Non-Objective / Taos
1335 Gusdorf Rd. Suite i. Taos . New Mexico . 87571 575.751.1262 . art@203fineart.com . 203FINEART.com Early Modern to Contemporary
Opening Reception: September 24th, 2022 | 4pm - 6pm
A HARWOOD MUSEUM BENEFIT EXHIBITION Hojnacki
Daniel
SusanMarshaMarkPasquarelliSaxeSkinnerJonathanSobolOnnaVoellmer
Exhibition Dates: September 24th - November 16th, 2022
FEATURING:
203 Fine Art is pleased to present “Non-Objective / Taos”, our fifth bi-annual benefit exhibition in partnership with the Harwood Museum of Art. This exhibition features a hand-selected group of invited artists from regional New Mexico, whose non-objective works demonstrate diversity in skill and a range of mediums employed, from painting to photography to sculptures. The artists invited to participate in this exhibition collectively carry careers from all corners of the nation, and have decided to make regional New Mexico their home. Our mission through this exhibition is to promote contemporary, non-representational art within our community, to showcase long-time resident artists, and to introduce those artists who may not be known within the town of Taos.
In cooperation with the Harwood Museum of Art, this exhibition will benefit the museum, with twenty percent of sale proceeds to be donated to the museum’s acquisition fund, to assist in adding artwork to the museum’s permanent collection.
203 Fine Art and the participating artists extend their support to the museum’s ongoing mission to bring art and culture to the Taos community by preserving and collecting artworks inspired by Northern New Mexico. In addition, 203 Fine Art, by organizing this exhibition, is pleased to offer a platform and a commercial venue space for these artists to present to the collecting public in Taos. This exhibition will be on view from September 24th through November 18th,
INTRODUCTION2022.
With dusted fingerprints and rapid strokes, Hojnacki’s photographic paintings evoke the thread of communication we each possess with our own subconscious, speaking with the intangible parts of ourselves that attempt to contact us from their own dimensions. Breaking the boundaries of both photographers and painters that have come before, this Albuquerquebased artist and educator is reviving the 19th-century cliché verre photography process to fit within the contemporary world of art.
As an educator of art, who has been working with youth since he began his career in Chicago and will commence his position as Adjunct Professor at UNM in September 2022, Hojnacki incorporates an intimate learning process within his art that is directed at knowing the self better. By conversing with the self, he is simultaneously conversing with us all— representing how we are all made of that same dust from the stars and the bones of those that came before.
Daniel Hojnacki recently received his M.F.A from the University of New Mexico. The artist’s practice uses experimental techniques in photography as a way to be a mindful observer within the world. His work explores material that pushes against traditional approaches to the photographic printmaking process, often blurring the lines between painting and photography. Hojnacki is a recent recipient of the Patrick Nagatani Photography Scholarship, Phyllis Muth Arts Award, and was selected to be an Artist in Residence with the Penumbra Foundation in New York City, New York. (August 2022). He has exhibited work at the Museum of Contemporary Photography and the Chicago Cultural Center. Hojnacki has hosted public workshops and lectures with the Museum of Contemporary Art in Chicago and the Smart Museum of Art. His work has been featured in Lenscratch, Phases Magazine, Aint-Bad Magazine, and Southwest Contemporary.
