Open Studios. (I missed the middle weekend, focusing on artists in Erector Square, because I was laid up with a cold.)

It was a trip to wander through the former New Haven Register building, getting a little lost in the maze of hallways and in the presence of the mammoth—and now silent—presses. There were too many artists for me to comment on more than a few who grabbed my attention. My silence on so many of them should not be construed as critical judgment.


It was New Canaan artist Camille Eskell's first time participating in City-Wide Open Studios. Her sculptures of the female torso were attention-grabbers and I stopped to chat with her about her work. She said her work "is all about emotional states of being. It's been the core of my work for 20-something years."

"Tattooed Lady: Coming Up Roses" was especially striking, seeing as how the softly curved nude female form—emblazoned with a floral tattoo drape—was rent from collarbone to lower abdomen with a gaping wound studded with yellowing teeth.

Camille Eskell: "Tattooed Lady: Coming Up Roses"

It is powerful sculptural imagery, the beauty of the female form and the decorative roses—Eskell says she uses "a lot of florals and botanicals to represent irrepressible life"—juxtaposed with the torn opening lined with teeth. The sculpture was cast in aqua resin and fiberglas from her original wax sculpture. The "sub-subtext" of the work, according to Eskell, was her sister's struggle at the time with terminal cancer. Eskell said that her sister's battle with cancer wasn't consciously in her mind as she made the work. It was only afterward that she saw intimations of her sister's pain in the mutilated body.

Regarding the teeth, which Eskell told me symbolized a "gnawing anxiety," Eskell said they were leftover dentures given to her some ten years prior by a dentist she knew. Eskell says she hoards lots of outré materials: "You know when you're going to have to use something and just wait until the moment is right." She mixes media but usually tries to incorporate drawing, which she describes as her greatest strength.


Graham D. Honaker II described his mixed media paintings as "Pop Art with a sentimental flourish." By the word "sentimental," Honaker means to convey affection rather than irony toward the imagery he incorporates into his works.

Honaker suspends collage, latex paint, artist-grade paint and found objects between layers of polymer emulsion epoxy. Each layer of epoxy, he told me, is equivalent to approximately 50 layers of varnish. Honaker uses old magazine imagery, consumer product ephemera and labels and his own hand-cut stencils of iconic faces past and present: 1960's model Twiggy, Black radical George Jackson, Che Guevara, Charles Manson, Al Sharpton and James Brown's mug shot, to name a few.

"My pieces were very textural. People wanted to touch them and I wanted to find a way to make the surface level so the textural surface would be denied to the viewer," Honaker told me. Was he trying to protect the surface?

"It was a little bit of both. I wanted it to be that forbidden fruit kind of thing. Your mind tells you that you can feel this object but when you go to touch it, it's smooth," Honaker explained.

Honaker says a process of evolution led him to thicker and thicker pieces as he got interested in exploring the perception of depth and the way he could play with the light and shadows he was creating in the layers. Honaker has been meshing the collage, abstract mark-making and stencil work for about four years but says it has just been during the past two years that he has added the use of epoxy as a key element in his compositions.

Graham D. Honaker II

"There's so many possibilities, so many objects I can collect and little pieces of ephemera that can be put into a painting," Honaker said. "It's blurring the edge of 3-D to 2-D and I'm really fascinated by that." Honaker's works evoke box assemblages while remaining paintings.

Honaker continues his experimentation. He told me has dabbled in installing lighting sources in his paintings. In one of the works he had on display at the Register building, Honaker implanted LED lights in the painting, which can be turned on by being plugged into a wall outlet. And there are "interactive elements" in some of the works, too. To demonstrate, Honaker took "Redwood Reliever" off the wall and tilted it so that the soy sauce in a little packet buried in the yellowed epoxy swirled around.


Artist Rita Valley didn't take it personally when she was told that her location in the Register alternative space was in a cage of sorts. It was a perfect fit with her anarchic sense of humor. Valley's installation, "(Show Us the Way) Out of Our Darkness," played off the wire fencing.

