Dedicated to covering the visual arts community in Connecticut.

Thursday, October 31, 2013

Vickers-Kane photo show opens Thurs., Nov. 7, at Middlesex Community College

Middlesex Community College Pegasus Gallery
100 Training Hill Road, Middletown, 1-800-818-5501
Cara Vickers-Kane: Parlor Tricks in the Pegasus Gallery and The Niche(Pegasus Gallery is located within the library on the first floor of Chapman Hall, The Niche is located in Founders Hall across from the Registrar’s Office.)
Nov. 7, 2013—Jan. 10, 2014.
Opening Reception: Thurs., Nov. 7, 6—7:30 p.m.

Press release from Middlesex Community College

The experiential nature of Cara Vickers-Kane’s photographs provokes viewers to actively see, be seen by and engage with the depicted subjects.

Vickers-Kane’s Parlor Tricks series consist of paired models that initially appear seated on a vintage sofa. Closer inspection reveals that these subjects are actually seated on stools positioned in front of a photographic backdrop that includes the sofa image. A visible seam in the center of the background photograph further announces this intentional play of illusionism. Although these are color photographs, a black and white background and subdued garment values further separate the posed models from the artifice of their environment.

The staged nature of studio photography is a key subject in Vickers-Kane’s work where 19th century gazes, props and posturing play off of clearly contemporary portrayals of the human body in nuanced social interactions.

Photo by Cara Vickers-Kane

Vickers-Kane describes her photographs as explorations of the "complexities between representation and presentation, observation and interaction, reciprocation and disconnect."

Cara Vickers-Kane has exhibited through the United States and internationally. She earned a Bachelors of Arts in Women’s Studies from The Ohio State University and a Bachelors of Fine Arts in Photography from Wright State University. She also holds a Masters of Fine Arts in Photography from the University of Connecticut.

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Saturday, October 26, 2013

"Up Close" reception at City Gallery in New Haven Sat., Nov. 2

City Gallery
994 State St., New Haven, (203) 782-2489
Up Close: New Works by Judy Atlas and Tom Peterson
Oct. 31—Nov. 24, 2013.
Opening Reception: Sat., Nov. 2, 2—5 p.m.

Press release from City Gallery

City Gallery presents Up Close, Oct. 31 through Nov. 24. The opening reception is on Sat., Nov. 2, from 2—5 p.m.

Judy Atlas: "From the Outside"

Up Close features new works by Judy Atlas and Tom Peterson. Atlas' paintings and Peterson's photographs are abstractions of small, colorful urban subjects that we often pass by but rarely notice. City Gallery invites the public to view this free exhibit.

Tom Peterson: "Variations with Red"

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Tuesday, October 22, 2013

Nature underfoot at Seton Gallery

Seton Art Gallery at the University of New Haven
Dodds Hall, University of New Haven, 300 Boston Post Rd., West Haven, (203) 931-6065
Constructed Ecology

The first thing I notice when entering the Seton Gallery to check out Constructed Ecology is the smell of grass (the lawn type). The floor is covered with sod and the gallery space is sectioned off, creating two cubicles. The juxtaposition of structure and a signifier of the natural environment—living grass—challenge visitors to contemplate our relationship to nature. The exhibit is the joint effort of summer artists-in-residence Michael Galvin and Kyle Skar with the multimedia interventions of Lisa Amadeo, Nicki Chavoya and Gary Velush.

While the grass is in one sense a signifier of nature it is also an archetypal example of the domestication of nature, the human urge to dominate and control nature. The sod is laid down in rectangular segments, like a living living room carpet. The visitor's experience as one walks through the gallery is symbolic of the human impact on nature—taking it for granted, trampling it underfoot.

According to gallery director Laura Marsh, the grass is watered twice a day. Still, much of it just clinging to life, brown and dispirited. But in corners and hugging the walls along the well-trod paths, green tangles endure.

