Jacquie Damgaard Collection by Johnson Lowe Gallery

THE COLLECTION OF DR. JACQUIE

DAMGAARD

BILL LOWE GALLERY For almost three decades, Bill Lowe Gallery has served as a portal to global visual culture for art enthusiasts around the world. Our unique juxtaposition of style and substance is articulated in exhibitions that embrace universal and eternal considerations with great visual drama. This has earned the gallery recognition as a sanctuary for the cross-cultural intersection of beauty and meaning. The gallery’s philosophical architecture is built upon a reverence for the alchemical nature of artistic expression. Our vision honors the profoundly spiritual nature of visual language and the role it can play in affecting paradigm shifts at both a personal and societal level. It is with this mandate that we have assembled a world-class stable of artists who intuitively have their fingers on the pulse of the Universe. Their expression is not an ironic or satirical look at the human condition. Instead, the gallery’s program presents powerful, content-driven works that utilize technical mastery and a visual eloquence to transform the human heart and soul at intimate levels. For our collectors, the gallery is an oasis of beauty. Of civility. Of contemplation. This is coupled with a dynamism informed by a world view rooted in the metaphysical aspects of history, anthropology, spirituality, philosophy, psychology, and biology. Bill Lowe Gallery has a transformative impact that forever enlightens those who experience it. Bill Lowe Gallery has become a cultural institution in the Southern United States. Our commitment is to reflect Atlanta’s emergence as the world’s new epicenter of art, science, and technology through a kinetic dialogue with artists and audiences across the globe.

HARRY ALLY (Ohio, born 1949)

Figure 32, Sister, Mixed Media On Panel, 2006, 73 x 50 Inches

Horse 2, Mixed Media On Panel, 2006, 43 x 60 Inches

Harry Ally BIO Harry Ally is from Bridgewater, New Jersey. He has an MFA degree in painting from the University of North Texas and a BFA from Texas Christian University. He has been a Professor of Art for over thirty years. He is now retired from teaching and has the honorary title of Emeritus Professor at Valdosta State University. His work has appeared in many national and solo exhibitions across the country. He has won numerous awards for his work and many of his pieces are included in private and corporate collections. He has been represented by a number of galleries over the years including the Pryor Gallery and the Bill Lowe Gallery in Atlanta, the Soren Christensen in New Orleans, the Stricoff in NYC, the Craighead Green Gallery in Dallas, Julie Nester Gallery in Park City, Utah among others. He currently maintains a private studio in Troy, Ohio. ARTIST STATEMENT My work follows in the long tradition of painting. For me painting is the primal impulse to mark. It’s a visual record of the mind, the body, and the human spirit. It’s about a need to both create and to destroy. Maybe it’s out of sheer frustration that I paint, maybe it’s out of a need to violate or to contradict, or possibly, it’s simply about the pure enjoyment of mark-making, either way, there is a strong feeling present and I feel compelled to react to this feeling.

The content in my work is often ambiguous and rooted in a surrealistic trust of intuition. The work is related to the gestalt, an incompleteness that suggests rather than illustrates. In some works an obvious image appears, other pieces are less obvious and are often layered with fragmented ideas, incomplete thoughts, and multiple meanings. Each painting usually begins without a preconceived imagine. They begin with a series of random mark-making. Marks, images, textures, and colors often appear, then are revised, altered, corrected, rejected, and at times even accepted. The works are based on an improvisational search for correctness with an emphasis on documenting the history of the painting. They are a response to the physicality of painting, a love of materials, an appreciation of process, and to the seduction of surface. The paintings allude to the beauty of decay, to violation, and to vulnerability. They are excavations, a palimpsest of surfaces layered with a variety of materials...dry pigments, acrylics, tar, fabrics, oils, bonding agents, along with different clays dug from the Georgia soil. From these materials figurative images are often unearthed. At other times paintings are often left devoid of specific visual references completely and rely solely on pure abstraction. They are surfaces that attempt to reveal a sense of time and a certain kind of depth, a depth that is both physical through build up and layering as well as emotional depth through destructive scarring. In the end the works are about a search, a search for truth and a search for correctness through the act of painting.

BORN 1949 in Somerville, NJ Lives in Troy, Ohio EDUCATION 1976 | MFA, University of North Texas, Denton, TX 1972 | BFA, Texas Christian University, Fort Worth, TX FULL TIME TEACHING EXPERIENCE Currently - Emeritus Professor of Art, Valdosta State University, Valdosta, GA 1985 to 2012 | Professor of Art, Valdosta State University, Valdosta, GA 1984 to 85 | Assistant Professor of Art, MacMurray College, Jacksonville, IL 1979 to 84 | Assistant Professor of Art, Edison State Community College, Piqua, OH

SELECTED SOLO EXHIBITIONS 2013 | Solo Exhibition: Nuit, Frankenberger Art Gallery, University of Charleston, Charleston, WV 2009 | Two Person Show with Maggie Evans, Douglasville Cultural Center, GA 2008 | Harry Ally Solo, Edison State College Gallery, OH 2007 | “Harry Ally: Recent Drawings and Paintings,” The Lowe Gallery, Atlanta, GA | “Harry Ally: Recent Drawings and Paintings,” Hildegard’s, Valdosta, GA 2006 | “Twelve New Paintings,” The Lowe Gallery, Atlanta, GA | “Exhibition of Recent Work,” Kresge Gallery, Lyon College, Batesville, AK 2003 | The Lowe Gallery, Atlanta, GA 1997 | Harry & Suzanne Ally Recent Works, Gallery 621, Tallahassee, FL 1996 | “Idiots and Other Figures,” Georgia Southwestern College, Americus, GA 1995 | “Idiots and Other Figures,” Warren Wilson College, Swannonoa, NC 1993 | “Recent Works: An Exhibition of Drawings, Paintings, and Monotypes,” Dekalb College, Atlanta, GA 1992 | Recent Works, Georgia Southern University, Statesboro, GA 1990 | Recent Works, MacMurray College, Jacksonville, IL 1989 | Recent Works, Berea College, Berea, KY 1987 | Recent Works, Georgia Southern College, Statesboro, GA 1986 | One Man Exhibition, North Florida Junior College, Madison, FL

GALLERY REPRESENTATION 2018 | Mason Fine Arts, Atlanta. Georgia 2006 - 2008 | Julie Nester Gallery, Park City, Utah 2008 - Present | Craighead Green Gallery, Dallas, Texas 2008 - Present | Soren Christensen Gallery, New Orleans, Louisiana 2007 - Present | Stricoff Gallery, NYC, New York 2010 - Present | Pryor Gallery, Atlanta, Georgia 2000 - 2010 | Lowe Gallery, Los Angeles, California & Atlanta, Georgia

SELECTED GROUP EXHIBITIONS 2018 | Group Exhibition, Mason Fine Arts, Atlanta. GA 2015 | Gender, National Juried Exhibition, Indiana University East, Richmond, IN 2014 | Drawn, International Juried Drawing Exhibition, Manifest Gallery, Cincinnati, OH 2013 | Group Exhibition: Yes, Artspace III, Fort Worth, Texas | Group Show w/Prospect .1 Biennial, Soren Christensen Gallery, New Orleans, LA | 22nd National Juried Fine Art Exhibition, Douglasville Cultural Center, GA 2010 | Three Person Exhibition, Craighead Green Gallery, Dallas, Texas 2007 | 21st National Juried Fine Art Exhibition, Douglasville Cultural Center, GA | Harry Ally, Recent Drawings and Paintings, Lowe Gallery, Atlanta, GA | Harry Ally, Recent Drawings and Paintings, Hildegard’s, Valdosta, GA | Figures, Group Exhibition, City Market, Valdosta, GA | Recent Works: Harry Ally, Craig Hawkins, Matt Armstrong, Loft Gallery, Valdosta, GA 2006 | Group Exhibition, Julie Nester Gallery, Park City, UT | Twelve New Paintings, Lowe Gallery, Atlanta, GA | Exhibition of Recent Work, Kresge Gallery, Lyon College, Batesville, AK 2005 | Art Miami International, The Lowe Gallery Pavilion, Miami, FL | Installation in Doheny Mansion, Beverly Hills, CA, through The Lowe Gallery, Santa Monica, CA | Recent Works: Harry Ally, Dusty Griffith, and Wiliam Morris,” The Lowe Gallery, Santa Monica, CA 2004 | Recent Works: Harry Ally, Dusty Griffith, and Wiliam Morris,” The Lowe Gallery, Atlanta, GA | ATLart(04) Exhibition, The Lowe Gallery, Atlanta, GA 2003 | “Recent Works: Harry Ally, Maggie Hasbrouck, and Ferdinand Rosa,” The Lowe Gallery,Atlanta, GA | “Inaugural Exhibition: Works by 22 National and International Renowned Artists,” The Lowe Gallery, Atlanta, GA | Invitational Group Exhibition, MacMurray College, Jacksonville, IL 2002 | Invitational Group Exhibition, MacMurray College, Jacksonville, IL | 13th Anniversary Show, The Lowe Gallery, Atlanta, GA | “30th Anniversary Exhibition,” Neiman Marcus, Atlanta, GA The Lowe Gallery, Atlanta, GA 2001 | 12th Anniversary Show, The Lowe Gallery, Atlanta, GA | The Lowe Gallery, Atlanta, GA | Positive Negative Sweet Sixteen, 16th National All Media Juried Exhibition, Slocumb Galleries, East Tennessee State University, Johnson City, TN 2000 |19th Annual Hoyt National Exhibition, The Hoyt Institute of Fine Arts, New Castle, PA