The sculptural work employed about ¼-mile of electric fencing (not plugged in for this show although Valley said she might do that in the future), rope lighting, 200 feet of clothesline covered in clear tape, fluorescent light tubes, a plastic security mirror and the lights she uses in her studio to photograph art. And piled around the base of the work was snow drifts of salt (chosen over sugar because salt "has so many historic references").

Rita Valley: "(Show Us the Way) Out of Our Darkness"

Valley said "It became like a drawing." In particular, she noted, that she had artist Cy Twombly's line work in mind when stringing the electric fence wire around the steel armature built by her husband, sculptor Bob Keating.

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Review: Matthew Garrett photography and Gerald Saladyga paintings at Kehler Liddell (closed)

Kehler Liddell Gallery
873 Whalley Ave., New Haven, (203) 389-9555
Matthew Garrett: Recent Photographs
Gerald Saladyga: Landscapes 2008—2012

I'm catching up on some posts that I was unable to do earlier.

During the first Open Studios weekend, I also got to visit the two shows then on exhibit at Kehler Liddell Gallery in Westville, Matthew Garrett's Recent Photographs and Gerald Saladyga's Landscapes 2008—2012.

Garrett was at the gallery when I stopped by and told me that he "became a night photographer because I have a job and a baby." According to Garrett, "The way to look at them is that nothing ever happens in my pictures but it looks like something might have just happened or be about to happen. And I kind of like that."

Matthew Garrett: "Swimming Pool"

Being something of a neophyte to night photography, Garrett said he could still be surprised by some of what he captures albeit not on the level of when he was shooting with a film. As an example, he pointed to "Swimming Pool," a night shot of the back of a house with a swimming pool gone to seed and overgrown with weeds. Garrett was shooting for the pool and the quality of the evening light but discovered more when he blew the image up for printing. When he enlarged the image, he saw layers of imagery on the back of the house that resemble video projections, created by a number of different nearby light sources including a traffic light.

I'm struck by "Side Yard," a seemingly prosaic street scene enriched with an atmosphere of fog and subtle lighting from streetlights, the façade lights of a storefront in the background and the glow from the windows of the house in the foreground. It could be a film still, pregnant with drama.

Gerald Saladyga: "What's Going On" detail

Jerry Saladyga's paintings issue from a wild personal vision, the result of years of evolution and experimentation. Saladyga's paintings conflate social commentary with cartoons in a punchy graphic style that revels in bold colors and a plethora of interesting textures. Images of the natural world—mountains, stars in the heavens, pine trees, silhouettes of animals, birds and fish—contend with representations of the human war on nature and humanity itself—submarines, military helicopters, jets, drones, oil derricks, tankers, the cooling towers of nuke plants, explosions and tracers of light akin to night weapons fire.

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Monday, November 05, 2012

New shows opening this coming Sunday at Silvermine

Silvermine Guild Art Center
1037 Silvermine Rd., New Canaan, (203) 966-9700
Cecilia Moy Fradet: Dreams of Devotion and Delight
Susan White: Picture Perfect
Guild Group Photography Show: Important Incidentals
Reuben Nakian: Eight Decades of Creation
Nov. 11—Dec. 20, 2012.
Opening Reception: Sun., Nov. 11, 2—4 p.m.

Press release from Silvermine Arts Center

The four new exhibits opening at the Silvermine Arts Center, located in New Canaan, CT on Nov. 11 represent a range of works reflecting dreams; family memories and myths; important incidentals… and continuing our 90th anniversary celebration, an historical exhibition will feature the work of sculptor, Reuben Nakian. All are welcome to the opening reception on Sun., Nov.11, from 2—4 p.m. The exhibits run through Dec. 20.

