david kroll

david kroll

new paintings

group exhibition

new works by gallery artists selena beaudry, sally king benedict, page davis, johan hagaman, geraldine neuwirth,  anke schofield, mary nelson sinclair and scott upton

september 9 - october 29, 2016

 

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made in the south

made in the south

group exhibition of 25 contemporary southern artists working today

selena beaudry - rick beck - sally king benedict - jacob cooley - page davis - arless day - john folsom - philip geiger - johan hagaman - sarah helser - tony hernandez - page laughlin - ruth ava lyons- susan mcalister - mary rountree moore - ron porter - anke schofield - virginia scotchie - ben shamback - mary nelson sinclair - kiki slaughter - kate long stevenson - allison stewart - amanda stewart - scott upton - charles walker

july 15-august 27, 2016

johan hagaman + jenny nelson

johan hagaman

shaping my intangibles

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jenny nelson

sailing in place

may 6 - june 25, 2016

passing clouds. poetry. climbing vines. current events.  i am a collector of often unrelated and ambiguous images and ideas—not looking for anything in particular, but noticing patterns; and i try to process what it means-- how we have been shaped, and what is seeking to emerge--by making something formal.  being covered in vines, leaves, birds—a metaphor that has become a dominant theme in my work for some time—is both about paying attention and also about how what we are paying attention to determines how we shape our world, and are shaped by and tied to it in a circle of reciprocity. -johan hagaman 2016

my work has always been anchored in drawing. i spent years drawing and painting from life. this instilled a strong sense of space and structure. at some point i became more interested in the negative space surrounding the objects i was observing and modifying the objects themselves. i began to organically develop an abstract language, but the sense of structure and organization remained constant in the painting.

i apply paint in layers using palette knives, brushes and oil sticks. i initially draw loose gestures and a variety of spontaneous marks. often traces of previous layers remain visible, allowing colors to interact in ways i could not have anticipated. this process leaves me feeling quite lost a lot of the time, and i have had to learn to become comfortable with that feeling. this sometimes builds to frustration, and i will scrape off much of what was applied, but the result of doing this is often something wonderful that moves the painting forward.

i view the painting process as a collaboration between myself and the materials. a conversation starts that has a beginning and an end, but everything in between is unpredictable.  as the painting evolves, shapes and lines solidify, and i begin to see how the parts affect the whole. this way of layering, adding and subtracting, creates a history on the canvas. shapes have a story to tell. Lines that have been obliterated and resurrected over and over again have an emotional charge. this process that started as a wild party ends up as a contemplative carefully edited composition, involving precise modifications, while hopefully leaving the life force intact. -jenny nelson 2016

arless day + susan mcalister

arless day

mountains, gardens & private rooms 

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susan mcalister

lost & in paradise

september 11 – october 31, 2015

opening reception with arless + susan

artist’s talk 7 pm

 

friday, september 11

6 to 8 pm

september 11 – october 31, 2015

 

 

when I did my first collage paintings back in 1988 i never dreamed what an impact it would have on my art and my life. searching through books, magazines and my own photographs give direction to every piece. the process of creating unique landscapes and interiors continue to keep my work fresh and exciting to do. breathing art in and breathing it out, through torn pages and paint has been timeless for me. in some ways, most of my time in this life has gone into all those collaged and painted pieces.

in this recent group of collage paintings, i'm approaching each piece with more paint, to give the surface a fresh looseness. trying to find the right balance of all I've learned over the past twenty -seven years of doing collage and gouache paintings.

this exhibition is filled with mountain landscapes that capture a moment in time.  the painterly mountains , winter's view and  deck chairs give a presence to the carolinas, a place i've called home for over twenty-five years. part of this year’s exhibition are gardens throughout the world, which are revealed in palace of granada , spring  and japanese lotus.  private rooms that look out on elephants in the african plains to a horse relaxing in front of a tudor estate . these interior/exterior landscapes such as african breezes , tudor estate and southern view always take you to a dreamlike setting.   interiors such as tiger sanctuary, daylight and editors' place show a distinctive modern space with painterly brushstrokes.

 doing art for more than forty years has always been a wonderful journey for me and this body of work represents this continued journey God has blessed me to create.--arless day 2015

 

 

 ‘lost & in paradise’ is rooted in a love of land and attraction to beauty. through the genre of landscape, i explore what it means to be human in this exquisite, unpredictable world. having grown up among rural virginia’s views and vistas, i’ve always identified with places where tamed sophistication intersects with wild, tangled nature.

 i am interested in challenging the viewer’s sense of place and time by combining the imagined and the real, abstraction and representation. what starts as a place just beyond the fence line unfolds into a moment in a metaphorical paradise. i introduce human presence, at first unseen, through abstract form and fleshy color. matisse, gauguin, and cecily brown are constant inspirations.

 the materials are central to each painting. i combine layers of paint, wax, marble dust, dirt and graphite to simultaneously construct and deconstruct. i have an affinity for mark-making and the freedom of the abstract expressionists. i allow each work to resolve at different levels of abstraction with the ultimate goal of luring the viewer into a personal sense of place and experience.

the artist resides in charlotte, nc. she also spends time in south carolina’s low country, virginia’s hunt country and montana’s ruby river valley.--susan mcalister, 2015

sally king benedict + kate long stevenson

sally king benedict

facing view 

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kate long stevenson

variations on an untitled theme

july 17 – august 29, 2015

 

opening reception with sally + kate 

friday, july 17

6 to 8 pm

 

 

facing view

i wanted to create a body of work that blurred the line between figurative portraits and abstract landscapes.  they exemplify the bits and pieces of our photographic memories that reminisce on different places and times and the state of mind they put us in.

--sally king benedict

variations on an untitled theme

It's important to me that my paintings have a subject, despite how non-subjective some can seem. with my nude paintings, the figure is the vehicle that invites you to discover the true subject: the way it was painted. the abstracts have just skipped that introduction, altogether, but they're still about something--music, tempo, motion and emotion. it all comes from a feeling, but then the challenge is not only to translate that to the canvas but to have it make sense, compositionally.

--kate long stevenson