1999 | Truth in Form: Abstract Painting in the South, Eleven-State Juried Exhibition, The 621Gallery, Tallahassee, FL | Second Annual Miniature ’99 International Exhibition, Period Gallery, Omaha, NE 1998 | National XX Biennial Exhibition, Chattahoochee Valley Art Museum, LaGrange, GA | Southworks ’98, Regional Juried Exhibition, The Oconee Cultural Arts Foundation, Watkinsville, GA | 11th National Juried Art Exhibition, The South Cobb Arts Alliance, Mableton, GA | Miniature ’98 National Exhibition, Period Gallery, Omaha, NE | National XX Biennial Exhibition, Chattahoochee Valley Art Museum, LaGrange, GA | Southworks ’98, Regional Juried Exhibition, The Oconee Cultural Arts Foundation, Watkinsville, GA | 11th National Juried Art Exhibition, The South Cobb Arts Alliance, Mableton, GA | Miniature ’98 National Exhibition, Period Gallery, Omaha, NE 1997 | Americas 2000, All Media Competition, National Juried Art Exhibition, Minot State University, Northwest Art Center, Minot, ND | Eighth Annual 1997 Summer Showcase, Regional Juried Art Exhibition, Thomasville Cultural Art Center, Thomasville, GA | Lowndes/Valdosta Regional Juried Art Exhibition, Lowndes/Valdosta Arts Commission, Valdosta, GA | “Harry Ally and Suzanne Ally: Recent Works,” The 621 Gallery, Tallahassee, FL 1996 | University of Texas: Permanent Collection Exhibition, University of Texas at Tyler, Tyler, TX | “Harry Ally and Blake Pearce: Recent Works,” Lowndes Valdosta Arts Commission, Valdosta, GA 1993 | 58th Annual National Exhibition, Cooperstown Art Association, Cooperstown, New York | 36th Chautauqua National Exhibition of American Art, Chautauqua Art Association Galleries, Chautauqua, New York | “Valdosta Works on Paper V,” National Juried Exhibition, Valdosta State University, Valdosta, GA 1992 | Recent Paintings, Georgia Southern University, Statesboro, GA | Valdosta Works on Paper IV, National Juried Exhibition, Valdosta State University, Valdosta, GA 1991 | National Works on Paper, University of Texas at Tyler, Tyler, TX 1990 | “Recent Works/Drawings and Paintings,” MacMurray College, Jacksonville, IL | Tenth Annual National Small Paintings Exhibition, Wichita Art Association, Wichita, KS | Small Paper Works National, Valdosta State University, Valdosta, GA

1989 | “Recent Works/Drawings and Paintings,” Berea College, Berea, KY | 19th National Works on Paper Exhibition, Minot State University, Minot, ND | Small Paper Works National, Valdosta State University, Valdosta, GA 1988 | 24th Annual National Juried Exhibition, Academy of the Arts, Easton, MY | 8th Annual Juried Exhibition, Two State Competition – Georgia and South Carolina, The Gertrude Herbert Institute of Art, Augusta, GA | 6th Annual Dekalb Council for the Arts Mardi Gras Invitational Exhibition, Atlanta, GA 1987 | Small Works Exhibition, National Juried Exhibition, Schoharie County Arts Council, Cobleskill, NY | Carrollton Regional Juried art Exhibition IV, State Juried Exhibition-Georgia, West Georgia College, Carrollton, GA | Recent Paintings, Georgia Southern College, Statesboro, GA 1986 | 6th Annual Juried Exhibition-The Augusta Art Association-Twelve State, Southeastern U.S. Juried Exhibition, Gertrude Herbert Institute of Art, Augusta, GA | 22nd University of Delaware Biennial Exhibition, A National Works on Paper Exhibition, University of Delaware, Newark, DE | Mt. San Jacinto National Juried Exhibition, Mt. San Jacinto College, San Jacinto, CA 1985 | 5th Annual Juried Exhibition-The Augusta Art Association-Twelve State, Southeastern U.S. Juried Exhibition, Gertrude Herbert Institute of Art, Augusta, GA | Illinois State Juried Exhibition, Illinois State fair, Springfield, IL 1984 | TFAA’s Annual National Exhibition- National Juried Exhibition, Texas Fine Arts Association, Austin, TX | Pensacola National Portrait Exhibition-National Juried Exhibition, Pensacola Junior College, Pensacola, FL | Sinclair Community College, Dayton, OH | Three Person Exhibition, Hayner Cultural Center, Troy, OH

1983 | 2-D National 83-National Juried Exhibition, Angel’s Gate cultural Center, San Pedro, CA | Ohio State Fine Arts Juried Exhibition, Ohio State Fair, Columbus, OH 1981 | Edison State Community College, Piqua, OH 1980 | Edison State Community College, Piqua, OH 1979 | Gallery One, Fort Worth, TX -- Mayfest Juried Art Exhibition, Fort Worth, TX 1978 | Tarrant County Junior College North West Campus, Fort Worth, TX | Mayfest Juried Art Exhibition, Fort Worth, TX 1977 | Texas Christian University, Fort Worth, TX 1976 | 54th Annual Juried Exhibition-National Juried Exhibition, Meadows Museum of Art, Centenary College Shreveport, LA | The Southwest/Tarrant County Annual Exhibition 1976 | Southwestern U.S. Juried Exhibition, Fort Worth Museum of Art, Fort Worth, TX | All Media National Art Competition, Juried Exhibition, Houston Center, Houston, TX 1975 | American Painters in Paris Exhibition, National Juried Exhibition, Paris Convention Center, Paris, France | The Southwest/Tarrant County Annual Exhibition | Southwestern U.S. Juried Exhibition, Fort Worth Museum of Art, Fort Worth, TX | Texas College Art Show, Mountain View College, Dallas, TX 1974 | Texas College Art Show, Mountain View College, Dallas, TX | American Contemporary Arts and Crafts Slide Library Exhibition-National Juried Exhibition, Palm Beach, FL | 50th Annual April Art Exhibition- National Juried Exhibition, Springville Museum of art, Springville, UT 1973 | Artists’ Biennial Exhibition-Thirteen Sate Southeastern Exhibition, New Orleans Museum of Art, New Orleans, LA 1972 | Texas Christian University, Fort Worth, TX

SELECTED AWARDS AND RECOGNITIONS 2004 | Excellence in Professional Activities Award, College of the Arts, VSU | Featured Artist, The Pedestal Magazine, Online Publication 2003 | Featured Artist, Atlanta Visitors Guides, front cover and inset 2000 | Merit Award, The 19th Hoyt National Art Exhibition, The Hoyt Institute of Fine Arts, New Castle, PA 1998 | Purchase Award, Southworks â&#x20AC;&#x2122;98, Regional Juried Exhibition, The Oconee Cultural Arts Foundation, Watkinsville, GA | Special Recognition Award, Miniature â&#x20AC;&#x2122;98 National Exhibition, Period -Gallery, Omaha, NE 1997 | First Place 2-d Award, Lowndes/Valdosta Regional Art Exhibition, Lowndes/Valdosta Arts Commission, Valdosta, GA 1995 | Georgia Council for the Arts, Individual Artist Grant 1993 | Grumbacher Award, 58th Annual National Exhibition, Cooperstown Art Association, Cooperstown, NY | First Place, Valdosta Works on Paper V, National Juried Exhibition, Valdosta, GA 1991 | Purchase Award/Best in Show, 1991 National Works on Paper Exhibition, University of Texas at Tyler, Tyler, TX 1978 | Best of Show-Sam Cantey Memorial Award, Mayfest Juried Art Exhibition, Fort Worth, TX

