DIORAMAS of the MAXIMUS PAUL KENTZ SZE KING LAU EVELYN PETERS
OPALESCENT N-VISIONS CORA CRONEMEYER SYLVA KANDERAL PAUL UYEHARA
OPTYX of the EVANESCENT
LUCIANA PAMPALONE TRICIA KAMAN
CORNUCOPIC EYE-LUMINATIONS
JOHN LOVEDAY FREEMAN BENEDICTE JAROSZ DEANNA KIENAST
AMSTERDAM WHITNEY GALLERY “Moulin Rouge” Fete
CORA CRONEMEYER
"The Past. The Present. The Future?" Acrylic on Canvas 41" x 31”
CORA CRONEMEYER “OPALESCENT N-VISIONS”
NOVEMBER 7 – DECEMBER 9, 2014
Marc Chagall declared: “If I create from the heart, nearly everything works.” Contemporary New York artist Cora Cronemeyer creatively expresses limitless emotions as she reveals the meaning of existence in the universality of humankind. Through her high voltage, pop-style compositions, this gifted artist communicates a visceral message reflecting a unique individual style and perspective. Employing symbolic narratives, she opens a window to the flow of feelings, memories and emotions, offering tangible shape to the suggestion of timeless moments and eternal ideas. Utilizing variegated brushwork to dynamically depict emblematic imagery, her expressive geometric compositions are imbued with imaginative subtexts about relations in our global world. Swirling vortexes of emotion that mirror the soul are revealed in Cora Cronemeyer’s visceral scenarios. A dynamic relationship of lines and symbolic forms, coupled with a cadence of passionate color and gestural brush strokes create rhythmic, syncopated canvases. Hidden within mysterious backgrounds, luminous semi abstract shapes emerge with a huetopian, rainbow-hued pallet revealing sleek, undulating curves. These spectral works are emotional and physical expressions of a fanciful realm reflecting an exhilarating mix of free-spirited abstraction and serious craftsmanship. Wildly imaginative, her subjects exist in some other worldly terrain as they float through magical space. Through dazzling brush strokes, elements of the heart’s interior and exterior mesh, as Ms. Cronemeyer’s visceral narrative oeuvre offers the impression of life being soaked in sunshine with her candy-colored hues. Celebrating the glory of the world, her boundless imagination is very present, which buzzes with images-within-images, free association, and fantastical pop-art bright colors. With a dazzling usage of geometry, Cora Cronemeyer captures spectacular visions of color and shape that call to mind free floating thought processes. Bright and cheerful with a dose of universalism; Ms. Cronemeyer deftly composes for the viewer a piece of the world as seen through luminous candy-colored lenses.
JOHN LOVEDAY FREEMAN
"Caught in Time" Red Cedar-Steel (light inside-ball displayed) 36” x 48”
JOHN LOVEDAY FREEMAN “CORNUCOPIC EYE-LUMINATIONS”
NOVEMBER 7 – DECEMBER 9, 2014
Inspired by Hap Hagood’s statement: “Within every block of wood and stone, there dwells a spirit, waiting to be released. Direct carving is a way of freeing the spirit - my own and that of the stone or wood,” Canadian preservationist sculptor John Loveday Freeman acknowledges that his forms are already formed in the wood. His marvelous wood sculptures metamorph from the inside essence of the wood found in the rain forests and beaches of British Columbia, Canada. Specializing in ‘old growth’ wood from the magnificent Canadian terrains, his one-of-- a kind magical treasures are discovered from natural occurrences or remnants of trees cut down by loggers. Naturally formed, no two sculptures are the same and are airdried for up to six years. Regarded as museum pieces, these unique “Marvels” are environmentally aware as they regenerate into tangible visual expressions which symbolize our cultural heritage. Metaphysically exploring ecological elements of nature, John Freemen wooden sculptures transform and transfigure the wood into enduring organic sculptures as he honors their natural gifts. Referring to his sculptures as “The Elders,” John Freeman honors these “ancestors,” by capturing their splendor hidden inside the wood. His ecological concern for the organic wood sculptures reveal the sublime nobility of nature’s wood as he preserves the heritage of the natural topography. Impurities are not hidden but refined and accentuated consciously as he believes that it is essential to reveal the true integrity of the material. Truth is strived for- not perfection- and it is found and then integrated into a suitable whole. Revealing the invisible within the visible, his masterful 3-dimensional sculpture “Caught In Time,” may be considered “The world’s oldest naturally formed baseball mitt.” Found on a beach on Vancouver Island, British Columbia, Canada, this extremely unique red cedar sculpture was organically sculptured by the natural elements (wind, sand, water) into the shape of a baseball mitt and was actually carved by nature over 500 year ago, well before the game of baseball was even invented (1845-46.) With titles such as “Candle in the Wind,” “Sage” and “Golden Dragon,” John Loveday Freeman’s wood sculptures reflect the transition from a static object to one that seems to be moving. This regeneration and rejuvenation of the massive wood and the complex topography of the natural terrain, invites us to have an eternal and timeless dialogue with nature. John Freeman’s sculptures are at the same time, works of art, as well as revelations of the soul as they touch on many spiritual levels.