Cecilia Moy Fradet: "Dance of Bliss"

Weston, CT artist, Cecilia Moy Fradet’s new exhibit Dreams of Devotion and Delight explores the inner landscape of the artists’ dreams, blending the commercial with the spiritual. Ms. Fradet was born in Hong Kong and raised, in the 60s as a Christian, in New York City, the melting pot of American culture. Added with her Buddhist roots, the iconic images from Ms. Fradet’s childhood mingled with her constant companion, Mickey Mouse, who she watched constantly on TV and adored. Delighting in the pop culture of Mickey, the material expression of joy and all things possible, Cecilia melds Mickey and Buddha into one sacred Mandala, thereby blending the commercial with the spiritual.

“My art explores the boundaries between reality and perception. Born in Hong Kong and growing up in New York City, my first influences in these bustling cities was a visual cacophony of sights and colors, from sailing junks to cruise ships, temples to churches, and Chinese operas to Walt Disney and Looney Tunes.” Of her work, Ms. Fradet says, “I find iconic imagery and symbols fascinating as they become larger than life, transcending words. Playing with these images, pushing it beyond the expected, allows me to see the world a bit differently each time.”

The 1950’s are often portrayed to be the ‘perfect decade’ of American history, where everything was ‘right’ and America was at its best. Flush from victory in World War II, proud of being the good guys, America was booming with growth and optimism, but there was often a subtext behind the smiles in photographs of that time period. Susan White’s exhibit Picture Perfect reflects the image of this era with works of oversized graphite drawings of black and white photographs of a ‘picture perfect’ 1950’s family.

Susan White: "Christening of the Last Girl Child"

The works references the unspoken dynamics between the family members and the effects of those dynamics on the wife and children of the family. Discrimination was sanctioned by cultural norms, children were to be seen and not heard, and wives to be obedient. What happened in families behind closed doors was considered nobody’s business, and not to be discussed. Each time a photograph is taken, either the photographer or the subject is choosing to memorialize that particular moment. The photographer has an agenda and subjects choose to participate. For the artist, the act of making “portraits” of these photos, of memorializing them by increasing the scale and investing so many hours in the process of drawing, is a statement as well. It begs the viewer to question the intention of both the photographer and artist, as well as that of the subjects depicted. “The theme that runs through all my work, the idea which intrigues me most, is the passage of time and the resultant effects on people and places. The graphite drawing series show the changes over time in the dynamics of a family, for the positive.”

The Guild Group Photography Show, Important Incidentals features works by Miggs Burroughs, Leigh Leibel, Jeremy Saladyga, Alan Shulik, Majorie Wolfe and Torrance York. Important incidentals can refer to fleeting but significant moments, observations made in passing, or interruptions to an expected norm. The phrase can also relate to a detail whose presence changes the meaning of a whole or to a pointed juxtaposition. Branching out from this concept, the exhibiting photographers connect their aesthetic interests.

For Marjorie Gillette Wolfe, a simple visual incident becomes her subject and is abstracted as a series of variations are presented side by side. For Leigh Leibel, in the large-scale photograph, "Self Portrait #9," the figure of the artist as a metaphorical Odysseus intersects the peaceful horizon of a rooftop infinity pool and the city skyline in the distance. For Miggs Burroughs in his “Newds” series of lenticular images, the incident is an experience the viewer shares with the person depicted who becomes nude while viewing paintings of nudes in a museum setting. For Torrance York and Alan Shulik, the incident captured articulates their respective subjects. For Shulik, a remarkable landscape showing mesquite trees on the edge of a field of sand dunes is made exceptional as a ray of white light peeks through the storm clouds overhead and illuminates the scene. In Torrance York’s images from the series "Refractions," the child subject is seen through a reflection or otherwise mediated element such as a glass of water on the dining table, an optically challenging perspective that asks us to create our own understanding. Finally, Jeremy Saladyga, using an unexpected perspective from ground level captures a moment in the chaos of everyday life—whether a pedestrian filled street intersection in New York City, or a rural carnival scene. Within that environment we find relationships among the participants in the scene, imposing our own meaning on the story. For some of the photographers the important incident becomes the subject and for others it is a method for sharing their insights.