DANIEL BLIGNAUT

(South Africa, born 1957)

Fountain Of Life, Acrylic On Wood Panel, 48 x 64 Inches

Summer Poem, Acrylic On Wood Panel, 32 x 48 Inches

DANIEL BLIGNAUT “I see my current work as a culmination of early artistic influences and the maturation of my distinctive personal style. Through an increased intricacy and variety of elements, I continue to push the boundaries of long-standing themes in my work. “

Soon after obtaining his Masters degree in Architecture, Blignaut then pursued his interest in painting; studying Fine Art at the University of South Africa. For many years Blignaut remained a practicing architect, while applying himself after hours to his artistic inclinations. His work has always incorporated vibrant color, the use of symbols, and personal iconography like the chess board pattern. Over the past three decades his main interests have lied in the expressive, symbolic impact of color and representational objects, and in earlier works, explored the use of naïve art with definitive expressive undertones. Blignaut has used children’s paintings as “found objects” for the framework for many of his paintings. As an architect, Blignaut had to work with very strict drafting guidelines regarding precision, with accuracy as the most important rule. As an artist, he has become fascinated with the accidental line, and in rich complex surfaces, so I have always worked with “found” and “discovered” elements within my own work.

ARTIST STATEMENT Art over the centuries has been engaged in exploring and producing beauty, and more recently has had a vexed relationship with that concept. My work unabashedly aims to achieve aesthetic beauty by evoking a primal fascination with the allure of gold and the aesthetic pleasure of color, pattern and texture — as evident throughout human visual history. My process involves making bold aesthetic statements only to soften them with a multitude of layers, which adds to the eventual complexity of the surface. This has the effect of indicating a passage of time on the canvas itself. In my latest work, I return to the subject of trees, which has fascinated me since childhood and occurred in my work since the early eighties. Instead of a representational depiction, I employ something similar to an Iconographic template to portray their presence, complexity, and majesty. I use trees as a metaphor for the human condition — for instance, the visual measure of the passage of time, the seasonal cycle of death and rebirth, and the diversity of personalities. My work is interested in the physicality of trees, and in the way that time, environment and climate impacts the body to produce an enormous visual variety. In “A Conversation with Trees,” the vibrant colors that have been a hallmark of my work are slightly de-saturated and toned down. I explore the visual nature of my subject matter by expressing it in a variety of textures. The chess board pattern which has always been a dominant symbol in my art now inhabits a new role as part of the broader language of pattern and texture. I see my current work as a culmination of early artistic influences and the maturation of my distinctive personal style. Through an increased intricacy and variety of elements, I continue to push the boundaries of long-standing themes in my work.

EDUCATION 1983–1984 | University of South Africa | Enrolled in Bachelors of Fine Arts 1976–1980 | University of Pretoria Pretoria, South, Africa | MA Architecture SOLO EXHIBITIONS 2013 |Slice Gallery, Orlando, FL |Bill Lowe Gallery, Atlanta, Ga |Thy Studio @ 620, St Petersburg FL 1995 | Karen Mc Kerron Gallery, Johannesburg, South Africa. 1993 | Karen Mc Kerron Gallery, Johannesburg, South Africa 1989 | Volkskas Gallery – Pretoria, South Africa 1987 | Volkskas Gallery – Pretoria, South Africa GROUP SHOWS 2006 | Gala Corina Art Exhibition – Tampa FL 2005 | Gala Corina Art Exhibition – Tampa FL 2004 | Gala Corina Art Exhibition – Tampa FL 2003 | Gala Corina Art Exhibition – Tampa FL 1995 | Arcadia Gallery – Pretoria South Africa 1986 | SA Art Society New Signatures –Volkskas Gallery Pretoria South Africa 1985 | SA Art Society New Signatures – Volkskas Gallery Pretoria South Africa

MARGARITA CHECA (Peru, born 1950)

â&#x20AC;&#x153;I am imprinted by a longing for the myth, those myths that dwell in the unconscious world of all human beings.â&#x20AC;? - Margarita Checa

The Doors Of Perception, 2003, Olive Wood Inlaid With Bullhorn, 83 x 42 x 24 Inches

Peruvian artist, Margarita Checa, has been recognized as South America’s premier female, figurative sculptor for over thirty (30) years. She herself, is a manifestation – the embodiment - of the aftershock of a collision of hemispheres, which took place when the Spanish subjugated South American empires over eight centuries ago. Her bloodline extends to the court of Spain on one side and to the Inca people on the other. Her masterful skills as a sculptor reflect aesthetic origins rooted in the pre-dawn of civilization. Her figures arrive as delivery systems for codified information that pertains to the distant past and the unforeseeable future. Echoing impulses from primordial ancestors, Checa utilizes rare technical mastery to articulate her unique perception in symbols on figures that are at once pre-historic and post-historic, conveying an emotional experience unbounded by time. She hand-carves ancient olive wood from trees planted by the Spanish during their conquest of the Incas. She then inlays the wood with silver, bronze, bull horn, or other exotic South American hardwoods to create exotic patterns that become “tattoos”, vibrating a cellular memory of humanity’s history, it’s wounds and aspirations, as well as to cosmological references.

“The Doors of Perception,” represents Margarita’s Magnum Opus; it is the seminal work by Checa, possessing the philosophical, spiritual and formal genetic code of her entire creative oeuvre. Its majestic female form is: part warrior, part shaman, and part guardian. She holds before her two “shields” intricately inlaid with codified maps of the cosmos – a distilled encryption of creation - that can only be deciphered by the initiated. The shields are emblematic of planes of consciousness, which the figure ordains to open, creating a portal through which we can glimpse expanded levels of consciousness and understanding.

Checa’s artistic expression embraces, with great poignancy and eloquence, the eternal and the universal. Drawing her imagery from dreams, her work is an encapsulation of the collective unconscious, startling in its clarity. Communicated through the decidedly organic nature of wood, signifier of the natural world, the essence of humanity is captured in Margarita Checa’s melancholic and sensuously provocative, “The Doors of Perception”. Haunted by psychological and emotional undertones, this figure must be the High Priestess or Mother Consciousness in Margarita’s artistic universe – which Checa calls, “her tribe”.

MARGARITA CHECA “The earth does not belong to man; man belongs to the earth. All things are connected like the blood which unites one family. All things are connected. Man did not weave the web of life: he is merely a strand in it. Whatever he does to the web, he does to himself.” (fragmento de la carta)

EDUCATION 1984 - 1985 | Cristina Gálvez Atelier, Leslie Lee 1975 - 1980 | Cristina Gálvez Atelier 1975 - 1980 | Pontificia Universidad Católica del Peru (graduated with honors) CONFRENCE & WORKSHOPS 2012 | Petro Peru Conference, Lima-Peru 2006 | Doors of Perception.Woodward Academy, Atlanta, Georgia 2004 | Museum of Latin American Art, Los Angeles, California 2002 | Museum of Women in the Arts, Wahsington D.C. 2001 | Interview with Larry Davidson, Tv interview award 2001, USA 2000 | On my own work, Spelman College, Atlanta, Georgia 1996 | Vermont Studio Center 1993 | On Drawing Technics Kandinsky Gallery, San José, Costa Rica 1991 | Jury of the Conquest Mask, Caretas Magazine, Lima-Perú 1988 | On my own work and the Peruvian Contemporary Art in Perú, Davis University – California 1985 | On composition Campo Abierto, Lima – Perú TEACHING 1992-1993 | Chief Director of Drawing, San Jose, Costa Rica 1982-1992 | Chief Director, Cristina Galvez Atelier 1988-1989 | Drawing and Sculpture, Universidad Católica del Perú 1979-1981 | Drawing and Sculpture, Consuelo de Aninat Atelier, Lima Peru