Photo from the "Constructed Ecology" opening courtesy of Seton Gallery

The architectural structures function on two levels, serving both to break up the space into geometric pathways and to create rooms housing the multimedia responses of Amadeo, Chavoya and Velush. The first "room" I enter features the looping video piece "Digital Window" by Nicki Chavoya and Lisa Amadeo. The video is a succession of scenes overlaid with found sounds, bits of banal everyday conversation and static. The video, filmed throughout New England, features scenes of bucolic woods, views of suburbia, piles of freshly cut wood in a forest clearing, cats feeding at their bowls, big box retail stores. The accumulation of imagery suggests a deep undercurrent of alienation and even looming threat. The serenity of one suburban scene is belied by the fact that Amadeo and Chavoya have filmed a cul-de-sac, the dead end of the growth imperative. In another short clip—in what I have to believe was a highly fortuitous circumstance—they captured a big truck for "Global Environmental Services" turning a suburban corner like something out of a Don DeLillo novel. All is not well in paradise.

"Digital Window": Video by Lisa Amadeo and Nicki Chavoya

In the other cubicle, Gary Velush set up a sound installation incorporating readings of the work of James Joyce, natural and mechanical sounds, strange rumblings. This cubicle is more enclosed, claustrophobic. The plywood walls are painted black with the exception of numerous unpainted areas in which the wood grain looks like ghostly figures with the knots for eyes. Cut into the walls are six portals, which are painted gold. Within each portal, Michael Galvin has placed a couple of plaster casts of mushrooms daubed with gold paint. The environment references altered states, heightened sensory awareness, magic and the spiritual quality of nature.

Constructed Ecology, which is open through Oct. 26, prompts contemplation of our relationship to nature. In thinking about that I return to the sensory image at the start of this post, that of the smell of grass when I entered the gallery. Gallery director Laura Marsh sent me photos from the opening and one of the striking things is how green and fresh the ersatz lawn looked. In its decay, this aspect of the installation speaks volumes. We were given paradise and have put up a parking lot.

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Wednesday, October 16, 2013

Visits at Erector Square during CWOS 2013 first weekend

City-Wide Open Studios
50 Orange St, New Haven, (203) 772-2709
City-Wide Open Studios 2013
Erector Square Weekend: Sat. and Sun., Oct. 12–13, Noon—5 p.m.

For the first time in a long time I was able to visit Erector Square both days of the weekend. And one of the truisms of City-Wide Open Studios, at least for me, is that these annual visits confirm a picture of artists as individuals who are always exploring, experimenting, searching for new ways to express themselves.

My first stop on Saturday is Building 4, more of an alternative gallery space than an actual open studio. Eight artists are showing work here and I take the opportunity to chat with several of them.

Will Lustenader is showing his most recent paintings. They mark a departure from the realist style with which I have been familiar. Lustenader says that they are the fruit of a two-year burst during which "I kept to myself and reinvented my approach to spatial issues."

When I had last checked in on Lustenader's work, he was painting still life’s of folded paper, exploring reflection, light and shadow along with the dynamics of shape. With the new work, Lustenader is taking the shapes and planes and eschewing reflective surfaces in favor of an approach more akin to color field painting.

They have a jaunty modernist groove—curves, angles, vessel-like figures. Lustenader says that someone on Facebook referred to the paintings as "visual Brubeck," a nod to the late jazz pianist Dave Brubeck. "God, I love that," Lustenader exclaims. "I'll keep that in mind when I'm painting—'visual Brubeck.'"

Will Lustenader: "Interactivity and Gifting," left and "Customary Regard," right

Lustenader sees this body of work as actually two different sets of pictures, which he approaches in very different ways. In some, the colors, even when layered, feel more solid and defined. Others more clearly evince process, the layering of light and dark pigments. There is also a combination of clearly hand-defined irregular edges versus other juxtapositions that are tight and masked-off from each other.

"I like the language, the flip-flop. It keeps me fresh, it keeps it fresh," says Lustenader.

I ask Lustenader how his work evolved to this current incarnation.

"I started to see shapes as shapes and not as atmosphere. As my tabletop became less reflective, things flattened out more," he explains.

But it also involves a revisiting of an earlier approach to painting, albeit in a new way. Lustenader says he felt he had "unfinished business from 1992 when I left off with very large color field paintings. But where his previous work in this mode was very conscious, "This I'm trying to do unconsciously."

"Sometimes I discover something in a painting by accident and then I use it purposefully" in subsequent works, Lustenader says.