BENEDICTE JAROSZ
“Sang Pour Cent Coeur” Acrylic on Canvas 19.5” x 27.5”
BENEDICTE JAROSZ “CORNUCOPIC EYE-LUMINATIONS”
NOVEMBER 7 – DECEMBER 9, 2014
Following the credo of Paul Gaughin who stated “Seek art and abstraction in nature by dreaming in the presence of it,” the acrylic on canvas compositions of French artist Benedicte Jarosz reflect the reveries and dreams of a contemporary master. Ms. Jarosz states: “I enjoy energizing my work, pushing my vivacity into abstraction. My spontaneous and vibrant emotions emerge through the melding of textures and the blending of my palette, as part of my continuous artistic journey. Thanks to geometric shapes and illuminated pigments, my deepest desire is that my paintings attract my viewers and help them to escape into another reality.” Influenced by her dreams, Ms. Jarosz connects the viewer to chimerical feelings that might otherwise be too elusive or transitory to experience fully as she deconstructs images that are subliminally familiar. By inserting dreamy opulence into her non representational canvases, her gestural works radiate fantasy, movement and a rainbow of colors. Illuminated, dreamlike patterns are juxtaposed with tactile, multidimensional surfaces, as her fantastical oeuvre portrays concepts that are richly nuanced in form and hue, reflecting free-flowing expressions. Deeply textured, her compositions shimmer with glistening light and shadow, providing a sublime, escapist spectrum. Dexterously and masterfully oscillating between jewel and primary tones, her kaleidoscopic shapes and illusory forms elegantly morph on her canvases with painterly visions of passionate reds, moody grays, peachy pinks, and etheral golds which fluidly synthesize into masterful compositions. Poetically interpreting the visceral essence of a dream-like realm, this visionary artist reflects the contemplative spirit of the intangible and impalpable in her tangible. evocative works. An ethereal intrigue permeates Ms. Jarosz’s spiritual art as she emotionally explores the universe with an expressive magic shroud of glimmering silver which highlights her paintings. By escaping reality, she uninhibitedly transcends the mundane, allowing her transparent vision to flow from her mind to her hand and canvas with spirited flourishes. Imbued with a tranquil peace, Benedicte Jarosz fashions liberated spaces of internal tension into fluid havens of serenity.