R SC S York) C H R I SCT H ORPIHS ET O R PCHOE U I NOSU S ( NI N ew (New York, born 1960)

Wailing Wall, 2004, Oil And Mixed Media On Canvas, 36 x 72 Inches

Wailing Wall, Oil And Mixed Media On Canvas, 2004, 36 x 72 Inches

CHRISTOPHER COUSINS “A true symbol takes us to the center of the circle, not to another point on the circumference. It is by symbolism that man enters effectively and consciously into contact with his own deepest self….” | Thomas Merton

California-based abstract painter Christopher Cousins creates archetypal landscapes in his artistic evocations of the Transcendent, hoping to inspire within the viewer a deeper connection to the mystery of being. A central concern for Cousins is the relationship of the viewer with his artwork, based in part upon his acknowledgement of the personal nature of an individual’s interaction with the work, and also in recognition of his ability as an artist to profoundly influence his audience. “What is important is the experience one has in relationship to the work, not from what the work arises or to what it might refer. These are works of aesthetic arrangement. They are meant to be experienced by the wholeness of our being, not merely interpreted by the mind,” Cousins explains. “I hope to hold the viewer in some sort of aesthetic arrest and, in turn, hope the viewer experiences a deeper connection to that mystery we call being.” The work of Christopher Cousins was featured in the Bill Lowe Gallery’s premiere exhibition “Ancestors: In Search of Source” held in Santa Monica in 2006. He has exhibited his work throughout southern California for several years, and participated in his first international exhibition in Venice, Italy, in 2005.

ARTIST STATEMENT These works are living symbols of my struggle to perceive the Transcendent. The paintings themselves are symbols containing symbols pointing toward this effort. I look to create fields of action or archetypal landscapes in which this struggle takes place. This sacred space is the sphere in which sacrifice, redemption, suffering, ecstasy, obliteration and, ultimately, resurrection occur and effect transformations in our being. This symbolic space is inside us and outside us, it is cosmic and microcosmic; it is space itself. I begin my paintings by taking found materials (twigs, leaves, string, etc.) and attaching them to the canvas as textural support to evoke an organic, naturally evolving, and perhaps chaotic environment. Cuts and slashes etched into the surface express the suffering brought about by what I can only call the Ordeal of Transformation. The resulting composition though brought about by a random and intuitive process arises out of a desire to give structure (i.e., intellectual rigor, Cartesian Duality, Euclidean rationality) to that experience, to codify it. We are pattern seekers and it is partly this drive that allows us to perceive radiance. It is a necessary though, perhaps, vain attempt to give meaning to an experience that is itself only and has no inherent meaning.

Ultimately, this is what abstraction in art is about for me: it has no inherent meaning. As in life, it is we who give meaning to it. Art is an experience beyond but not exclusive of rational discourse. It is felt. It is lived. What is important is the experience one has in relationship to the work, not from what the work arises or to what it might refer. These are works of aesthetic arrangement. They are meant to be experienced by the wholeness of our being, not merely interpreted by the mind. Joseph Campbell wrote, “…the only true service of the proper artist today will have to be to individuals: reattuning them to forgotten archetypes…which have been lost.” Though the concept of archetypal themes is intellectual, the creation of the work itself is purely instinctual. The idea of instinct in fusion with intellect interests me. Synthesizing these two approaches, I hope to hold the viewer in some sort of aesthetic arrest and, in turn, hope the viewer experiences a deeper connection to that mystery we call being.

BIO BORN | 1960 in New York City EDUCATION | 1983 B.F.A., Boston University SELECTED EXHIBITIONS 2009 | Solo Installation/ U.S. Embassy. Hanoi, Vietnam | Reveries, Foster/White Gallery, Seattle WA 2007 | Christopher Cousins: Recent Works, Lowe Gallery, Atlanta GA 2006 | NonObjectivity, Pharmaka Gallery, LA CA | Ancestors: In Search of a Source, Lowe Gallery, Santa Monica CA 2005 | Venice to Venice, V and A Gallery, Venice Italy | Blue, Pharmaka Gallery, LA CA | Solo Exhibition, SolArt Gallery, Santa Ana CA | Outside the Box/ Pharmaka, Pharmaka Gallery, LA CA -Received LA Weekly “Pick of the Week” | Inside the Box/ Pharmaka, Bert Green Fine Art Gallery, LA CA 2004 | Abstractions, Glass Garage Gallery, W Hollywood CA | Solo Show, “Sacred Space”, SOHO Gallery, Studio City CA | Inaugural Group Show, Lurie Fine Art Gallery, Boca Raton FL 2003 | Contemporary Modernists, Glass Garage Gallery, W Hollywood CA 2002 | Abstract Notions, SOHO Gallery, Studio City CA 2002 | Simply Red, The dA Gallery, Pomona CA 2001 | From France, SOHO Gallery, Studio City CA 2000 | Group Exhibition, The dA Gallery, Pomona CA

MICHAEL DAVID

(New York, born 1954)

State Of Grace, Encaustic, Linen, And Mixed Media On Wood, 2015 - 2017, 60 x 60 Inches

The One Eyed Turtle And Sandalwood Log 2 (Large), Encaustic, Steel, And Mixed Media On Wood, 44 x 48 Inches

The Theory Of Everything, Encuastic and Mixed Media On Wood, 43 x 59 x 6 Inches, 2015

IMMEDIACY REDIVIVUS: MICHAEL DAVID’S PAINTINGS The best abstract painting seems “nothing short of miraculous,” the French poet and critic Yves Bonnefoy remarks, for it satisfies “the desire for immediate” – for pure sensation., uncorrupted by consciousness of meaning. Bonnefoy thinks that that experience of immediacy of pure presence, directly given, with no need for language to shape it into comprehension (and mute its impact)- is an illusion. It is a private myth-magical thinking- that has been given social credibility, ironically by the need to escape social pressure. The “conventional readings of the word” are not so much defeated as complicated by the mirage of immediacy, he argues. They need a codicil explaining why belief in immediacy must beabandoned, however reluctantly. Bonnefoy doesn’t want to wait for the feeling of immediacy to fade away, as it will inevitably do because it is inherently transient but discredits it as a subjective indulgence. Looking at it from the disillusioning point of view of everyday reality, he implies that we must distrust the spontaneity with which it appears, thus undermining it before we can savor it, and reap its emotional benefits. He has no interest in the way it enriches the feeling for life, reminding us that there is life beyondeveryday life. Bonnefoy never imagines that the experience of immediacy-eternal present, as it were, and as such suspended beyond time. We should “qualify” this “mythical” experience-peculiarly “metaphysical” for all its physicality-by analyzing it away, that is, use our minds to purge it as a lie and hallucination. Michael David’s abstract paintings renew immediacy, indeed, reconstitute, strengthen, and even apotheosize it. They raise it to a feverishly fresh intensity with their remarkable touch, indicating they are among the very best painterly abstractions made. To me they make it transparently clear that immediacy is ultimate reality: pure sensuous intensity, transcendent of ordinary, habitual understanding of the world, which is mediated by socially sanctioned language and banal meanings that force sense experience into their procrustean bed.

David may be the most innovative master of immediate surface since the Abstract Expressionists. He has acknowledged his debt to Abstract Expressionist, but he has transformed it. Where the Abstract Expressionist paintings of the forties and fifties seem like modern cave paintings, as their crude, unfocused, often meandering, turbulent painterliness suggests, and as such to resonate prehistory, David seems to turn the cave into a temple, as his more considered, concentrated, indeed, dense, contemplative painterliness indicates, so that his paintings have the aura of post history. The sublime is gain in the sense of bodylines: each of his works has a certain “body” – density of presence- so that it seems to embody the sublime, not simply evoke it. His paintings make the abstract sublime vividly concrete, as though it could be grasped rather than existed as some numinous beyond. The challenge of gestural abstraction paintings is to break through the barrier of reflection- we put it up to keep ourselves at a certain mental distance from the world, so that our immediate impressions of it do not overwhelm us, and to sort them out and organize them into coherent and practical patterns- by developing a dramatic immediacy of surface. When the breakthrough occurs, as in David’s abstractions, it restores the liability is sensual appetite in the act of arousing it: preternally fresh- uniquely vital, however at times, morbid.