A glance at Karen Dow's new paintings might give the impression that nothing has changed. But for Dow, a fundamental shift has occurred over the past year or so in how she works. Where Dow used to paint in a kind of representational abstraction—interpreting photographs into their starkest pictorial elements as rectangular shapes—she has now abandoned referencing representational imagery.

All the paintings are made flat on the table. Dow turns the table as she works; the orientation of the image is not decided until the very end.

"It feels like now my work is focused more on composition and color and me holding off on that understanding of what I'm making," says Dow. "When I'm working from a photograph, I know how to solve that puzzle earlier." Her new approach makes the process more interesting, more mysterious. "It's less about interpretation and more about inspiration."

"I don't choose the palette ahead of time. I'm experimenting with color relationships. I'm more inspired by Josef Albers' color studies. There are lots of layers in these paintings and I'm adding and editing all the time," says Dow.

Dow teaches printmaking at the Educational Center for the Arts (ECA) and says the process of printmaking freed her up to experiment with the new approach. "In the process of teaching students monotype, I realized there was something there for myself. It literally happened in a class demonstration," Dow recalls. "I've always been interested in crazy quits—that process—but I've never seen a way in, how that influence would play in my own work. Pulling paintings off the wall and making them on the table made it possible to mimic that process in painting."

Karen Dow: Untitled monotype print

Along with the paintings she is exhibiting, Dow is showing a selection of monotypes. Like her paintings, they are based on rectangular shapes. The same thought process is evident but the transparency of the monotype inks allows the layering process to be foregrounded. (In her paintings, that layering is visible along the edges of her rectangles where traces of underlying colors remain as edge and boundary and history.) They remind me of aerial views of cities but with a twist—as though the viewer can see not only the current urban layout but also archaeological remains beneath.


Dow's husband Chris Mir is showing a series of paintings of poppies on the adjacent wall. Mir tells me that a Carl Jung quote from Dreams, Memories and Reflections—"Birds, crystals and flowrs are God's thoughts"—lingered in his mind when working on the series.

"I liked that it was a flower that produced opiates. I have an interest in hallucinatory states," Mir tells me. The small, square paintings are "meditations on the beauty of forms." The luminous flowers open out of rich black backgrounds. "I think they're cosmic, as a child of hippies."

"I love the geometries of the internal structures," Mir says. He worked from photographs, painting with acrylics on panels. "They're kind of ugly and beautiful at the same time."

Christopher Mir: "Poppy 13"

When I ask if he has a favorite of the poppies, he pretty quickly chooses "Poppy 13" because its pistil and stamens are "weird browns and ochre’s, not traditionally beautiful. The immediate thing is they're flowers and beautiful but also sinister and alien."


Rebecca Lowry has been painting on wood since she was a child. Her father was a builder and there was always plywood lying around. "It was unintimidating and cheap," she tells me, "and I got attached to the feeling of painting on a hard surface."

But it has just been in the past year and a half that Lowry has started not only painting on wood but carving the surface as well. She carves into the surface and adds layers on top and layers behind, saying it's a "back and forth process."

Rebecca Lowry: "Hide Here With Me"

"I think I wanted to make a mark. I pounded something into the surface of the wood and it occurred to me I could alter the surface," Lowry says. She started out with finer tools and found her way to power tools like angle grinders and disc sanders. "I like making art with something aggressive," she says, laughing.

"I don't start out with the intention of a shape or feeling. I let the process dictate the starting point. I get attached to something in the composition and then starting working around that," Lowry says. "Something starts to reveal itself and then I push that."

Rebecca Lowry: "Hide Here With Me" detail

Of course, the drawback to carving in wood is that it locks her down. As a way to get some relief from that, Lowry also works on paper, taking rubbings off the surface of some of her carved pieces and then embellishing those images. Paper frees her up. "Paper is calmer, more serene," Lowry says.


Also showing fine work in that space were Joseph Fucigna, Danny Huff, Cham Hendon, Peter Ramon and Linda Lindroth. I've written before about Lindroth's large photographs of packaging material. The images in that series that she had previously shown were often devoid of references as to what exactly they were, reading as geometric modernist abstractions. Lindroth is now allowing recognizable representational imagery into the frame—packaging art, text.