DANIEL HOJNACKI
AVolatileBodyofAsh, 2021, 24 x 20”, silver gelatin print
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Hojnacki performing the cliche verre process in studio, 2022
2022 24 x 20”, silver gelatinImageprint2
flame“The19thcenturyprintingprocessofclichéverreusesthefinesootreleasedfromanoillamptocoatapieceofglass.Thisbecomesmy“negative”,Idrawuponthevolatile,delicatesurfacewithmybody,andthenaturalworld.Iamabletocapturethemostnuancedoftraces.itisamaterialmadefromthevaporsofdust.Iallowmyownvaporsandthenaturalelementstorevealthemselvesuponthephotographicglassmatrix.Ithenwipeawaythesoot,thenegativeofthephotograph,layeruponit,andre-exposeitmultipletimes.Creatingrecords,momentaryactsofsuspension,avesselforkeepingtime.Theyareaproofoflife,arenderingofabriefpassageofmybody,thewind,rain,andbreath.Ithenwipetheglasscleanofit’sresidue,itsmemory,andrepeattheactionagain.Itisaprocessofrebirthingtheimage,creatingalifecycleofthephotographicnegative.”-DanielHojnackiRight:(Becoming)anArtifactII,
EvaporationoftheBodyII, 2021 24 x 20”, silver gelatin print Image 3
AHoveringBallofDust, 2021 56 x 40”, sanded & toned silver gelatin print Image 4
MoonBody, 2021 20 x 16”, silver gelatin print made by the light of a full moon Image 5
EachBreathDeeplyIII, 2021 20 x 16”, silver gelatin print
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A Time Piece II, 2021 20 x 16”, silver gelatin print Image 7
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WaxingMoon, 2021, 20 x 16”, silver gelatin print made by the light of a full moon Image
Shortly after moving to Taos, New Mexico, from Philadelphia in 2004, Pasquarelli was awarded a three-month residency at the Harwood Museum of Art (January-April 2005). Her work has been shown in museums and galleries throughout the U.S.—including twenty solo exhibitions in New Mexico, Pennsylvania, and Washington DC—and her work is held in numerous public and private collections. She has also received several fellowships and awards, including three first-place prizes in competitions in Pennsylvania, New Jersey, and Maryland, and a Visual Arts Fellowship from the Pennsylvania Council on the Arts.
Born and raised in Southern California, Pasquarelli received her BA in Art History from the University of California, Berkeley. In the 1970s she moved to Philadelphia, Pennsylvania, where she commuted to graduate school at Brooklyn College in New York. It was there that she studied drawing and painting with Lee Bontecou, Phillip Pearlstein, Lois Dodd, and Alan D’Arcangelo among others. After receiving her MFA in 1982, she began showing her work regularly as well as teaching drawing and painting for twenty years at various colleges in the Philadelphia region, including fourteen years at Philadelphia University.
SUSAN PASQUARELLI
Glowing in their reverberations of color and form, Susan Pasquarelli’s watercolor paintings take on a life of their own. Infused with the raw emotion and the rigid discipline that seems to be forever at odds when left within the human mind, this Taos artist is instead letting the energies bleed into their own beings on paper and canvas.
LightRings2, 2021 24 x 18”, watercolor on paper Image 9
LightRings1, 2019 12 x 12”, watercolor on paper Image 10
studio, 2022
“WhenImovedtoTaosandrealizedthatIamnowlivinginthelandscapethatIhavedelegatedtothelevelofmyth,Ifeltoverwhelmed.Ikeptsayingtomyself,“WhatamIgoingtodowiththis?”Thinkingaboutthepowerofthenaturalworldremindsmeoftheresponsibilitywehaveasartiststoengagewiththeprofunditiesoflifearoundus—notthenexttrendorparticularstyleortaste—buttheseawesomerealitiesoflifenow.IbelievethatAdReinhart’sadmonitionthat“artistooserioustobetakenseriously”istrue,butIalsothinkthatthereneedstobemorerigoranddeepquestioningtodayonthepartofbothartistandviewer.Weneedtolookbeyondeasyvaluejudgmentstofindtheauthenticartisticvoicesthatarearoundus,eveniftheyarejarringanduncomfortable.Asanartist,Ibelieveitisnecessarytofindone’sownartisticvision—notwitharrogance,butwithhumility—andtotakeresponsibilityforit.Thereisstillmuchworktobedone.”-SusanPasquarelli,AHarwoodMuseumLecture,2005Right:Pasquarelliwithherwatercolorstudiesin
