OCTOBER 5 – 21, 2018
Peter Burega, Pain de Sucre oil on wood panel, 72x60 inches, $19,800
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Ted Gall, Flowerhead bronze, 16x5x5 inches, $3300
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Peter Burega, Shell Beach oil on wood panel, 40x60 inches, $11,000
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Ted Gall, Flight Plan bronze, 27x27x32 inches, $9500
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Peter Burega, Anse de Flamands, No. 1 oil on wood panel, 40x60 inches, $11,000
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Ted Gall, Iguana bronze, 12x6x10 inches, $3400
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Peter Burega, Ile Chevreaux oil on wood panel, 60x76 inches, $20,900
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Ted Gall, Rolling Bad Boy bronze, 15x4x5 inches, $3200
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Peter Burega, Anse Marechal, No.7 oil on wood panel, 60x48 inches, $13,500
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Ted Gall, Grand House of Wisdom bronze, 27x33x34 inches, $14,000
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Peter Burega, Anse de Flamands, No. 2 oil on wood panel, 48x42 inches, $9500
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Ted Gall, White Face Facets, bronze, 13x6x7 inches, $3300
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Peter Burega, Baie de St. Jean oil on wood panel, 30x60 inches, $8900
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Ted Gall, Money Monument bronze, 16x5x8 inches, $3400
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TED GALL
There is no mythological record of a marriage between Psyche and Hermes, but if such a union did occur, Ted Gall is surely one of its progeny. From the maternal side he takes his major themes: soul, spirit, the human psyche, and the strange and wonderful workings thereof. From the paternal side come artistry, invention and wit, along with a penchant for delivering secret, not-quite-decipherable messages from the gods around us and within us. True to this heritage, Gall’s sculptures tend to work in ways that dreams do, presenting familiar images in unexpected combinations and contexts and leaving us to puzzle out what to make of them. He leads us to uncover masks behind masks and tableaux within tableaux, drawing us down to deep places or bringing the depths almost into view, yet never presuming to tell us what we are seeing. As James Hillman has said of dreams, “everything within is able to be understood in a double sense, hermetically and metaphorically”, this is to be said of Ted Gall’s work too. Technically, Gall’s sculptures begin as modeled clay or wax or welded Cor-ten steel. The originals are then cast into bronze, aluminum, or stainless steel using the lost wax method. Finally, the casts are further refined, polished, and patinated. The larger works are typically produced in editions of seven to ten. The smaller pieces are all unique, in that their components are arranged and assembled individually. Thus, while a concept may be repeated many times, each sculpture has its own distinct identity. Gall studied at the Art Institute of Chicago and the American Academy of Art and has served as consultant to the Art Institute and the Illinois Arts Council. He has taught art classes in Illinois and in California. His corporate collections include The Barber Vintage Motorsports Museum, Walt Disney, Bell & Howell, Standard Oil and others.
PETER BUREGA I am a self-taught artist, and that learning process is at the core of my work. I started out as a piano player, then became a lawyer and, after that, a television director before finally starting to paint. I believe that all of those previous pursuits—especially music—inform my work and affect how I approach being an artist.
Like my “past lives,” my work can sometimes appear to be a contradiction. My development has always emerged from conflict, that effervescent energy fighting any attempts at control and creating a certain tension between the grid that I score onto each of my panels and the chaos that my abstractive process produces. My work always begins with photography. I travel extensively and take thousands of photographs, and it is the spaces where man meets the natural world that captivate me. Photographs of natural forms, such as waves contrasted with manmade structures like bridges, continue to inspire me when I’m back in the studio. As I sift through my photos, I create matrices of images to work from. The beauty of my grid system is that I can include multiple images, abstracting and superimposing them in a single piece. My paintings blend documentation of the real world with my own physically exercised psychology, and are often described as containing dualities: organic/linear, manmade/natural, ordered/chaotic, structured/amorphous. I believe that these dualities represent my striving for calm and balance in my life, and that the juxtaposition of my aggressive, abstractive energy with structured form consistently results in my most successful work. To support my visceral energy I paint on wood panels of laminate birch with solid alder sides. These strong, stable panels record my aggressive and subtractive manner of applying and removing paint. The physical and psychological come together in this process, resulting in paintings that can be at once percussive and soothing.
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