Of his work in the group show, Miggs Burroughs, a resident of Westport, CT, states, “I am intrigued by all the journeys, large and small, that are part of our daily lives; through time, space and emotions. From here to there and back again, lenticular imagery allows me to explore each experience in a fresh and somewhat cinematic way.”

In her new work, "Self Portrait #9," New York City artist Leigh Leibel, was influenced by the early twentieth century poem “Ithaka” by Constantine Cavafy. Her photograph references the familiar story of “The Odyssey” as metaphor for the journey of life and the discovery of many new harbors.

For Jeremy Keats Saladyga, of New Milford, CT, his works in “Balance” ask driving questions. “With the world’s attention on the human impact on the earth, is it not relevant to directly include the human form in contemporary landscape photography? If the earth’s ultimate existence now relies on human intervention to prevent it from becoming a lifeless world, shouldn’t today’s artists reflect that thought? Has the relationship between the environment and human nature in terms of existence changed in the course of the past one or two centuries or even the past few generations? My hope is that by including the human form in this new body of work, it gives the viewer an additional visual tool to project themselves and thoughts into the images.”

As a landscape photographer, Alan Shulik is often drawn to a particular image because of an incidental or unexpected aspect of a scene that presents itself. One of his photographs in the group show, “Fallen Mesquite Trees,” is an image of Mesquite trees that are located on the edge of a field of sand dunes near Stovepipe Wells in Death Valley, California. Of the image, Shulik says, “A storm was passing through the valley, and there were dark, foreboding clouds covering the dunes. A tiny speck of white light appeared in the clouds for only an instant just above the trees. While its round shape could have been mistaken for the silhouette of the sun or the moon, it was actually just a momentarily illuminated cloud struck by an isolated ray of sunlight. This incidental interplay of light and shadow, a transitional moment that was momentary and ephemeral, was the incidental element that added the special interest to this image.”

A New Haven, CT native, Marjorie Gillette Wolfe’s contribution to the group show, “Coruscation,” means a sudden gleam or flash of light. Her approach to her subject matter is simple and direct, by creating abstract images that reveal something previously hidden. Land and architecture are approached with her peculiar sense of the world. “With my slightly skewed observation of reality, I enter the space. The viewer of my photographs might perceive the image as an unexpected natural occurrence that only my eye has 'miraculously' perceived. Eye to camera, coruscation. I release the shutter,” is how Ms. Wolfe describes her work.

Of her photography, New Canaan, CT artist Torrance York says, “On the surface photography realistically captures what we see, but what happens when we add the dimension of extended time? What is the effect of an obstacle between the camera and subject? At that point, photography can capture what we cannot see with our own eyes in a single glance. During the times in between the activities of our family routine, I find visual juxtapositions that capture my attention. The resulting images, often showing reflections, distortions or accumulated light through time, illuminate the experience of these vernacular moments. Often solitary in nature, as in an Edward Hopper painting in which none of the people depicted are visually interacting, my children enter a world of their own. I wonder what that world is like. In these images from a new series 'Refractions,' I find my clues.”

Continuing with the 90th celebration of the Silvermine Arts Center, the historic exhibit features Reuben Nakian: Eight Decades of Creation, showcasing his small sculptures and works on paper. His assistant, Derek Uhlman, a Silvermine Guild Artist member, provides insights into his work. Reuben Nakian, born August 10, 1897 in College Point, New York enjoyed a long and distinguished career, maintaining his innovative spirit and creativity over more than seventy years.

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Sunday, November 04, 2012

Saturday opening at Mercurial Gallery in Danbury

The Mercurial Gallery
11 Library Pl., Danbury, (203) 417-2215
Crown of Clowns
Nov. 7—Dec. 14, 2012.
Opening Reception: Sat., Nov. 10, 7—9 p.m.
Artist talk Wed., Nov. 21, 6 p.m.
Music performance by Ben Simon Sat., Dec. 8, 7 p.m.