TRICIA KAMAN
“Kathryn and Sunshine” Oil on Canvas 40” x 30”
TRICIA KAMAN “OPTYX of the EVANESCENT”
NOVEMBER 7 – DECEMBER 9, 2014
Isabel Bishop’s statement “The nude, if you tackle it, is a very fascinating subject, especially for a woman” is profoundly reflected in Tricia Kaman’s recent series: “The Painted Robe- Painting Women Through the Decades.” This contemporary homage to women in art history throughout the ages, intermixes art and beauty as the artist discovers a complex dialogue of the feminine form. Harkening from a tradition of centuries old quest to depict the beauty of the nude female figure, Ms. Kaman investigates the reformatted past art form of the female nude and places the figure within a contemporaneous context. The common element that unites all the portraits is the draped robe or kimono; instilling in these paintings a vitality and sophistication reminiscent of timeless paintings. Her highly aesthetic tonalities, as well as the composition, creates a ground- breaking series of ephemeral yet constant salient tableaux. Exploring the human body through the prism of the female nude, Tricia Kaman’s multi-faced canvases are intertwined with significance, inviting the viewer to engage and interact with the figure. Her female portraits are tributes to these women of the past and all those in the present as she portrays the stylized female form. Her paintings allow the women to be seen as monumental figures as they are in real life. They are not just Venus, they are also Jupiter and Mars; figures of power and respect as well as innate sensuality. Ms. Kaman taps into facets from the long-standing traditions of portraiture, working with a broad, bright color palette. Bathed in warm colors, inviting textures, their faces magnetically draw the viewer into the canvas, inviting them not just to observe but to interact. The spiritual connections between woman and the natural world remain central to these works, these are women of flesh and blood, tangible representations of the essence of humanity. Tricia Kaman’s compositions are a constant exploration of different forms of expression of the female nude as she underscores the subtle details of her subjects, celebrating the simple beauty of women. Believing that beauty and plainness have the same value and need for recognition, her tableaux are in an endless conversation with each other– a composed variation of a way of seeing. Never idealizing the female nude, her subjects reflect the truth and reality of the veritable female form. Her sublime subjects bodies glow with hues ranging from warm pink and brown to cool blue and green, creating an environment in which the body is not just human but blends seamlessly into the world itself, becoming the landscape. Painting with an exceptional eye for color nuance and light, the variations in color and tone heighten our awareness of interplay between the body and the atmosphere as she highlights a large terrain of skin and subtly rounded figural curves. The skin itself becomes a vessel for both light and emotion – radiating its light outward into gradients of colored background.
SYLVA KANDERAL
“Still Life in Violet” Oil on Canvas 23.6” x 27.5”
SYLVA KANDERAL “OPALESCENT N-VISIONS”
NOVEMBER 7 – DECEMBER 9, 2014
Inspired by Damien Hirst credo: “Art comes from everywhere. It’s your response to your surroundings,” Swiss artist Sylva Kanderal’s lyrical paintings explode with creative artistic energy where otherworldly forms float within dream like backgrounds. Translating the invisible chimera realm of emotion and feeling, her inner artistic vision is inspired by a magical, mystical universe where emotions are depicted as colorful rainbows bursting forth from the forms. Flowers, fruit, glasses became metaphorical symbols of love, allegorically representing a kiss, an embrace and longing. Ms. Kanderal’s oeuvre functions as a type of neo-contemporary still life, characterized by an optical illusory fascination with everyday objects. Through diverting subject matters, her magical, oil on canvas tableaux allows time to stand still as her compositions become a meeting point of memory, history, and emotionality, Fashioning an atmospheric, dreamlike terrain, her ethereal compositions combine a surrealist sophisticated mélange as she focuses on the universal language of form and line. Capturing the surrealistic spirit and mood of fantasies, Ms. Kanderal is fascinated with color which catapults her paintings to supreme expressions of the joy in life. Known as a virtuosic colorist, her illuminated palette is bright and jaunty: lemon yellow, violet, mauve and pale blue are colors that appear regularly in her paintings. Bridging a gap between reality and other-worldliness, she infuses her work with a soft body of color and further creates an airy character allowing her subjects to float in a space that seems to cradle them. The universality of her work transcends borders, culture and language, for it speaks to viewers on levels that are both emotional and subliminal. The movement in each work takes eye and mind on a journey of discovery, a journey that entices and beckons, underscoring a deep-seated freedom of expression.