LightRings2a, 2021 24 x 18”, watercolor on paper
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Daniel Hojnacki_Volatile Body of Ash-sm
Radiant Iteration, 2019 30 x 22”, watercolor on paper
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Great Sand Dunes 2, 2020 8 x 8”, watercolor on paper
Great Sand Dunes 3, 2020 8 x 8”, watercolor on paper
Great Sand Dunes 1, 2020 8 x 8”, watercolor on paper
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LightWaves, 2022 20 x 20”, watercolor on paper Image 16
LightRings9, 2019 40 x 40”, watercolor on paper Image 17
“IwasborninChelsea,Massachusetts.Thirty-eightyearsbeforeIwasborn,in1908,theGreatChelseaFireburnedhalfthecitytotheground.ItwasjustafterthisGreatFirethatfamiliesofEasternEuropean,Jewish,Italian,Irish,Greek,andRussianOrthodoximmigrantscametoChelseatobuyupthepartiallyburnedhousesonthecheap.Mygrandparents,YiddishspeakingJewsfromOdessa,Russia,wereamongthem.TheyboughtahouseinChelseaandfixeditup.Thecharredblackraftersintheatticcrawlspacestilltoldthestory.In1964,IenteredtheUniversityofMassachusetts.Iwasexpelledin1966,andwithinafewdayswasdraftedbytheUSArmy.IservedinVietnamfrom1967to1968.Duringthattime,Imaintainedmysanityasmuchaspossiblewithwords...AfterIwasdischargedfromtheArmy,ItraveledextensivelyinEurope.IfoundthatthewordsIhaddependedonweresomehowfailingme.Butintheirplacewasart,architecture,painting,sculptureandstone.Stonewas(is)everywhere.Ifellinlovewithit.AfterEurope,IwenttotheInstitutoAllendeinSanMigueldeAllende,Mexico,ontheGIBill.IreceivedmyMFAandthentaughtthereforayear.Nextcamea3-yearapprenticeshipwithastonemasoninMassachusetts,andthenImovedtoNewMexicotobeginmycareerasasculptor.Iwasrecreatingthatboilerroomofmyyouth,sotospeak.IopenedSouthwestStoneworksin1976andhavebeenworkingwithstonefor41years.Imetmywife,ceramistBetsyWilliams,in1999.Sheinspiresme.Together,in2005,weopenedRiftGalleryadjacenttomystoneyardinRinconada,NewMexico.Inthegallery,wefeatureacarefullycuratedselectionofcontemporarytwo-andthree-dimensionalwork.”
MARK SAXE
Midnight, 2021 22 x 20 x 14” basalt & limestone base Image 18
BrokenandRepaired, 2022 9 x 4 x 4”, Belgian black marble & steel staples Image 19
work“Iworkintherealmwheretheknownandunknownmeet,wherechanceanddeterminationhandinhand.Stone,amaterialbothsimpleandcomplex,wildlyuncontrollableanddisciplined,providesthatopportunity.Myworkgrowsfromanotion,amysteriousfeeling,notunlikethefirstsentenceofastory,alwayswithhopefulanticipation.Ittellsthestoryofmygrapplingwiththeforcesofcreationanddestructioninnature,unleashingthecataclysmicandthecalm.”-MarkSaxe
Ripple in Time, 2021 5 x 24 x 11”, basalt Image 20
DancingintheDark, 2022
51.5 x 24 x 24”, basalt & gold leaf with marble base Image 21
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Cell Block, 2021 x 10 x 7”, marble, basalt, gold leaf, pigment Image
Each Other, 2022 x 18 x 8.5”, basalt and marble on steel base Image
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Not Alone, 2022 4 x 8.5 x 5”, black marble and lead with steel base Image 24
Seed, 2022 9 x 15 x 9”, jasper Image 25
MARSHA SKINNER
Most of Skinner’s energy and thoughts seem to go towards the creation of art. The seriousness in which she considers her own creations, worthy or not, leaves the artist destroying as much as, or more than, the artwork of that which is kept. Despite this artist’s humble nature, Skinner has accomplished much in her life’s work, from her close relationship with the great American avant-garde composer John Cage to her working relationship with the famous choreographer Merce Cunningham in the creation of costumes and lighting for Cunningham’s dance piece Beach Birds, Change of Address, Enter, and Ocean. For many years, Marsha’s work was represented by respected local gallerist Stephen Parks of the Parks Gallery, and her work has been exhibited at the Harwood Museum of Art in Taos.