The blackness of Refuge (all works 2000) certainly seem morbid, however many traces of bright colors-mostly orange, but also bits of red and yellow as thought the orange was disintegrating into the components-erratically break through the surface which seems generally disintegrated. David tells me that he sometimes uses as many as ten “rounds” of paint- the word is telling, suggesting, that for him painting is a kind of boxing, that is, in Harold Rosenberg’s famous words, the canvas has become and arena of self-confrontation, indicating the amount of combative energy he puts into it- to build up his surface. For all its solidity, it has a fragile, fragmented look, in part because of the beading of the wax emulsion with which he paints. But, if Rosenberg is right, it also tells us something about David’s sense of self. Building up to that looks like tearing down- construction that looks like destruction- is in fact the emotional as well as physical substance of David’s painting. Plane of canvas is placed upon plane of canvas, creating a three-tiered pyramidal architecture that has a family resemblance to an Aztec temple- but an abandoned and ruined one, as it stripped and above all blackened appearance suggests. Nonetheless- and this is the essential paradox of David’s paintings- this fundamental, melancholy structure is kept alive by the immediacy and vigor of the paint at the same time signals the decay and death which mark it. The tension between physical immediacy of the paint and its geometrical underpinning – between gesture and structure, interpenetrating, so that the structure seems less fixed, as though in insecure process, and texture more fixed, as though abolitionized in amber-keeps the work dialectically alive. And imbedded in this immediacy, like an ironical beacon, is a black cross, its arms lengthened until they blur into the painterly ground. It arises like an epiphany from the mire of the paint. The projection of the geometry- the painting is as relief, even as a relief is a pure painting- thrusts the flat cross forward, so that it confronts us, but it remains an abstract vision- our ambiguous vision.

David’s painting is a kind of negative icon, composed of crushed gestures. I cannot help thinking of George Steiner’s remarks that our “aesthetic forms explore the void, the blank freedom which one come of the retraction (Desu absconditus) of the messianic and divine.” He argues the where art, in its “kinship…with the calling on mystery in the matter of the world and of man” – the mystery in matter itself, one might add- once “enact[ed] the epiphany of a real presence,” it now reveals the encounter with a ‘real absence’.” Steiner thinks that this is what we see in Malevich and Ad Reinhardt. We must add David to the list of these great Abstractionists, for her has shown us that real[material] presence can be real [spiritual] absence and loss as well as presence and givenness. Because David’s paintings convey both simultaneously, we are forced to ask whether he means to suggest that there are hidden sparks of life (vital colors) in the ashes of the dead symbol or whether his is flatly stating- as the blunt, recessed flatness with which the cross is given suggests- that it is irremeably dead. Is the cross a phoenix or Lazarus in the process of rising from the grave (it is “engraved” in the flatness, as though in the grave, perhaps an empty one), or is it a ghost that however haunting confirms the triumph of death? Is David struggling to restore the traditional symbol of salvation or is her showing the permanent ruin that it has become- confirming that it Is also a symbol of suffering unto death? Does his cross still have the miraculous power to absolve us of our sins or is it a black mirage that mocks us, deepening our guilt? Does it symbolize the depth of suffering- a new emotional dark age- or is it a consoling omen of resurrection- a promise of purity, ablessing in disguise? Is it a shadow with substance, or is it substance hidden in painterly shadows? Refuge, clearly is an ironical title.

Part of the greatness of David’s painting is that is can raise the existential questions- that it an suggest our fundamental uncertainty about ourselves, indeed, our ambivalence about being. David’s black cross – his whole painting-is emotionally profound as well as brilliantly conceived. In general, his paintings are emotionally eschatological, that is, they articulate inescapable emotional concerns. There is a marvel of 777, with its pure white luminosity, completing the process of transfiguration- confirming salvation, liberation from the fantastic black, the dark, the defeated. Death has lost its sting and been replaced by eternal light. The tension between light and dark has been resolved- the victory belongs to the forces of light. Yet the tension generated by the breakthrough of underpainting- the friction between the surface and surface-within-surface- remains, however subliminally, as the bits of unanointed structure that appear near the bottom of 777. Simply on the level of color relationships David’s paintings are astonishing feats of subtlety- a delicate blending of incommensurate colors, making the spectrum freshly sensuous, even more so because of the gestural state of the colors. Sensation has become transcendence in these works, physical destiny confirms spiritual purity. At the same time, there is an indwelling disturbance, signaled by the rupture of the surface, through which the depth is glimpsed. Painterly magma erupts through this fissure, almost covering it over: surface and depth reconcile fluidity, healing their difference while acknowledging it.

Whether my gnostic interpretation is right or wrong- whether these works are masterpieces of sacred paintings, as I think- they are all aesthetic masterpieces. They restore immediacy to credibility after it has become a decedent convention. What began to be worked by Kandinsky and seemed overworked by Pollock, and finally exhausted by expressionistic overuse, has given not only a new lease on life by David, but extended into new technical as well as emotional territory. Flatness is “architected,” as it were, so that is becomes a platform for the painterliness that finesses it, even as that painterliness is made more “forward” by it. David has regenerated painterliness without making it seem precious, even as he refined it so that it is no longer raw, primitive, headlong, naively aggressive. The primordial effect of immediacy remains, even as gesture seems deliberate as well as spontaneous. Indeed, the effect of immediacy, the demonstration of the immanence of immediacy, more moving and convincing. It becomes a breath through into integrity, rather than a pro forma exercise and painterly skill.

-Essay by Donald Kuspit

BORN | 1954, Reno, NV EDUCATION | 1976 BFA, Parsons School of Design, New York, NY AWARDS 1984 | The Guggenheim Fellowship 1983 | National Endowment for the Arts 1982 | The Edward Albee Foundation, Montauk, NY | The American Academy and Institute of Arts and Letters, Art Award, New York, NY | The Meet the Composer Grant, New York, NY | Guest Professor, Advanced Painting, Princeton University, Princeton, NJ 1981 | The Edward Albee Foundation, Montauk, NY 1980 | The Edward Albee Foundation, Montauk, NY SOLO EXHIBITIONS 2011 | “New Paintings”, The Chmar Gallery, Santa Fe, NM 2010 | “New Paintings”, Bentley Gallery, Scottsdale, AZ | “Michael David: New Encaustic Works”, The Lowe Gallery, Atlanta, GA 2009 | “Michael David: Chortens”, The Lowe Gallery, Atlanta, GA | “The Greenhouse Project”, Studio Swan, Palmetto, GA | “The Greenhouse Project and New Landscapes”, Alan Avery Fine Art, Atlanta, GA

2008 | “Michael David: Old School”, Mason Murer, Atlanta, GA 2007 | “Michael David: Painting and Photography,” The Lowe Gallery, Atlanta, GA 2006 | “Compassion,” The Lowe Gallery, Atlanta, GA | “Michael David: New Encaustic Painting,” Wooster Projects, New York, NY 2001 | “Michael David,” The Lowe Gallery, Atlanta, GA 2000 | “New Encaustic Paintings,” Knoedler and Company, New York, NY 1999 | “Michael David,” The Lowe Gallery, Atlanta, GA 1998 | “Cruciforms,” Meredith Long and Company, Houston, TX 1988 | “New Work,” Dorothy Blau, Bay Harbor, FL 1997 | “Michael David,” Bentley Gallery, Scottsdale, AZ | “Michael David,” Knoedler and Company, New York, NY 1995 | “Michael David,” Aspen Art Museum, Aspen, CO | “The Poured Image,” Knoedler and Company, New York, NY 1994 | “Paintings and Works on Paper,” Meredith Long and Company, Houston, TX | “Paintings,” Margulies Taplin Gallery, Boca Raton, FL 1993 | “The Wolfen Series,” Knoedler and Company, New York, NY | “Michael David,” Irving Galleries, Palm Beach, FL 1992 | “Michael David,” Margulies Taplin Gallery, Boca Raton, FL | “Painted Collage,” Knoedler and Company, New York, NY 1991 | “Paintings on Paper,” Meredith Long Gallery, Houston, TX | “The Georgia Series,” Solo Gallery, New York, NY | “New Paintings: The Georgia Series,” Knoedler and Company, NY 1990 | “Six Paintings,” Meredith Long Gallery, Houston, TX | “Works on Paper,” Knoedler and Company, New York, NY 1989 | “New Work,” Knoedler and Company, New York, NY 1988 | “New Work,” Meredith Long and Company, Houston, TX | “Golem and Other Prints,” The Metropolitan Museum of Art, New York, NY | “New Paintings: Invisible Cities,” Compass Rose Gallery, Chicago, IL 1987 | “New Paintings,” The Greensberg Gallery, St. Louis, MO | “Paintings and Drawings,” Knoedler and Company, New York, NY | “Recent Works,” Knoedler Gallery, London, England 1986 | “Recent Painting,” Knoedler and Company, New York, NY 1984 | “New Paintings,” Knoedler and Company, New York, NY | “Paintings,” Dart Gallery, Chicago, IL 1983 | “Michael David,” Hamilton Gallery, New York, NY 1982 | “Michael David,” Hamilton Gallery, New York, NY 1981 | “New Paintings: Evolutions of the Symbol,” Sidney Janis Gallery, New York, NY