PAUL KENTZ
“A Christmas Selfie” Oil on Canvas 20” x 24”
PAUL KENTZ “DIORAMAS of the MAXIMUS”
NOVEMBER 7 – DECEMBER 9, 2014
Influenced by Paul Cezanne’s statement: “In order to make progress, there is only nature, and the eye is turned through contact with her.” Native New Yorker, Paul Kentz focuses his “third eye” on New York City’s iconic landscape and cityscape scenes, immortalizing them and also offering a modern twist to their timeless sense of place, by introducing the omnipresent techno-gadget of the camera to lend time to space. Ultimately, these works are a play of the past’s eternal incursion into the future and the future’s retreading of the past. Bridging the seemingly insurmountable gap of the individual zeitgeists of the past and present is a challenge that Paul Kentz addresses with great aplomb. New York City, a place of the hyper modern and the seemingly ancient, serves as a backdrop for this study, creating timeless scenes only identified as modern through the omnipresent inclusion of technology. He captures the city that never sleeps and identifies it more so as the city that never truly ages, an empire state made in steel and concrete and memories spanning over ages. It doesn’t matter if you were born in 1900 or 1991; if you were born in New York you know these places, the faces may change, the technology may change but there is the truly inescapable feeling of walking in someone elses’ footsteps as you tread the avenues and museums. It is in this way that Paul Kentz is more than successful, he is a master. Translating his visual commitment and his love of New York, Paul Kentz is inspired by its historic cultural sites, and his most recent landscape collection showcases the power, dynamism and vibrant energy of The Big Apple as he explores the iconography of the contemporary figure in timeless landscape. Like the city itself, these paintings are vibrant and bright, buzzing with energy and color that explodes off the canvas, inspiring the viewer to remember the sounds of Fifth Avenue in the fall and the aroma of hot roasting chestnuts from the cart outside of FAO Schwartz. Mr. Kentz treats her not just as a city, but as a living thing, both ever changing and constant. Mr. Kentz states: “The paintings are inspired by real life New York scenes such as the Metropolitan Museum, the Museum of Natural History and Central Park, as well as the historic Flat Iron Building as they intersect with modernity.” The tight focus of his angles invokes the sharp, crisp edges of the camera lens while his palette keeps the viewer in the now of the moment, the reality of these places such that they transcend the page and become tangible realities. In a virtuoso display of color technique, Mr. Kentz constructs his work like perfectly balanced stories, everyone in New York has a story and these snap shots take our stories and blend them into the ongoing narrative of our city. Characterized by brightly vibrant primary tones, the paintings of Paul Kentz are strikingly joyful and interspersed with modern sensibilities, calling to mind Gershwin’s Rhapsody in Blue with his dynamic understanding of the pulse of the city.
DEANNA KIENAST
“Bloom” Acrylic on Canvas 36” x 30”
DEANNA KIENAST “CORNUCOPIC EYE-LUMINATIONS”
NOVEMBER 7 – DECEMBER 9, 2014
Inspired by Mark Rothko’s proclamation that “I’m interested only in expressing basic human emotions,” Contemporary Dallas abstract master Deanna Kienast’s visceral and emotive canvases are both passionate, meaningful and dramatic as she declares: “Happiness is the pulsating passion of my art.” Deanna Kienast’s non-representational acrylic paintings speak in languages both iconographic and moving, existing in a world far beyond the literal. As symbolic renderings of the human soul and psyche, in all of its prismatic fluctuations, her works straddle many levels and speak in many tongues as she unearths the truth that defines our real selves. Painting with flowing freedom, her non-objective canvases vibrate with visceral energy, translating visual space where the conscious and subconscious coalesce and integrate. Intellectually and emotionally, the viewer is dynamically intertwined with the canvases, charged by the powerful aesthetics of creation which are synthesized into a visual sensation. Not merely recording the world that Ms. Kienast sees, but rather recreating the emotions she feels, she expertly balances a varied color palette, utilizing color to achieve visual perceptions and emotional responses. By painting color as a sensation, this gifted artist transmits the emotions of life by juxtaposing bright and muted shades to give each image a dynamic flow. Her interest in the unconscious effect of color on mood rings through her work, creating a symphonic feeling of empathy translated into hue. Colors rise and fall and explode with contrasts that are dazzling as she interplays depth, juxtaposition, and light, while the materiality of her paint bursts with coloration, achieving powerful three-dimensional tactility. Radiating a sensory cue, Ms. Kienast emphasizes that color is not only about seeing, but it is also about feeling, as she entices cognition to experience the colorful canvas both visually as an external object but also emotionally as an internal object. The depth of her painting, with its clear and popping brushstrokes raising from the canvas, reflects the texture and ever changing emotion that Ms. Kienast seeks to capture in the seemingly static medium of painting. She takes the task of paint and brush and accelerates them, giving her works a motion that is an image of velocity, emotions swimming by at the speed of light. The crescendos and decrescendos of arcing shapes and illuminating colors translate into a carefully created cadence of creative feeling, inspiring joy but allowing the viewer room to see the highs and lows that come with euphoria.