Marsha Skinner is a Taos based artist who paints upon the reflections she has within her home, surrounded by nature. Born in 1944 in Canon City, Colorado, the vast plateau country of Taos mimics her homeland and offers a welcomed return for the artist after her time spent traveling the Asian continent extensively.
Her muse, the natural world, is prominent in her artwork, flowing as fluidly as calligraphy. Skinner studied her practice within the walls of Asian universities, including Delhi University in India and the China Institute in New York. The gentleness, focus, and the I Ching taught to her by mentors of a different culture are still foundational elements of her artwork today. Informed by this method of chance in her creative process, the roll of dice can dictate the artist’s decisions as to color, thickness, texture, tools, and time it takes to produce her finished works.
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Wind, 2019 x 8.5”, oil & graphite on paper
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Wild Roses XIII, 2022 12 x 12”, oil with cochineal on canvas Image 27
“It’s all about the drawing...”
Left: Detail of Dancing, 2022 20 x 16”, oil on paper
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About her paintings:
- Marsha Skinner
8 x 7.5”, graphite on paper
12 x 12”, oil with cochineal on canvas
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Wild Roses XI, 2022
Left to Right:
12 x 12”, oil with cochineal on canvas
Wild Roses VIII, 2022
WaterDrawingII, 2022
Wild Roses IX, 2022
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Left to Right:
12 x 12”, oil with cochineal on canvas
Wild Roses XII, 2022
12 x 12”, oil with cochineal on canvas
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WaterDrawingI, 2022 8 x 7.5”, graphite on paper
Wild Roses X, 2022 36 x 36”, oil with cochineal on canvas 34
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Dancing, 2022 20 x 16”, oil on paper
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WaterDrawingIII, 2022 8 x 7.5”, graphite on paper
At a young age, Sobol was introduced to genres such as Fauvists, Avant-Gardists, Academicians, Portrait Painters, Modernists, Minimalists, Abstract Expressionists, sculptors, and printers. Without such an encompassing exposure to different forms of art, Sobol’s own art would not take the form it does today. Sobol effortlessly constructs and deconstructs the marriage of many of these genres within his art. Each piece composes a different emotional ambiance for both the artist and the beholder, and his unrestrictive, intuitive form of creation emerges in vivid colors and illustrative titles.
However, the joy and playfulness of the artist are not lost in the depth and breadth of his professional career. The artist’s miniatures series in particular displays this quite profoundly outside of the artwork itself, as Sobol states his mission of the series as “pure collaboration with the creative spirit, and [to] guide my larger works.”
Jonathan Sobol
Jonathan Sobol has been a professional artist since 1976, although his explorations in oil painting began when he was just eight years old. Growing up amongst artists and musicians, Sobol was fortunate to have profound mentors to guide his craft. The diversity of his mentors gave Sobol the unique opportunity to find his own voice in a sea of creative possibilities.
Sobol has hosted seminars and held professional positions in galleries and museums around the Southwest since 1989, when he was selected for the role of Curator of the Taos Art Association’s Stables Gallery in Taos, NM.