GROUP EXHIBITIONS 2010-2011 | “Post Mammalian Tension, Michale David & Scott Browning”, Bill Lowe Gallery, Atlanta, GA 2006 | “Unspoken Connections,” The Lowe Gallery, Santa Monica, CA 2004 | The Lowe Gallery, Atlanta, GA 2002 | “Unexpected Selections from the Martin Z. Margulies Collection: Art from 1985 to the present,” The Art Museum at Florida International University, Miami, FL 1999 | “Waxing Poetic: Encaustic Art in America,” Montclair Art Museum, Montclair, NJ | “Forty Years of American Drawings,” Raab Galerie, Berlin, Germany 1997 | “Michael David and James Hyde,” Margulies Taplin Gallery, Coral Gables, FL 1996 | “Different Sides: Drawings/Photographs/Prints/Paintings/Sculpture,” Knoedler and Company, New York, NY 1994 | “Summer Group Exhibition 1994,” Knoedler and Company, New York, NY | “Michael David: Paintings / Nicholas Pearson: Sculpture,” Margulies Taplin Gallery, Boca Raton, FL 1992 | “Group Exhibition,” Knoedler and Company, New York, NY 1991 | “Group Exhibition,” Knoedler and Company, New York, NY | “Working with Wax: Ten Contemporary Artists,” Tibor de Nagy Gallery, New York, NY 1990 | “Heland Wetterling Gallery Shows Knoedler Gallery Artists,” Wetterling Gallery, Stockholm, Sweden | “Works on Paper,” The Harcus Gallery, Boston, MA 1989 | “Projects and Portfolios: the 25th Print National,” The Brooklyn Museum, Brooklyn, NY | “Important Works on Paper,” Meredith Long and Company, Houston, TX | “New Editions,” Pace Prints, New York, NY 1988 | “Golem! Danger, Deliverance, and Art,” The Jewish Museum, New York, NY | “1988 Invitational,” New Britain Museum of American Art, New Britain, CT | “Seventeen Years at the Barn: Highlights of the Edward F. Albee Foundation,” Rosa Esman Gallery, New York, NY 1987 | “Monotypes,” Pace Editions, New York, NY | “Working in Brooklyn / Painting,” The Brooklyn Museum, Brooklyn, NY

| “Art Against AIDS,” benefit exhibition and art sale held throughout New York, participating gallery Knoedler and Company, New York, NY | “Jewish Themes: Contemporary American Artists,” Spertus, Chicago, IL1986 | “First Impressions: Recent Monotypes by 15 Artists,” Allan Frumkin Gallery, New York, NY | “Saints and Sinners: Contemporary Responses to Religion,” De Cordova Museum, Lincoln, MA | “Jewish Themes: Contemporary American Artists,” The Jewish Museum, New York, NY | “Public and Private American Prints Today,” Brooklyn Museum, Brooklyn, NY 1985 | “A Decade of Visual Arts at Princeton: 1975-1985,” The Art Museum, Princeton University, Princeton, NJ | “With an Eye to Nature,” Jeffrey Hoffeld and Company, New York, NY 1984 | “Off the Landscape,” Grand Central Galleries, New York, NY | “Cunningham Dance Foundation Benefit,” Leo Castelli Gallery, New York, NY | “Invitational Painting Exhibition, Part I: Twelve Abstract Painters,” Seigel Contemporary, New York, NY | “Small Paintings,” Jeffrey Hoffeld Gallery, New York, NY 1983 | “Calaway, David, Nelson,” Hamilton Gallery, New York, NY 1982 | “Sounds and Visions,” Rockland Center for the Arts, West Nyack, NY | “Group Show,” Hamilton Gallery, New York, NY | “The Crucifix Show,” Barbara Gladstone Gallery, New York, NY | “Elaine de Kooning’s Inadvertent Collection,” Elaine Benson Gallery, Bridgehampton, NY | “Work by Newly Elected Members and Recipients of Honors and Awards,” American Academy and Institute of Arts and Letters, New York, NY | “Paintings and Sculptures by Candidates for Art Awards,” American Academy and Institute of Arts and Letters, New York, NY 1981 | “New Visions,” The Aldrich Museum of Contemporary Art, Ridgefield, CT | “New Directions – Contemporary American Art from the Commodities Corporate Collection,” Sidney Janis Gallery, New York, NY 1980 | “Bobsand New York City Volunteers,” Municipal Parking Garage, New York, NY | “Seven Young Americans,” Sidney Janis Gallery, New York, NY 1979 | “Story Mann’s Possum Head – In a Pictorial Framework,” The New Museum, New York, NY 1978 | “Black and White on Paper,” The Nobe Gallery, New York, NY 1977 | “Six New Painters,” The SoHo Center for the Visual Arts, New York, NY | “Sixth Annual Contemporary Reflections,” The Aldrich Museum of Contemporary Art, Ridgefield, CT

PUBLIC/PERMANANT COLLECTIONS Best & Co, Richmond, VA Chase Manhattan Bank, New York, NY Commodities Corporation, Princeton, NJ Dannheiser Foundation, New York, NY De Cordova and Dana Museum and Park, Lincoln, MA The Denver Art Museum, Denver, CO The Edward Albee Foundation, New York, NY Fort Wayne Museum of Art, Fort Wayne, IN The Guggenheim Museum, New York, NY Houston Museum of Fine Arts, Houston, TX The ITT Collection, New York, NY The Jewish Museum, New York, NY List Art Center, Brown University, Providence, RI Los Angeles County Museum of Art, Los Angeles, CA Metropolitan Museum of Art, New York, NY Museum of Contemporary Art, Los Angeles, CA The Neuberger Museum, State University at Purchase, NY Rose Art Museum, Brandeis University, Waltham, MA

PUBLICATIONS 1980 | Larson, Kay and Rickey, Carrie, “Art: Seven Young Americans,” The Village Voice | Kramer, Hilton, “Seven Young Americans,” The New York Times | J, H., “Sieben Amerikaner der Gegenwart,” Kunst | Jessup, Sally, “Seven Young Americans,” Art/World | Zimmer, William, “Seven Young Americans,” The SoHo News 1981 | “Michael David,” The SoHo News | Gongard, Willi, “David at Janis,” Art Aktuell 1982 | Harris, Susan, “Michael David,” Arts Magazine 1983 | Boyce, David B, “Michael David: New Abstraction and the Transcendent Metaphor,” Arts Magazine 1984 | Silverthorne, Jeanne, “Michael David,” ArtForum | Henry, Garrit, “Michael David at Hamilton,” Art in America 1985 | Brenson, Michael, “Critics’ Choices, Art,” The Guide, The New York Times. | Fraile, Stephen, “…” The Print Collector’s Newsletter XVI, no. 3 1986 | “Bringing Fresh Approaches To Age-Old Jewish Themes,” The New York Times | Bottino, Carroll Ann, “DeCordova takes a look at the ‘Saints and Sinners,’” Lincoln | Stapen, Nancy, “DeCordova show has mass appeal,” The Boston Herald 1987 | Schwartzman, Allan, “Corporate Culture: The Yippie-Yuppie Artist (Jeff Koons),” Manhattan, Inc. | Ackley, Clifford S, “Michael David,” The Print Collector’s Newletter Journal | Derrickson, Howard, “Abstract show at Greenberg Triumph of Metaphor and Mystery,” West End Word | Koch, Liz, “Not Just a Bunch of Brooklyn Painters,” The Phoenix | Moorman, Margaret, “An Eclectic Brooklyn Show,” New York Newsday