SZE KING LAU
“Magical” Oil on canvas 40” x 60”
SZE KING LAU “DIORAMAS of the MAXIMUS”
NOVEMBER 7 – DECEMBER 9, 2014
Louise Nevelson declared, “Art is everywhere, except it has to pass through a creative mind.” The incandescent oil paintings by Sze King Lau radiate with an utterly captivating spectrum as her keen observational skills and sensitivity to her subject matter allow her imaginative canvases to adroitly vibrate within a sensorial realm. Wildly imaginative and skillfully executed, Ms. Lau’s unique artistic vision offers a diverse oeuvre ranging from landscapes to depictions of magic flying horses. The inherent fluidity of her ingenious emotional terrain envelopes viewers with voluminous gem-colored forms that fantastically ascend the compositions, Rhythmic brushstrokes, melodic color schemes and compositional harmony invite her audience to have a visceral dialogue with her dazzling compositions. Sze King Lau’s fanciful visual lexicon is evocative, emotional and imbued with great visual energy, mirroring an innovative expressionistic oeuvre that cleverly exposes the complexity of her subjects. Guided by an exhilarated sense of freedom, spontaneity and attention to process, Ms. Lau’s free-spirited creative process is both compelling and aesthetic. Her goal is to express through color fabulous images and scenes drawn from the subconscious as well as everyday experiences. Defined by a special sense of harmony and rhythm, there is a choreography and a visual melody existing between the lines and the forms that dance together into unique compositions Skillfully applying her astute eye to shape and color combinations, Ms. Lau’s objective is to invite the viewer to interpret her innovative art independently of outside influences. Within each her enchanted artistic realm, dazzling color becomes the central element through which she is able to express and expand upon her feelings. A buoyant, huetopian palette enables her to tangibly visualize palpable emotions and externalize them from the abstract, translating them to the real world. The gracious application of densely rich oil paint builds structural layers atop the flat canvas, dazzling viewers with luminescent forms that mesmerizingly soar through the picture plane. Her spectral palette ranges from deep cool blue hues to fiery warm highlights, and together with her multifaceted brushwork, she masterfully creates a momentous canvas bursting with active energy. Both intellectually and emotionally, the fundamental strength of Sze King Lau’s oeuvre is the ability for the viewer to connect intimately, both intellectually and emotionally with her compositions.