"They are going in a variety of directions," she tells me. "I'm trying not to limit myself."


In Building 6, I visit with Nancy Eisenfeld, Barbara Harder, Liz Pagano and Fethi Meghelli. Meghelli was showing a number of works in progress, including ornate handmade dolls inspired by a visit to his native Algeria for a relative's wedding. The dolls are crafted out of aluminum foil, clay, recycled materials like bottles and cans, and cloth remnants he finds.

"I'd never seen a wedding like this. It was so elaborate," Meghelli says. "I found out UNESCO has decided [this community] is a World Heritage site to be preserved. The dresses are a craft being passed from one generation to another. They really inspired me. I took tons of pictures."

Dolls by Fethi Meghelli

The dolls are not based on the pictures, per se. Rather, they served as a prod to Meghelli, the images being transformed by his artistic imagination into the colorful garb of his dolls.


Also in Building 6, I stop in and visit with Jeff Mueller and Kerri Sancomb of Dexterity Press, a letterpress printing shop. Mueller, in between giving demonstrations to visitors of how his presses work, tells me that he originally got involved with letterpress printing as a way to come up with creative packaging for records made by post-punk bands he played in. Mueller has recorded with the groups Rodan, Shipping News and June of 44. He started working in a shop in Chicago in 1995 and formally opened Dexterity Press with his wife Kerri Sancomb in 2001. In 2010, Mueller and Sancomb moved to Connecticut.

Jeff Mueller of Dexterity Press

Besides doing commission work, Mueller and Sancomb also design and print their own fine art posters and artist books. Their designs are based on found imagery, Mueller's own drawings and the use of hand-set type. There is a wonderful poetic feeling to their prints.


On a tip, at the end of the day I stop by Building 3 to check out the drawings of Daniel Eugene. His incredibly detailed works evoke Op Art, antique engravings, natural forms, Art Deco and Art Nouveau. Eugene's relentless line work piles up detail upon detail, creating shimmering forms.

Eugene says he wants to "create a biological response so you feel it somewhere in your body rather than just witness it through your eyes."

Artwork by Daniel Eugene

Eugene says he is intrigued by "indigenous goddess images and pre-patriarchal society"—one drawing is called "Artemis's Bow"—but is most influenced by literature and, in particular, stream-of-consciousness writers such as Henry Miller, Anaïs Nin, D.H. Lawrence and Lawrence Durrell. It isn't surprising. His drawings have a meditative, stream-of-consciousness feel to them.

"Their concerns are not only about what they're creating but art as a power, a possibility—something that shapes progress," says Eugene. "To call yourself an artist is to take a huge responsibility. You really need to think about what in your present experience is absent from the social equation, identify it and allow your artwork to be a catalyst for that type of conversation."


On Sunday, I wander through the Building 5 second floor space just browsing the work of the various artists there. Before I do, I spend some time on the first floor, acquainting myself with Gordon Skinner's mixed media paintings. The beauty of Skinner's artwork is the way it harnesses putatively ugly emotions and harsh truths—about racism, poverty, violence—to fashion a rough beauty.

Skinner, a self-taught 36-year-old African-American artist, has only been painting for four years. But in that time he has developed a strong command of his brushwork. Three current paintings on display—"Nomad: Circulatory Study 1," "A Study of Ciäte's Mother: Circulatory Study 3" and "Falling Nude: Circulatory Study 2"—are electric, filled with energy and excitement. Skinner layers paint with a sure eye. His most recent figurative work reminds me of the painterly approach of Francis Bacon.

Gordon Skinner: "Nomad: Circulatory Study 1"

"I'm trying to focus on my own artistic language," Skinner tells me. There are recurring motifs in his paintings: brick imagery relates to the urban environment, the "Greek key" represents the infinite. A lot of his figures are portrayed with their mouths wide open, Skinner saying it symbolizes his "need to be heard." He incorporates collage, bold colors. Skinner says he enjoys building up the canvas, that texture is an important part of his work.

Gordon Skinner: "Self Portrait as Garbage Pail Kid III" detail

"I love expressionist work, anyone who expresses themselves and has that freedom to be creative. I'm drawn to that," says Skinner. Among the artists whose work has influenced him are Joan Mitchell, Picasso, Francis Bacon and Joan Miró. The influences "act as a gauge. This is what this person did and did well. What if I turn over here? It gives me a range. I use that as schooling.

