EXHIBITION RUNS AUGU
UST 2 ND – SEPTEMBER 7 TH
IVAN TOTH DEPEÑA With a Masters Degree in Architecture from Harvard University’s Graduate School of Design, Ivan Toth Depeña’s artistic production is informed by his experience in art, architecture, technology and design, and encompasses a range of media. Depeña pursues the intersection between different disciplines with the aim of choreographing the moment when these aspects come together seamlessly. Using traditional avenues such as drawing, painting and sculpture then interweaving interactivity/responsiveness, video, light and high-tech methods of fabrication, Depeña explores the fine line between chance and intention. Depeña has been working increasingly in the public realm and maintains a rigorous and experimental, self directed studio practice. He has exhibited extensively, nationally and internationally, in both solo and group exhibitions, including at the McColl Center, NC; Praxis NY, NYC; New Britain Museum of American Art, CT; Miami Art Museum, Frost Art Museum, and the Museum of Contemporary Art, North Miami. Depeña has recently completed largescale public commissions in New York, NY; Denver, CO; Albuquerque, NM; Gainesville, and Miami, FL. His work is held in numerous public and private collections. In early 2014, he was awarded a prestigious Knight Arts Challenge Miami Grant for his proposal for a first of it’s kind series of augmented reality public art projects throughout South Florida called “Lapse”. Depeña was also a finalist for the renowned Cisneros Fontanals Art Foundation (CIFO) Grants & Commissions program for Hispanic artists for 2017-2018. In addition, he received a nominated for the prestigious United States Artist grant in 2017. Depeña currently resides in Charlotte, North Carolina.
LISTING ON YOUR SHORES | 48x72 | $9000
RED SHIFT | 72x48 | $9000
WHEN MAMA WAS A MOTH | 36x24 | $3500
NAMING STARS 01 | 10x14 | $800
SMALL CHANCE 03 | 10x14 | $800
NAMING STARS 03 | 10x14 | $800
NAMING STARS 06 | 10x14 | $800
SMALL CHANCE 05 | 10x14 | $800
NAMING STARS 07
7 | 10x14 | $800
SMALL CHANCE 06 | 10x14 | $800
COMFORTABLE SADNESS | 33x44 | $4900
KRISTEN VAN DIGGELEN SLOAN Kristen van Diggelen Sloan’s paintings and sculptures aim directly at the eternal. Her often large-scale oil paintings employ Baroque virtuosity and illusion, anthropomorphizing natural elements, to create monumentally scaled portraits of a spiritual journey or condition. Whether an adulterated landscape or a figurine amidst precarious circumstances, Sloan’s paintings are sites of pleasure and pain, anxiety and tranquility, mirroring the human interior where one is both revitalized and victimized by their own psychological surroundings. She uses imagery – complex in signification and often steeped with literary, symbolic or historical reference – purposefully to keep secret and/or to reveal narrative. Her more recent ceramic work adopts a maternal lens, and is inspired by the Southern craft tradition of the face jug, the early desert mothers (women often portrayed as both harlot and heroine, Babylon and Jerusalem), as wells as women saints who mastered what the poet/ philosopher John O’Donohue called “the art of inwardness, or pedagogy of interiority.” Sloan looks to the material lavishness of Dutch and Spanish Baroque still life painting to peer, dimly, into the riddles of common experience; Rembrandt for instruction with creating divine light and enchanting darkness; Jay DeFeo for incorporating representation with abstraction, refinement with expressionism. The monumentality of her work functions within a similar discourse that Mark Rothko used to describe the scale of his larger pictures: “…you are in it, it is not a reducing commanding experience, but one that is human and intimate.” Kristen van Diggelen Sloan received her BA in Visual Art from UCLA in 2006, and her MFA in Painting from the San Francisco Art Institute in 2009. She currently lives and works in rural York County, SC.
ME TOO GIRL | 40x30 | $3000
DESERT AMMA I | 15x9x9 | $2500
SELF PORTRAIT WITH AMMA I | 47x42 | $4000
APPARITION V | 48x36 | $3500
APPARITION III | 60x48 | $4200
THE FOOLISH VIRGIN | 96x58 | $13750
THE WISE VIRGIN | 96x58 | $13750
L I N DA LU I S E B R OW N Linda Luise Brown is a painter, writer and teacher from Charlotte, North Carolina, with over thirty years of experience as a professional artist and published writer in regional, national and international media. Much of Ms. Brown’s writing focuses on the visual arts. Linda holds a Bachelor of Fine Arts in Painting from The University of Illinois, a Master of Arts in Aesthetics from The University of Texas at Dallas, and a Master of Fine Arts in Painting from The University of Oklahoma. Linda’s work hangs in private and corporate art collections across the nation, including Bank of America, the Federal Reserve, Commerzbank and IBM. Linda is a Fellow of the internationally renowned MacDowell Colony in New Hampshire, and was an Affiliate Artist-in Residence at the McColl Center for Visual Art from September 2004 to March 2006. In March 2013, Linda was an Artist in Residence at Arte Studio Ginestrelle, Assisi, Perugia, Italy. From April 2013 to July 2014, Brown enjoyed her return as an Affiliate Artist in Residence at McColl Center for Visual Art.