LUCIANA PAMPALONE
“Lover” Photography 28” x 22” Limited Edition of 50
LUCIANA PAMPALONE “OPTYX of the EVANESCENT”
NOVEMBER 7 – DECEMBER 9, 2014
Diane Arbus’s declared: “A photograph is a secret about a secret. The more it tells you the less you know.” The photography oeuvre of New York photographer Luciana Pampalone reflects this credo with her sophisticated, mysterious black and white images which luxuriate in the intimate female form. Her camera lens searches for a deeper and more profound sense of beauty as she explores the hidden messages that lie beneath the familiar. Inspired by a romantic vision of the female silhouette, her monochromatic photography sensuously reflects the beauty and mystique of the female form. Encapsulating the aesthetics of a modern romantic, she poses her subjects with a dreamlike intimacy that captures the mystery and allure of old Hollywood, calling to mind the elegant eroticism of the Golden Age Starlets. Eschewing the blatancy of color, Ms. Pampalone utilizes the judicious use of black, gray and white, thereby drawing viewers into every photograph with subtlety and nuance. Through the artist’s lens, one sees a creative passion driven by the need to reveal what the naked eye cannot see. Intoxicating and intriguing, Ms. Pampalone’s “third eye” explores the secrets of a private, hidden intimate world as she transforms the ordinary into the remarkable. Mystically infused with a beguiling vibrancy, she invites her viewers to look past the expected as she intermingles the beauty and mystery of the female form with rich, intriguing backgrounds. Within each image, she seeks to capture a most personal and original representation of the eternal woman in her purest sensual beauty. Luciana Pampalone develops a personal story of the emotions of the soul, capturing exquisite and magical optical perceptions of the human experience. Each work ignites the imagination, to move beyond the image, providing fundamental themes of vision and insight. By capturing the essence of private, romantic moments, her work is transparent, accessible, real, and temporal, while simultaneously distant and unattainable. The artist uses narrative to focus her photographs and there is a story in each of her works which serves to push the viewer to see the world around them as they never have before. Spectacularly adventurous in both form and content, the cumulative effect of these bold choices of composition and angle is an aesthetic that attracts the viewer and invites them to linger as subtle and subdued details emerge. Like visual poetry, these intimate photographs reflect moments behind closed doors and evoke an emotional and spiritual response in the viewer, channeling a virtuoso’s aesthetic technique and a poet’s soul.
EVELYN PETERS
“A Winter Dream” Acrylic on Textured Board 18” x 24”
EVELYN PETERS “DIORAMAS of the MAXIMUS”
NOVEMBER 7 – DECEMBER 9, 2014
Galvanized by Claude Monet’s theory that “Nature won’t be summoned to order and won’t be kept waiting. It must be caught, well caught,” Alaskan born, New Mexico based artist Evelyn Peters’ unique style and innovative artistic vision captures the relationship between nature and humankind, manifesting the external and internal world of the terrestrial realm. Conveying a spiritual vastness with her atmospheric and dream-like terrains, each composition eloquently celebrates the dimensions, the extravagance, and the abundance of nature’s eternal desire to express and sublimate itself. Discovering a joyful serenity of the natural terrain, Ms. Peters focuses her gaze on the wonderment of our universe as she gracefully reveals the elegance and beauty of the world, as well as honoring historic moments of Americana. Striving toward the fulfillment of the human quest to be “one with nature,” Evelyn Peters landscape paintings epitomize the need to capture the complex, fleeting patterns of nature on canvas. With a spiritual connection to the vital spirit of the landscape, Evelyn Peters is acknowledged to have a personal dialogue with Mother Nature. Her tableaux invites nonverbal communication with the terrain and her resulting compositions conjure a world that feels utterly believable and real as she conveys nature’s richness. Elegantly portraying an atmospheric vastness in her dream-like terrains, each work eloquently radiates a cornucopia of mood and style, as she translates on canvas the sensation of the chill of a cold winter’s day, or the warmth of the sun. With a passion and commitment in every brushstroke, Ms. Peters’s inner personal vision reveals nature’s bountiful diversity, radiating its huetopian palette, while encouraging us to rejoice and interact with what we so often take for granted. A powerful energy is magnified by her full, expressive color palette, in which the graceful balance of bright and muted tones create a dynamic rhythm along with a vivid sense of space. Graceful and elegant colors ebb and flow around each canvas, revealing a fresh spontaneity that seems serendipitous and random, as light’s behavior dapples, glistens, and glows on different surfaces. Radiating the joie de vivre of nature, her compositions synthesize a vibrant emotion, relishing Mother Nature’s divine essence, evoking remembrances within the viewer’s own personal relationship with nature. In addition to her accomplishments as landscape painter, Ms. Peters’s impressive versatility can be observed in her portrait paintings. Also recognized as an accomplished portraitist, her powerful vision of a female Masai reveals a bold sense of line and color resulting in a dynamic composition reflecting the subject’s strength and dignity.