1988 | Damsker, Matt, “1988 Invitational show at New Britain Museum,” The Hartford Courant | Hanson, Bernard, “New Britain Museum’s 1988 Invitational Exhibit,” The Middletown Press | Potter, Thomas F., “Contemporary Art Show will Appeal to All Art Lovers,” Meriden Record | Sherman, Mary, “David’s abstract art entices, grips the viewer,” Chicago Sunday Times 1989 | Wallach, Amei, “The Golem Legend in Many Guises,” (review: The Jewish Museum), Newsday 1991 | Haggerty, Gerard, “Michael David’s New Paintings: The Georgia Series,” Cover Arts Magazine

| Tallman, Susan, “Michael David at Knoedler,” Art in America 1993 | Mahoney, Robert, “Sacred Iconoclasm: Exercising Painting’s Ancient Demons,” Cover Arts Magazine | Ruzicka, Joseph, “Michael and the Wolfen,” Upper Eastside Resident | Sjostrom, Jan, “David’s Intense Art Examines the Inner Man,” Palm Beach Daily News 1993 Southworth, Linda, “Michael and the Wolfen,” Upper Eastside 1995 | David, Michael, “Art of Hot Wax and Dogs,” The Aspen | Nicholson, Stuart, “The Poured Image,” Cover Arts Magazine 1997 | Upshaw, Reagan, “Michael David at Knoedler,” Art in America 1999 | Gomez, Edward M., “Improvised Images in Molten Wax, as Fluid as Jazz,” The New York Times 2000 | Kuspit, Donald, “Michael David: Knoedler and Company,” ArtForum

BERND HAUSSMANN (Germany)

Untitled 1150 (My Secret Work), Mixed Media On Wood, 48 x 40 Inches, 2003

BERND HAUSSMANN Born in Tuebingen, Germany, has been a US resident since 1994. He divides his time between his studios north of Boston and in western Maine where he also works with his wife Anne on a 450-acre nature project. Haussmann exhibits nationally and internationally, in galleries and non-profit venues. His work has also been visible at numerous art fairs such as Art Hong Kong, San Francisco Art Fair, Art Santa Fe, Texas Contemporary, Dallas Art Fair, Miami Project, Toronto International Art Fair, Los Angeles Art Show, Art Miami, and others. Haussmannâ&#x20AC;&#x2122;s works are in many corporate collections and in a number of museum collections including: Art Museum of South Texas Danforth Museum of Art, MA Hunterdon Museum of Art, Clinton, NJ Longview Museum of Fine Arts, TX Lyman Allyn Museum of Art, CT Montserrat College of Art, MA Museum der Stadt Reutlingen, Germany Provincetown Art Association and Museum, MA Stadtmuseum, Tuebingen, Germany

Haussmann embraces the dialogue with his audience and the inclusion of the environment into his work. He engages in interactive projects and collaborations such as “Video Sonic Project” with the Media Institute of the University of Tuebingen; “Darwin’s Coral - One Ocean Project”, a collaborative exhibit with OneWorldOneOcean; “The Third Image”, a photo project with Rick Ashley; “The Nucleus Project” with Werner Trotter; White-Out in collaboration with Mote Marine, Conor Goulding, in Sarasota, FL “Sea Debris Awareness Through Art”; and others. He engages scientists in a non-verbal dialogue, “Dialogues”, at the Broad Institute of Harvard and MIT; participates in transatlantic exhibitions such as “KunstTraject langs de Leie”, Belgium, and “Art in Embassies”, Brussels; creates site-specific exhibitions such as at the ballroom of the Goethe Institute Boston; and more.Haussmann also enjoys the exchange with fellow artists and students. He has been a mentor and educator at Lesley University, Art Institute of Boston, and at New Hampshire Institute of Art; and since 2014 has been offering courses at the Truro Center for the Arts at Castle Hill, Truro; the Provincetown Art Association and Museum, Provincetown; and the Montserrat College of Art, Beverly.

Haussmann was the artist-in-residence at the Broad Institute of Harvard and MIT, 2012 - 2015.

THRUSH HOLMES (Canada, born 1979)

Portrait of Tree with Wallpaper In New Circle Format, Mixed Media with Resin on Panel, 60 Inches, 2006

Moments of Canada 2, Mixed Media with Resin on Panel, 24 x 16 Inches, 2006

Moments of Canada 4, Mixed Media with Resin on Panel, 24 x 16 Inches, 2006

THRUSH HOLMES BORN | 1979 Lives and works in Toronto, Canada EDUCATION 2000 | Ontario College of Art and Design, Toronto, Canada

SELECTED SOLO EXHIBITIONS 2016 | Thrush Holmes: Personal Work, Library Street Collective, Detroit | Personal Work, Mike Weiss Gallery, New York 2015 | Heavy Painting, Mike Weiss Gallery, New York 2006 | Confessions of an Art Star, Bill Lowe Gallery, Santa Monica, CA 2005 | Landscapes from the Theater of the Mind, Bill Lowe Gallery, Santa Monica, CA | 16th Anniversary Show Featuring Thrush Holmes, Bill Lowe Gallery, Atlanta, GA 2003 | Lonely Days, Australis Gallery, Cork Island, Ireland 2000 | Recent Paintings, R.A.G. Gallery, London, Canada 1999 | 12 New Paintings, The Studio, Welland, Canada | In Colour, The Studio, Welland, Canada GROUP SHOWS 2018 | COPING MECHANISMS, Library Street Collective, Detroit | Summer Salon Show, Beers London, London | A State of Infinite Division, Winsor Gallery, Vancouver 2017 | Oh Canada!, Beers London, London 2016 | Thrush Holmes & Jonathan Lux : Modernist Lunch, Beers London, London | Group Show: Schoolâ&#x20AC;&#x2122;s Out!, Mike Weiss Gallery, New York | Fair booths 2018 | Library Street Collective at EXPO CHICAGO 2018, Library Street Collective 2016 | Beers London at VOLTA12 Basel 2016, Beers London 2013 | Angell Gallery at Art Toronto 2013, Angell Gallery 2005 | Bill Lowe Gallery, Santa Monica, CA 2003 | The Rice Gallery Kansas City, KS 2002 | Here & Now Gallery, Toronto, Canada 1999 | The Studio Welland, Canada | Opening Exhibition, The Studio, Welland, Canada

JIMMY Oâ&#x20AC;&#x2122;NEAL (South Carolina)

Sama Rium Gown, Oil and Acrylic on Sanded Plexi, 72 x 60 Inches

JIMMY O’NEAL “My paintings ARE mirrors - they reflect the person looking at it, they’re in real time and they’re always changing.” Jimmy O’Neal, a classically trained painter, continually explores and expands the physical and metaphorical capabilities of the medium. Through his work he creates experiences that call forth the universal impulses of the human condition that exist underneath the surface of our consciousness. He strives to represent the unseen visual poetry of the frequencies that surround and interact with our senses. His interest in physics, science, and biology led him to develop such technological innovations as mirrored paint, which is used in the creation of large-scale paintings that are intended to envelop the viewer. He further examines science and the body in such artworks as “brain machine,” a device that produces paintings generated from the artist’s EEG readings in response to external stimuli. O’Neal has exhibited in galleries and museums such as the The Rose Art Museum at Brandeis University, the Southeastern Center for Contemporary Art, and the Jacksonville Museum of Modern Art. He received his BFA in Illustration and his MFA in painting from Savannah College of Art and Design. His work has been commissioned by private and public institutions such as the Bechtler Museum of Modern Art. O’Neal is a successful public artist that has created works for the Merecedes-Benz Stadium, the Cobb Energy Building in Atlanta, Georgia; the Charlotte Area Transit System (CATS); and the Hanes Brands Theatre, Winston-Salem, North Carolina. Most recently his public work Seven Cymatic Sonata for CATS was recognized as one of the 50 best Public Art Commissions in 2012 by The Public Art Network, a program of the Americans for the Arts. The opulent showmanship of Jimmy O’Neal pushes the envelope of pictorial expectation to a point requiring modification of our descriptive vocabulary. His is Information Age art seeking and finding new beauty in our image-bombarded world. It is the hip and confident art of a young artist working in a brash American vein. At the same time, his is a vision that embraces the breadth and depth of our collective cultural mythologies, independent of traditional time/space parameters. O’Neal seeks to document an individuated experience of the constant flow of consciousness. To do so, he captures “real-time” signifiers of multi-dimensional realities and provides us glimpses into the universal Gnosis - our inner knowing of that we cannot consciously articulate.