Reflection, 2022 30 x 36”, oil on canvas Image 37
Detail of Sobol’s tools and mediums in studio, 2022
“Tome,therearenomanifestos...it’sallaboutthevisualexperience.Artcomesfromyoureyestoyourgut.”-JonathanSobol,AlbuquerqueJournal,2015Right:ALittlePeace, 2022 5 x 7”, oil onImagecanvas38
Pink on the Move, 2022 36 x 48”, oil on canvas Image 39
OddHowYouResembleMyAunt, 2022 14 x 18”, oil on canvas Image 40
SmallThings, 2022 5 x 7”, oil on canvas Image 41
WhenILookedUpItWasGone, 2022 7 x 5”, oil on canvas Image 42
Having spent her formative years in Washington state, the Pacific Northwest was Voellmer’s first sense of place that inspired the artist to paint. In 2000, Voellmer received her BFA in Sculpture and Painting from Pacific Lutheran University, Parkland, WA. However, the expression of place could not occur so cohesively with the concept of self, as it does in her artwork today, had Voellmer not spent time also engaging intimately with the land. In 2002 Voellmer graduated from Central Washington University with a BA in Geography before going on to receive her MS in Soil and Water Science, completed in 2006 at the University of Florida.
Voellmerexperience.and
Onna Voellmer pulls at the lack of space between self and place, where our internal concepts spill over into solid realities-- and vice versa. It is no surprise this non-objective artist can be found in any place where there are landscapes of influence and inspiration.
her partner moved from Arizona to Northern New Mexico in 2021. Currently, the artist resides in Madrid, NM, with 100 acres of land and 100 dreams of what their place will become in the future.
ONNA VOELLMER
However, it is not only Voellmer’s academic studies that form the foundations of her artwork, she finds it imperative to transcend the solid realities of place to instead arrive at the ephemeral. Cycling over 7,000 kilometres and passing through numerous borderlands in North, Central, and South America, the subjectiveness of land and the fallacy of borders, and the act of separating a place from itself, become foundational questions of a physical
MonsoonInside-BountyofDreams, 2022 14 x 14”, mixed media on canvas Image 43
Monsoon Inside - Rebirth and Renewal, 2022 14 x 14”, mixed media on canvas Image 44
Left: Detail of SowingSeeds, 2022 48 x 48”, mixed media on canvas Image 50
“Myworktouchesonthatspacebetween“self”and“place”—twoideasthatononehandareconcreterealities,andontheotherhandareelusiveconcepts—twoconceptsthataresointerconnectedIcannotseparatethem,asifonedoesnotexistwithouttheother.Itisbothmeditativeandliteral,takingontheuniquefeelofbeinginalandscape—thatfeelingofspace,thesunwarmingyourskin,memoriesthatareawokenbythescents,thesoundofabeenearby,theblurryflashofabirdthatjustpassesyourgaze.Thewildsofnaturearewheretheinspirationformyworkbegins.I’manavidadventurerandexplorerofplacesoffthebeatenpath,placesjourneysthatpushtheboundariesofself:long-distancetrails,mountainsummits,andfar-awayplaces.Onthesurface,I’mdelightedbythebeautyandwishtocapturethatinmywork,butthereisalsoaprimalqualitytoitallthatilluminatestheconnectionbetweenplaceandself,andhowtheseconceptsarelinkedtodeeperpartsofconsciousness.”-OnnaVoellmer
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RevivingtheDistance, 2022 24 x 24”, mixed media on canvas Image
The Pale Blue Notes no. 6, 2019 15 x 11”, mixed media on paper
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ForestCanopy, 2022 24 x 24”, mixed media on canvas
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MyDesertisBlueandGold, 2019 48 x 48”, mixed media on canvas Image 48
SowingSeeds, 2022 48 x 48”, mixed media on canvas Image 49
MonsoonInside-EmergentBeauty, 2022 14 x 14”, mixed media on canvas Image 50
Early Modern to Contemporary
1335 Gusdorf Rd, Suite i, Taos, NM 575.751.1262 203FINEART.com art@203fineart.com