Deconstruction #24 Oil on Canvas 16 x 24
PAUL UYEHARA
“Deconstruction #24” Oil on Canvas 16” x 24”
PAUL UYEHARA “OPALESCENT N-VISIONS”
NOVEMBER 7 – DECEMBER 9, 2014
“Color...Thinks by itself, independently of the object it clothes,” said Charles Baudelaire. Influenced by this philosophy, Paul Uyehara stated about his own work: “I released all ties to figurative references and to other painters (at least consciously), and am working in pure color, movement, energy, and shape.” Strikingly vibrant and sharp despite their abstraction, Mr. Uyehara’s paintings revel in its color and the execution of the sfumato style colorations. The images, unburdened by boarders, create the illusion of almost becoming one with the background, evaporating like a puff of smokey hues. This hazy, limitless depiction of color eschews the need for light to add dimension, creating its own depth via the use of color. The brushstrokes within translate into this type of blurring reality, giving an almost dreamlike quality to Mr. Uyehara’s works, making each flick and flourish waft across the canvas, impossible to fully grasp. The lack of harsh outlines lends freedom to the images while their colors keep them contained, giving shape to the smoke of their forms. The abstract backgrounds lend to their intangible quality, the truth slipping through your fingers like mist to leave behind nothing but an impression of what could have been. The interplay of color and form within Paul Uyehara’s work exemplifies the ever changing landscape of an internal world that shifts and changes with a simple thought or a dream. The figure or shape in the foreground is, truly, the only thing that exists in that moment, the background simply a staging area of color to contrast with what has taken form in the mind and found its way onto the canvas. Even with their static motion, the colors within do the moving for the subjects, oscillating and rolling over each other such that red turns to orange turns to black turns to gold in a cacophony of vibrant expression. It would seem almost folly to ascribe an emotion to any of it because it transcends that, it is motion for motion’s sake. Art for art’s sake. A celebration of what simply is: because color holds no rhyme or reason but it holds significance because we gave it such. Works like this become powerful not because they’re intended to have meaning but because bright red fills our passions and deep blues calm our souls on an instinctual level. In creating this world of color and shape, Paul Uyehara opens a world of abstraction and clarity to the viewer, but keeps them at a distance from any discernable truth with his usage of hazy brush strokes and fading backgrounds. Ultimately, we are granted access to a world outside time and space and meaning, being offered a purely instinctual, sensory experience of what he has to offer his audience. Color works independently of our beliefs or our projections; it simply is.
AMSTERDAM WHITNEY International Fine Art, Inc. 511 West 25th Street, Chelsea New York, NY 10001 Phone: 212-255-9050 Fax: 212-255-9020 www.AmsterdamWhitneyGallery.com AmsterdamWhitney@aol.com
NOVEMBER GROUP PRESS RELEASE AMSTERDAM WHITNEY GALLERY, 511 West 25th Street, Chelsea, New York City, is proud to showcase in its “Thanksgiving-Cornucopia.” NOVEMBER 7 - DECEMBER 9, 2014 exhibition internationally and nationally recognized Contemporary Master Artists whose works illuminate the vigorous creativity flourishing in the abstract, figurative and natural realms. In the spirit of the Chelsea Thanksgiving Art Season, AMSTERDAM WHITNEY GALLERY is showcasing unparalleled artworks from talented artists spanning the U.S. and the globe. Celebrating four resplendent group exhibitions, a link of thematic excellence ties these four exhibitions together, offering Chelsea art lovers paintings and sculptures of sublime superiority. Evocative and dynamic, this Autumnal Amsterdam Whitney exhibition exudes an alluring glow with stunning luminous creative energy reflecting an ethereal combination of divine abstract, figurative, landscape and floral works which challenge the boundaries of artistic creativity. Riveting and provocative, the canvases and sculptures in this Thanksgiving exhibit transport the viewer to wondrous pictorial realms and are a testament to the talent of AMSTERDAM WHITNEY GALLERY’s artists. DIORAMAS of the MAXIMUS showcases iconic art of three talented contemporary masters from the U.S.and Canada, whose richly textured canvases synthesize the perfect aesthetic spectral environment where color and movement crystallize to create entirely innovative vistas for visual exploration. Their innate sensitivity and sharp observational skills of the natural world embrace the vitality and wonderment of the universe as they define our vision of the