"The paintings are never finished, they're only abandoned," says Skinner. "It's pretty instinctual."


My final stop is the studio of Geoffrey Detrani in Building 2. Detrani creates layered mixed media works that superimposes naturalistic and architectural forms. "It's the duality I'm always trying to get at in my work," Detrani says, "between the indication of a naturalistic space and something very artificial and manufactured." He relies heavily on acrylic medium, both as a glue with which to adhere his translucent layers of drawings and as a neutral tint.

Along with his larger paintings, Detrani is showing drawings built up over faint graphite layers. These drawings are "a record of making work," Detrani says. They begin as sheets of paper on top of which he is starting other pieces. Those drawings leave traces that have a ghostly quality. Detrani then superimposes additional imagery over those traces.

Geoffrey Detrani: "Homespun Fiction"

A recently finished work, "Homespun Fiction," incorporates pencil, acrylic, a photograph and enamel on paper mounted to a panel. It is somewhat unusual in Detrani's oeuvre for including a large bold area of color (yellow) as part of the work. His paintings tend to be characterized by a very muted color palette with some limited inclusion of strong red. Detrani says the work is an experiment in "trying to look for the thing itself, when separated out from all the special effects. When taken out of that atmospheric space, see how it works on its own with a color field behind it."

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Friday, October 11, 2013

Artist's reception for Anne Doris-Eisner at Mercy Center in Madison Fri., Oct. 18

Mercy Center at Madison Mary C. Daly, RSM Art Gallery
167 Neck Rd., Madison, (203) 245-0401
Anne Doris-Eisner: Warp and Weft—Works on Paper
Oct. 18—Nov. 30, 2013.
Artist's Reception: Fri., Oct. 18, 5:30—7:30 p.m.

Press release from the Mercy Center at Madison

Anne Doris-Eisner has described her art as embodying the "interplay of oppositional forces which are interdependent." Her works will be exhibited in a solo show entitled, Warp and Weft: Works on Paper, in the Mary C. Daly, RSM Art Gallery at the Mercy Center in Madison, CT. The exhibition will run from Oct. 18 through Nov. 30, 2013. There will be an Artist's Reception on Fri., Oct. 18, from 5:30-7:30 p.m. Both the exhibition and the reception are free and open to the public. The Mercy Center is handicapped accessible.

This unique exhibition presents a singular response to life and to art; relationships with the natural world, with the process of art making and with life itself are explored by Doris-Eisner:

Living with acute awareness of the natural world has been a blessing. I have found inner strength by observing the resilience and transformative beauty of the land and all that grows from it as it moves through its life cycle. What is struck down, crushed, cut, splintered is transformed or altered, but still remains a part of this world. I have sought through my art to express the divine power and mysterious force of life. That which should have been destroyed instead is able to transform and rebuild, albeit into something new. Having faced the death of my child, I liken my survival to that of a tree struck by lightning, which still puts out new branches. The water cuts through mountains and finds its way to continue moving forward. I, too, continue to find a way to live on, though irreversibly changed. Using unique geological formations and forms in nature, I draw parallels between the human experience and the natural world. Resilience, defiance, reverence are all symbolically represented in my work...

In her studio, the artist's practice is a physically demanding one. Using a variety of materials, including graphite, paints, and inks on paper, she forcefully expresses her emotions on the paper's surface, pushing against the opposing strength of a wall, floor or table. She draws, scrapes, pours, carves, twists, and scumbles media with various objects, many of which are found in nature. Most of her works are of almost human scale, as she prefers to be physically encompassed by the work. A calligrapher and lover of line, each mark has meaning and is imbued with the artist’s own energy and movement. Like a dancer, her hands and body move with the rhythms created by each unique mark. The experience of art making then becomes physically demanding yet deeply satisfying personal process.

Anne Doris-Eisner: "Intertwined"

Anne Doris-Eisner, a former art educator, is a member of the New Haven Paint and Clay Club, Syntax, a group of nine Connecticut artists working in mixed media, and The Women's Caucus for Art, a national women's art organization. She has exhibited her work in juried shows across the country including: California, Chicago, Dallas, and New York City. She has completed Artist Residencies at The Vermont Studio Center in Vermont and at the Atlin Art Center in British Columbia, Canada.