Press release from Mercurial Gallery

Crown of Clowns, a tag team, artistic extravaganza by illustrative painters Andrew Werner and Jeff Buckholz, will be underway at The Mercurial Gallery in downtown Danbury, Connecticut from Nov. 7 through Dec. 14. The gallery and artists welcome you into an archaic abyss that would knock the cigarette filter from Hunter S. Thompson’s lips were he with us today. Werner and Buckholz’s illustrations will lead you into a world of emotion, narrative, and psychedelia that will, without a doubt, incite deep notions of wonder and excitement. Both artists’ originality complement their shared love for immediacy and line.

An opening reception for Crown of Clowns will take place at the gallery on Sat., Nov. 10 from 7—9 p.m., and the exhibit will open to the public during regular gallery hours starting at 11 a.m. on Wed., Nov. 7. An artist talk will take place mid-exhibit on Wed., Nov. 21 at 6 p.m., and Ben Simon, a Brooklyn-based musician who makes his own guitars stocked with keyboards, drum machines, and even microphones will perform at Crown of Clowns on Sat., Dec. 8 at 7 p.m.

Werner, a 24-year-old Bridgeport resident who attended New York's School of Visual Arts, melted out of the comic book realm and soon reconstituted himself in the world of fine art. Working primarily in acrylic, oil, and ink, his illustrations can be described as a demented, dark comedy with emphasis on the human form—or at least parts of it. Many of his pieces contain floating body parts, which take on a personality of their own. Werner's previous shows include exhibitions at Zoe & Floyd in Seymour and Brouwerig Lane in Brooklyn, New York.

Andrew Werner: "Oh, Hey Man
"Much like vomiting, art has always been an involuntary bodily function to me," writes Werner in his artist statement, "a necessary, though often times incredibly unpleasant daily process I must perform in order to feel like a functional human being. The bulk of my imagery is derived from the unconscious. I believe this to be the ideal method of exposing man’s unquantifiable inner workings. I hope that this fact enables people to find something in my output which will resonate and mean something to them on a personal level. Art’s importance to me has always stemmed from the therapeutic quality of releasing oneself onto paper; so I hope [viewers] enjoy looking at spiritual ejaculate."

Buckholz, a 26-year-old residing in Seymour, studied fine art and painting at Danbury's Western Connecticut State University (WestConn) and is currently pursuing graphic and web design at Norwalk Community College. His work acts as a black hole, pulling viewers into a different dimension with adept work in acrylic, oil, watercolor, and digital techniques. Buckholz has a nomadic state of mind that directly translates to his bold and visceral illustrations. His work has been featured at the Artist's Nest in Bridgeport, Greenwich Workshop in Seymour, and at WestConn.

"I define art as anything that can be taken in by the senses to stir up profound emotion," he writes in his artist statement. "I collage imagery and use free association and symbolism to relay human ideas and experiences. I document my life combined with my emotions or sometimes my emotions alone. Through this method, I attempt to reach the universal through the particular."

The Nov. 10 opening reception for Crown of Clowns will include an artist meet and greet, hors d’ouvres, and refreshments from 7 to 9 p.m. An artist talk will take place on Wed., Nov. 21 at 6 p.m., and an accompanying music performance by Brooklyn musician and electro-luthier Ben Simon will take place at the gallery on Sat., Dec. 8 at 7 p.m.

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Two new shows and holiday reception at Gallery on the Green in Canton this Saturday

Gallery on the Green
Corner of Dowd and Rt.44, Canton, CT (860) 693-4102
Rachel Miller: Wall Flower, Studies in Lyrical Form
Joe Hoke & Sally Sargent Markey: Light, Wind and Texture—Two Views
Nov. 9—Dec. 16, 2012.
Holiday reception: Sat., Nov. 10, 6—9 p.m.

Press release from Gallery on the Green

The Gallery on the Green in Canton will be holding its annual Holiday Show from November 9 through December 16 with a festive holiday reception on Sat., Nov. 10 from 6—9 p.m. and a holiday party on Sat. Dec. 15 from 6—9 p.m. As always, the public is warmly invited to both the opening reception and the holiday party.