WINDOW AT NIGHT DIPTYCH | 40x50 | $3500
PERSEPHONE II | 36x48 | $4000
TWIST OF FATE | 40x50 | $3000
PINK | 36x48 | $4000
CARMELLA JARVI Carmella Jarvi is an artist, McColl Center for Art + Innovation and Vermont Studio Center alumni, and three-time Regional Artist Project Grant recipient. Her art has evolved from women in water paintings to abstract explorations of water through kiln glass — since a 2011 trip to Playa del Carmen, Mexico. Intrigued with this common and ethereal material from an early age, Jarvi’s glass is a beautiful and visually enticing expression of water. Her pieces have multiple firings and layers, with lots of cold working in between (using tile cutter, belt sander, and even breaking glass). She often utilizes kiln heat and gravity to move glass. Whether tabletop, free standing work, wall composites, or prototypes for larger works or public art, they are really paintings with glass — mostly inspired by water. Since 2014, Jarvi has been scaling her glass into larger public artworks — starting with a 2014 ArtPop vinyl billboard, and in 2016 with an ArtPop curved digital display of her kiln glass. Now, she's having a fantastic time as an #ArtPopCLT 2018 artist! Earlier in 2018, Jarvi completed a public art project with Historic South End in her hometown of Charlotte, NC. The Urban Eddy is her better known water glass rounds — custom printed on translucent vinyl that were, then, installed throughout the CLT Powerhouse (former Trolley Museum) building's glass windows/doors.
URBAN EDDY MOVEM
MENT | 40x60 | $3200
TO N Y G R I F F I N Tony Griffin is a classically-trained painter. Griffin’s work has evolved from a deeprooted understanding and appreciation of the academic approach to a more personal and direct interpretation of his experiences and surroundings. He is a perceptual painter; his work is based on observation and direct response. While Griffin remains faithful to the principles and ideals of his classical training, his work has developed into a looser, more confident voice – a testament not only to his skill, but to his personal vision. In 1970, at the age of eleven, Griffin embarked on his artistic journey in Florence, Italy. While attending the American International School of Florence, Tony lived and apprenticed with fresco artist Ben Long. During this time, he received training from the atelier of Sigorina Nera Simi at the recommendation of the Italian master, Pietro Annigoni. Griffin’s early artistic training was heavily influenced by the Italian Renaissance masters – a set of artistic ideals that was enjoying another renaissance in Florence’s dynamic community of expatriate artists of the 1970s (and still persists to this day). With a solid foundation in academic drawing, Tony briefly returned to the United States in 1974 to attend the North Carolina School of the Arts (1974-1975) and permanently returned later to attend the Pennsylvania Academy of Fine Art (1979-1983). The Academy offered a broader range of instruction and focused more on contemporary realist painting. Here he was able to study with the likes of Ben Kamihira, Sydney Goodman, Arthur De Costa, Seymour Remenick, and Louis Sloan. Currently, Tony divides his time between his studio in Charlotte and his summer home in the mountains of North Carolina.
ISLAND IN THE CREEK | 7x12 | $1600
TOUCH OF FALL, NEW RIVER | 8x10 | $1500
MURRELLS INLET II | 16x20 | $3800
BEE BALM | 14x18 | $3800
CAMP NEW HOPE | 24x48 | $6800
RIPPLE | 36x48 | $8000
BOWENS ISLAND,
SC | 8x12 | $1500
TOWARDS TENNESSEE | 12x20 | $2200
MT. JEFFERSON AFTERNOON | 8x10 | $1500
CHANGE | 11x14 | $3800
SIBLINGS | 24x48 | $6800
STUDIO INTERIOR | 20x20 | $4200
WINGED TANGERINE | 14x22 | $2800
DIANE HUGHES Diane Hughes received a BFA in Graphic Design from Southampton College in New York. She has exhibited her work in North Carolina and New York and has had her photography published in Great Unknowns: An Exquisite Collection of Black and White Photography. Capturing longevity and simplicity, Hughes creates mixed media photographs that reflect her passion for nature. Her aim is to enhace the work’s dimensionality by creating texture through using unique materials and deepening the work’s content by reflecting on the way the experiences of her young life find their way into her work. “In response to a childhood uprooted by illness, frustrating diagnosis, and the stresses of disease, the physical power and symbolic wisdom of Trees have become an enduring source of inspiration in my photographic work. Drawn to the strength, rawness, texture, shape, and human-like depth of older trees, the core image always begins in black and white. I then obscure this image with organic materials such as tea, dirt, raw vegetable juice, olive oil, and vinegars with the goal of creating color, texture, a new physicality, and an affirmation of health. The more authentically rich my relationship is to self and my expression, the greater the canvas will be impacted and thusly the viewer.”
GRASS I | 9x12 | $1200
GRASS II | 9x12 | $1200
FOREVER | 18x25 | $1200
FALLEN ANGELS | 18x25 | $1200
RESTING | 24
4x48 | $2000
KOREN AYERS | GA KOREN@ANNENEIL
ANNA ELLIOTT | G ANNA@ANNENEILS
LESLIE A. CULBERTSON | CORP LESLIE@ANNENEIL
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