Literature for Compassionate Friends, a national organization that provides comfort, hope, and support to families experiencing the death of a child, will be available on site and donations will be accepted from all who wish to make a contribution.

The Mercy Center believes in the spiritual, sacred nature of the individual and sees this spirituality in all living things. Their vision is to nurture a relationship with the Sacred in self, others and creation that seeks to foster a just and compassionate world. They do this through their programs, events and collective intentions.

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Reception for Open Juried Show and Jennifer Knaus exhibit at Gallery on the Green in Canton, Sat., Oct. 19

Gallery on the Green
Corner of Dowd and Route 44, Canton, (860) 693-4102
The 46th Annual Open Juried Exhibition
Jennifer Knaus: Works on Paper
Opening Reception and Awards Presentation: Sat., Oct. 19, 6—9 p.m.

Press release from Gallery on the Green

The Canton Artist's Guild's Gallery on the Green, presents its 46th Annual Open Juried Exhibition running from October 18 to November 19. The opening reception and awards presentation will be held on Sat., Oct. 19 from 6—9 p.m. and the public is warmly invited.

 As this is an open show, it will feature the work of artists from all over Connecticut and beyond. There will be works of various styles, media and subject matter including painting, drawing, photography and sculpture. The juror is Dr. Nancy Stula, Executive Director of the William Benton Museum of Art, Storrs, Ct. Before taking on the position at the Benton, Stula served as Director and Curator of the Lyman Allyn Art Museum in New London, CT. Prior to her tenure at the Lyman Allyn, Stula worked as a research assistant in the Department of American Paintings at the Metropolitan Museum of Art (1991–1994) and taught in the Art History department at the University of Hartford (1994–2003), where she earned her bachelor's degree summa cum laude in art history and studio art in 1985 from the Hartford Art School and the University of Hartford. She holds a Ph.D. in Art History from Columbia University.

Awards chosen by the juror will be presented at the opening reception. A majority of the awards are the result of generous donations from local businesses and organizations or are funded by guild members in honor of a loved one.

Jennifer Knaus: Works on Paper is showing in the upstairs Spotlight Gallery. The artwork on display here will be primarily graphite drawings, watercolors and giclées. Canton artist Jennifer Knaus (Web) is well known for her playful images combining portraiture and nature.

Jennifer Knaus: "Overgrowth"

The Gallery on the Green is open Friday, Saturday and Sunday from 1 - 5 pm. It is located within sight of Rt. 44 on 5 Canton Green Road.

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Wednesday, October 09, 2013

Reception for Cook, Saladyga shows at Kehler, Liddell Fri., Oct. 18

Kehler Liddell Gallery
873 Whalley Ave., New Haven, (203) 389-9555
Rod Cook: Masks
Gerald Saladyga: Dot Works 2000—2004
Oct. 10—Nov. 10, 2013.
Artist's Reception: Fri., Oct. 18, 6—9 p.m.

Press release from Kehler Liddell Gallery

Exhibits by Rod Cook (Masks) and Gerald Saladyga (Dot Works: 2000—2004) will be on view at Kehler Liddell Gallery in Westville from Oct. 10 through Nov. 10, 2013. There will be an artist's reception on Fri., Oct. 18, from 6—9 p.m.

Masks explores how the private condition is veiled by a façade or mask when presented to the public. Cook dove into the idea that how people outwardly represent themselves speaks more to how they wish to be received, rather than as an actual translation of what they consist of inside. He removes the external interferences and instead gives his models a literal mask to create an alternative expression, for Cook, a more genuine image of whom that person is or who they wish to be. The images capture the unique and fleeting moment when wearing a mask and little else, the true self can and will expose what is underneath. From behind the shrouded security of this alternate mask, the fashioned and orchestrated façade melts away and one’s hopes, fears, and fantasies are revealed.