In the upstairs galleries are the works of Rachel Miller in the Spotlight Gallery and a special showing of Avon artist Joe Hoke and Granby artist Sally Sargent Markey.

Rachel Miller is exhibiting sculptural pieces made from handmade paper and mixed media. The title of her show is Wall Flower, Studies in Lyrical Form. Rachel has a fascination with undulating, sinuous line, form and texture. She finds inspiration in the forms found in landscapes and nature and this particular show focuses on flowers.

The main upstairs gallery is featuring the work of artists Joe Hoke and Sally Sargent Markey and the title of their show is Light, Wind and Texture: Two Views. Joe Hoke is showing landscape paintings done in acrylic. His goal is to capture the atmosphere of a scene rather than a tight depiction. His paintings deal with subjects such as the look just after the rain stops, a foggy day in the hills or sun breaking through and illuminating part of a landscape. Sally Sargent Markey’s watercolor paintings are mostly representational, including local scenery and close up views of things from nature. Light and shadow describe form and also add texture and rhythm to the painting’s surface. In her more abstract work she uses real objects to suggest symbols, mood and deeper meaning.

Joe Hoke: Catskill Mountains Touch the Sky

The annual Holiday Art Market is set up differently from other shows at the gallery. In the Main gallery work on display includes a very wide variety of arts and crafts. All of the work in the show is original, unique and hand crafted in a broad range of media and techniques including ceramics, wooden items, jewelry, fiber arts, small paintings and photography.

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Artists' reception at Sumner McKnight Crosby Jr. Gallery this Thursday

Sumner McKnight Crosby Jr. Gallery
70 Audubon St., 2nd floor, New Haven, (203) 772-2788
Eye on Nature: Five Natural Science Illustrators
Through Dec. 7, 2012.
Artists' reception: Thurs., Nov. 8, 5—7 p.m.

Press release from Arts Council of Greater New Haven

The Arts Council of Greater New Haven presents Eye on Nature: Five Natural Science Illustrators, an exhibition in the Sumner McKnight Crosby Jr. Gallery at 70 Audubon St., 2nd floor. The exhibition will be on display from 9 a.m. to 5 p.m. Monday through Friday, Oct. 12—Dec. 7, 2012. A public reception is scheduled for Thurs., Nov. 8, from 5—7 p.m.

Eye on Nature is an exhibition of botanical studies, drawings, and paintings of amphibians, mammals, birds, and insects in their habitats in graphite, colored pencil, ink, watercolor, gouache, and oils.

Image by Jan Prentice
These works were specifically chosen by the members of the Connecticut Natural Science Illustrators (CTNSI) to accurately depict specific species, rendered in the traditional media and techniques of natural science illustration.

The artists exhibiting work will be: Cindy Gilbane, Susannah Graedel, Linda Miller, Dorie Petrochko, and Jan Prentice. Founded in 2009, CTNSI is a group of professional artists offering an educational art program in natural science illustration, in collaboration with the Yale Peabody Museum at its west campus in Orange, CT.

CTNSI regularly shows their work in museums, galleries, and nature centers in the Greater New York area, furthering their mission to “educate the public about the field of natural science illustration.” In addition to exhibiting their works, CTNSI offers classes of all levels in drawing and painting natural history subjects and habitats.

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Thursday, November 01, 2012

Opening tonight for Paper New England show at MCC on Main

MCC on Main Arts and Education Center
903 Main St. Manchester, (860) 512-2693
Paper New England: A 5th Anniversary Look
Nov. 1—Dec. 1, 2012.
Opening Reception: Thurs., Nov. 1, 6 p.m.

Press release from Manchester Community College

Paper New England presents a group show at the MCC on Main Arts and Education Center. A 5th Anniversary Look presents works by Alexis Brown, Elizabeth Gourlay, Debbie Hesse, Michael Siporin Levine and Sabrina Marques. There will be an opening reception this evening, Thurs., Nov. 1, at 6 p.m. The show will be on view through Dec. 1.

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