transformative power of nature while their compositions envelope the viewer in the majesty of their awe-inspiring scenes. Contemporary realist landscape master PAUL KENTZ offers a modern twist to his historic iconic NYC landscape-cityscape paintings by introducing the omnipresent techno-gadget Camera into all his landscape works, reflecting the intersection of modernity with the timeless. SZE KING LAU’s oeuvre ranges from landscapes to depictions of magical flying horses and the inherent fluidity of her emotive terrain envelopes viewers with voluminous gem-colored forms that delicately ascend the compositions, with rhythmic brushstrokes, and melodic color schemes. EVELYN PETERS’s spiritual connection to the vital spirit of the landscape, reveals a personal dialogue with Mother Nature as her tableaux invites nonverbal communication with the terrain, resulting in masterful compositions that conjure the joie de vivre of our terrestrial realm. OPALESCENT N-VISIONS manifests evanescent global perspectives from creative artists hailing from the U.S. and Switzerland, whose artworks act as expressionistic mirrors to our world with their dynamic compositions which are luminescently bathed in mystery, huetopian color and unique perspectives. Brilliantly metamorphosing into glowing visual narratives, they are imbued with a vibrant sense of visceral emotion which reverberates with inner vision. Their originality and individuality burst with a plentitude of mesmerizing compositional strategies that coalesce into vibrant compositions that transcend artistic parameters. CORA CRONEMEYER’s symbolic narratives express limitless emotions by revealing the meanings of existence in the universality of humankind through high voltage, introspective compositions which communicate individual moods by opening a window to the flow of feelings, memories and emotions, giving tangible shape to the suggestion of timeless moments. SYLVA KANDERAL’s surrealist oeuvre functions as a type of neo-contemporary still life, characterized by an
optical illusory fascination with everyday objects, her magical oil-on-canvas tableaux allow time to stand still an to become a meeting point of memory, history, and emotionality. PAUL UYEHARA’s outstanding color-driven, non-representational and figurative paintings appeal to universal emotions and ideas through his magnificent spectral color palette with dynamic, textural paint application providing a sensorial experience for all audiences. CORNUCOPIC EYE-LUMINATIONS rewards the viewer with inspired visual blessings of diverse global artistic perspectives from Canada, the U.S. and France. Opulently overflowing with a visionary feast for the eyes, these works reflect cornucopian, unique compositions illuminating a diversity of forms, intriguing textures and a bouquet of kaleidoscopic palettes. Spanning the sculptural and painterly realm, these gestural artworks are a visual mantra of color, form and motion as they inspire us to explore the boundaries between reality and the imagination. JOHN FREEMAN’s environmentally aware cedar wood sculptural “mavels” regenerate and metaphysically explore the ecological elements of nature as he transfigures the wood into enduring organic sculptures. BENEDICTE JAROSZ connects to the chimerical emotions of dreams as she deconstructs images with illuminated abstract canvases that radiate reverie through fluid movement, rainbow-hued colors and illusory optical visions which establish free-flowing masterpieces. DEANNA KIENAST’s visual syntax of dazzling nonrepresentational color-hued acrylic paintings speak in languages both iconographic and purely visual, existing in a world far beyond the literal, with symbolic renderings of the human soul and psyche, in all of its prismatic fluctuations. OPTYX of the EVANESCENT reveals the feminine form through the figurative painting and photography of two U.S. artists who sensitively engage in a fascinating dialogue of the representational female essence which compellingly explores the many facets of women as it reinforces a sophisticated, unified manifesto, illustrating and transcending the boundaries of the female silhouette. With sweeping pictorial vision, these artists capture the innate power in the beauty of their subjects, elevating them beyond the realm of mortals. LUCIANA PAMPALONE’s sophisticated, monochromatic photography is inspired by an intimate, romantic, dreamlike vision of women which sensuously reflects the mysterious beauty and mystique of the female form. TRICIA KAMAN’s” The Painted Robe- Painting Women Through the Decades” Series is a contemporary homage to women in art history, employing the draping robe as the uniting theme of her female portraits which communicates a textual prism of the importance of the portrayal and the empowerment of women in art.