Photograph by Rod Cook

Dot Works 2000—2004, artist Jerry Saladyga conjures the early American Luminist painters’ depictions of light the American landscape and seascape. Taking their initial representations and isolating the concept within a contemporary minimalist framework, his technique is to layer closely positioned dots of latex house paint with an eye dropper onto canvas, paper or wood and then to sand down to an equal depth. This creates a unique effect, evoking the simulation of particles of bright light, hazy light, gray light and night light. Saladyga developed this technique over four years and in the process realized the dots could be used to represent other images of the cosmos. The paintings evolved into fractured and symbolic depictions of land, sky, water and space. Aligned with the American Luminist painters who illustrated a new landscape for the first time, the process behind and the finished product of Dot Works is reminiscent of the beauty and joy of first sight and interpretation.

Painting by Gerald Saladyga

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Saturday, October 05, 2013

Jukkala, Granwell shows opening Friday at Giampietro Gallery in New Haven

Giampietro Gallery—Works of Art
315 Peck St., New Haven, (203) 777-7760
Clint Jukkala: Off Course
Alexis Granwell: Ghost Stories
Oct. 11—Nov. 2, 2013.
Reception: Fri., Oct. 11, 5—8 p.m.

Press release from Giampietro Gallery

Fred Giampietro Gallery is pleased to present new work by artists Clint Jukkala and Alexis Granwell. The two shows will be on view from Oct. 11—Nov. 2, with an opening reception on Fri., Oct. 11, from 5—8 p.m.

Clint Jukkala’s paintings combine color, geometry, and textured surfaces to create images that hover on the edge of nameable things. Ostensibly abstract, his work evokes real world references, suggesting figures, architecture, and landscape elements. Eye-like openings and framing devices orient the viewer, making them question their own perceptions. A play between part and whole ensues as the paintings configure and reconfigure through the act of looking.

Clint Jukkala: "Oracle"

Jukkala received his BFA from the University of Washington in Seattle, and his MFA from Yale University. His work has been shown at Feature Inc., and Envoy Enterprises in New York, The deCordova Museum and Sculpture Park in Lincoln, MA, Tiger Strikes Asteroid in Philadelphia, PA, VOLTA NY 2013, The Currier Museum, and Soil Gallery in Seattle. He lives and works in New Haven, CT.

Alexis Granwell will be presenting sculptures and monumental prints made during a summer residency at one of the only ten foot-presses in the country, at AS220 in Providence. The works in Ghost Stories depict metaphysical structures that have an ancient quality with imagery that convulsively expands, erases, and erupts.

Granwell received her BFA from Boston University, College of Fine Arts and her M.F.A. from the University of Pennsylvania. Her work has been exhibited throughout the United States including the State Museum of Pennsylvania, the Delaware Center for Contemporary Art, FSU Museum of Fine Arts, Art Basel, and the University of Richmond Museum. Granwell has also received many prestigious awards and honors including the Joan Mitchell Grant Nominee, the Woodmere Art Museum Maurice Freed Memorial Prize, the University of Pennsylvania Neil Welliver Award, University of the Arts Professional Development Grant, Ragdale Artist Residency, AS220 Artist in Residence, and the Europos Parkas Artist Residency.

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Friday, October 04, 2013

Brian Walters' sculpture show reception at History Center in Manchester Fri., Oct. 11

History Center
175 Pine St., Manchester, (860) 647-9983
Brian C. Walters II: Harvest
Oct. 1—Dec. 1, 2013.
Reception: Fri., Oct. 11, 5:30—8:30 p.m.

Press release from Manchester Historical Society

The Manchester Historical Society is pleased to present Harvest an exhibition of sculpture by Brian C. Walters II at the History Center on 175 Pine Street in Manchester. This is the inaugural visual art exhibit to take place at this venue.

Walters, a Bethel, Connecticut-based artist has been sculpting for over a decade and has exhibited throughout Connecticut and New York. While self-taught as an artist, Walters has an extensive welding and metal working background that he has honed since first expressing interest in the trade back in the late 90’s. The marriage of his creativity and passion for the trade is very evident in his work. He is represented by the Behnke Doherty Gallery of Washington Depot, Connecticut, and a member of the prestigious New Haven Paint and Clay Club.

Gallery view of Brian C. Walters II's "Harvest"

The theme of this exhibition is Harvest; honoring the humble beginnings of the Cheney Brothers' silk empire as a silk cultivation initiative, while playing on Walters' use of raw and collected materials to create his art. Using innovative technologies as a catalyst for change, the Cheney Brothers transformed from silk growers in the early 19th century to one of the largest silk manufacturers in the world by the early 20th century. An enduring symbol of their success is the survival of the Machine Shop, the host venue of this exhibition.

Curator Valerie Garlick is the ‎Visual Arts Manager, Real Art Ways in Hartford Connecticut. Garlick received her MFA in New Media and a MA in Art History from the University of Connecticut, Storrs and has exhibited her work in numerous venues worldwide. Her strong ties to Connecticut especially the Greater Hartford area made it very easy choice to request her vision as a curator for this exhibition. Both the Manchester Historical Society and Brian Walters are very excited to be working with Valerie Garlick on this project.

The exhibit will run from Oct. 1, through Dec. 1. Please call the Manchester Historical Society at (860) 647-9983 for more details.

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Wednesday, October 02, 2013

City-Wide Open Studios begins this Friday in New Haven!

City-Wide Open Studios
50 Orange St, New Haven, (203) 772-2709
City-Wide Open Studios 2013
Opening Reception: Fri., Oct. 4, 5—9 p.m.
Erector Square Weekend: Sat. and Sun., Oct. 12–13, Noon—5 p.m.
Passport Weekend: Sat. and Sun., Oct. 19–20, Noon—5 p.m.
Alternative Space Weekend: Sat. and Sun., Oct. 26–27, Noon—5 p.m.

Press release from Artspace/CWOS

For art aficianados in the greater New Haven area, October is the highlight of the year. That's when Artspace sponsors City-Wide Open Studios (CWOS), a sprawling month-long festival that affords local artists the opportunity to not only exhibit their works in their studios or the alternative space but also to talk with the public about their art—what it means to them and how they go about creating it.

The festival kicks off this Friday with the opening of the Main Exhibition at Artspace in the Ninth Square. The opening coincides with the annual Ninth Square L.A.M.P. Festival (Light Artists Making Places), New England's premier light event.

• Opening Reception: Oct. 4, 5—9 p.m.

Celebrate the festival kickoff at Artspace (50 Orange Street) with all the artists! The central hub exhibition features one work by each of the CWOS participating artists. Pick up the Official Map & Guide. Bar will be open until 8 p.m.

• Erector Square Weekend: Oct. 12–13, Noon—5 p.m.

Erector Square (315 Peck Street) acts as a hub of artistic activity in Fair Haven. A high concentration of artist studios—housed in a former Erector Set factory—make it an especially exciting place to be during Open Studios. Explore the personal studios of hundreds of local artists on your own or through a guided tour. Artspace volunteers will be on hand with maps, schedules of demonstrations and directions for visitors. A curator-led preview tour and cocktail party will be held on Oct. 11. Further information about purchasing tickets will be available in September.

• Passport Weekend: Oct. 19–20, Noon—5 p.m.

Visit artists in their private studios throughout New Haven, West Haven, North Haven, and Hamden. Take this opportunity to see the spaces in which artists work all across the Greater New Haven area. Maps, signage, and guided tours will be provided. Special bike tours, led by Matt Feiner of the Devil's Gear Bike Shop, will be held on Saturday or Sunday. Check back for 2013 details soon. A series of curator-led preview tours and a reception at Artspace will be held on Oct. 17. Further information about purchasing tickets will be available in September.

• Alternative Space Weekend: Oct. 26–27, Noon—5 p.m.

The Alternative Space weekend sets New Haven’s CWOS apart from other open studio weekends by offering artists from across Connecticut, and those who are interested in creating site-specific works, a unique backdrop to showcase their talents. Each year the Alternative Space provides artists with the chance to show work in vacant historic properties throughout the city, connecting artists and visitors with different areas of New Haven. This year’s exhibition will take place in the Goffe Street Armory (290 Goffe Street, New Haven), a colonial armory full of rich New Haven history. At an area of 155,000 square feet, the Goffe Street Armory presents a unique backdrop for visual artists to showcase their ideas and for visitors to enjoy the art. Stop by between noon and 5 p.m.

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