EDUCATION MFA, Painting Savannah College of Art and Design, 2016 BFA, 1989 Illustration Savannah College of Art and Design, 1989 SOLO EXHIBITIONS 2018 | Jimmy O’Neal - solo exhibition: “Adrift Within A Long Loving Look”, Bill Lowe Gallery. Atlanta, GA 2016 | Jimmy O’Neal exhibition: “What Essence Was It, That Time Was Of”, SCAD. Savannah, GA | Jimmy O’Neal: Bill Lowe Gallery, Atlanta, GA 2015 | Jimmy O’Neal: LA International Art Fair 2014 | “Ahamkala”, Tennis Courts at Black Mountain College. Black Mountain NC 2012 | “Paradisio”, Bill Lowe Gallery, Atlanta, GA 2011 | Lucifren Fading, Studio installation, Alexander, NC 2009 | Siddhartha-vision of Sweet-Feed, Installation and Public Performance, Madison Arts Council, Marshall NC 2008 | Qualia, The Bill Lowe Gallery, Atlanta, GA 2006 | Shock and Awe, The Dangerfield Home, Hollywood, CA 2005 | Trumpets Gallore, The Bill Lowe Gallery, Santa Monica, CA. | Angel Web, The Bill Lowe Gallery, Atlanta, GA 2004 | Primacy of Movement, The Joie Lassiter Gallery, Charlotte, NC 2002 | Jimmy O’Neal: “Speculum”, Van Every Gallery, Davidson College, Davidson, NC 2000 | Decade, The Lowe Gallery, Atlanta, GA 1999 | Jimmy O’Neal: Indifferent Staves, Choreography Experiment, Carolina Theater, Charlotte, NC | Bid for Life, The Lowe Gallery, Atlanta, GA | O’Neal: Time Machines, Hero Space, Performance, Atlanta College of Art, Atlanta, GA SELECTED GROUP EXHIBTIONS 2015 | i feel ya: SCAD + André 3000 Benjamin, Savannah College of Art and Design Museum, Savannah GA 2014 | i feel ya: SCAD + André 3000 Benjamin, Art Basel Miami, Mana Miami Wynwood, Miami, FL 2013 | “The Things We Know: Seven Conceptual Artist”, The Upstairs Art Space, Tryon, NC 2010 | Graphic Abstraction, Sympathetic Magic, Moot Gallery, Hong Kong 2007 | Transporting Location, Rebecca Parker and Jimmy O’Neal, Dumbo Art Festival, Brooklyn, NY | Make it New, Asheville Art Museum, Asheville, NC | Cross Currents II, Mint Museum of Art, Charlotte NC

2005 | Cross Currents, North Carolina Museum of Art, Raleigh, NC. | Group exhibition. Activating Space, Installation of EEG painting machine, Jacksonville Museum of Modern Art, Jacksonville, FL 2004 | The Domino Effect, The Santa Fe Art Institute, Sante Fe, NM | Twitch, College of Santa Fe, Santa Fe, NM 2003 | Painting4, Ingrid Calame, Katharina Grosse, Michael Lin, Jimmy Oâ&#x20AC;&#x2122;Neal, | The Rose Art Museum, Brandeis University, Waltham, MA | Home Grown, SECCA (Southeastern Center for Contemporary Art), Winston Salem, NC. | Holographic Glances, SGF Atlanta, GA | Rites of Passage, Tenth Annual Art Exhibition at TrizecHahn, Charlotte, NC VISITING ARTIST/RESIDENCIES 2013 | Lincoln Center Institute International Educator Workshop, University of North Carolina School of the Arts. 2012 | The Intersections Project: Artist in Residence Southeastern Center for Contemporary Art, Selected artist for in high school artist residency program, Winston-Salem, NC AWARDS 2011 | Nomination for a Louis Comfort Tiffany Biennial Award, 2013 | The Annual Year in Review Award, Public Art Network, American for the Arts. 2012 | Wheels on the Bus in 7 Cymatic Sonatas, a public artwork commissioned by Charlotte Area | Transit System, has been named as one of the 50 best public art projects in the 2012 Public Art | Network Year in Review by Americans for the Arts. AFTA is the nationâ&#x20AC;&#x2122;s leading nonprofit organization for advancing the arts and arts education. The annual Year in Review program recognizes the most exemplary, innovative, permanent or temporary public art created in the past year. The 2012 Year in Review awardees were chosen from 393 works from 147 cities across 40 states and three countries. | DODO, Progressive Insurance Automotive X PRIZE, 2008 - Official entrant, presentation of 100 mpg hybrid car design.

MARK PERLMAN

(Pennsylvania, born 1950)

Untitled, Encaustic On Panel, 44 x 38 Inches

MARK PERLMAN BORN | 1950 Pittsburgh, PA EDUCATION 1978 | Master of Fine Arts, West Virginia University, Morgantown, WA 1974 | Bachelor of Fine Arts, Eastern Michigan University, Ypsilanti, MI SELECTED SOLO EXHIBITIONS 2017-18 | Serbia Museum of Contemporary Art-Invitational, Serbia | Shasta Community College-25 year survey, Shasta, Ca | R.B. Stevenson Gallery, La Jolla, Ca. 2016 | Perlman/Kemp Collaboration, Sonoma County Museum Of Art, | R.B. Stevenson Gallery, La Jolla Ca. 2015 | Perlman-Eight large Encaustics –Montgomery, San Francisco, Ca. | New Work, Large Format, Fremont, Ca | Drawing Invitational, Inside /Outside Museum , Beijing, China | Ellins and Eagle-Smith Gallery, Solo Exhibition, San Francisco, Ca. | Laura Rathe Fine Art, Dallas Texas 2013 | Mark Perlman”A 25 year Survey” Sonoma State University | Pryor Gallery 3 person Exhibition, Atlanta, Ga. | Erdreich/White FIne Art, Boston, Ma. 2012 | Museum of Contemporary Art(Inside Outside) Beijing, China | RB Stevenson Gallery, New Encaustic Paintings, La Jolla, Ca. 2011 | Museum of Contemporary Art, Beijing, China | Sonoma Valley Museum of Art | Aurobora Press, San Francisco, Ca. | R.B.Stevenson Gallery, San Diego, Ca. 2010 | Addington Gallery,Chicago,Illinois 2008 | R.B. Stevenson Gallery, La Jolla,Ca. | Terrasanti, Two Person Ex.-Penngrove, Ca. 2007 | R.B.Stevenson Gallery, La Jolla,Ca. | State Capitol Invitational, Sacramento,Ca. | Seattle Art Museum-Bay Area Invitational,Seattle, WA | Aurobora Press, Two Person Ex., San Francisco,CA 2006 | Lowe Gallery, Atlanta, GA | Lowe Gallery, Santa Monica, CA

SELECTED GROUP EXHIBITIONS 2010 | Sonoma Museum of Art-Kemp/Perlman Collaboration, Sonoma, Ca. | Terrasanti- Kemp and Perlman-25 years of collaboration ,Penngrove,Ca. 2009 | Dan Addington Gallery-Chicago, Ill. | S.R.J.C. -Northern Ca. Encaustic Painters Invitational 2008 | Seatlle Art museum-S.F. Artists | State Capitol Invitational, Sacramento,Ca. | Seattle Art Museum-Bay Area Invitational,Seattle, 2007 | Aurobora Press, Inaugaural Ex, San Francisco, Ca. 2006 | Lowe gallery, Atlanta | Toomey Tourell, S.F. | R.B.Stevenson ,La Jolla ,Ca. 2005 | “Abstraction”, Aurobora Press, Bolinas, CA | 5 Person Invitational, The Museum of Contemporary Art, Santa Rosa, CA 2004 | Sonoma Museum of Visual Arts (SMOVA), Santa Rosa, CA | R.B. Stevenson Gallery, LaJolla, CA | Toomey/Tourell Gallery, San Francisco, CA | Sonoma State University Art Gallery, Rohnert Park, CA 2003 | R B Stevenson, San Diego, CA | Lowe Gallery, Atlanta, CA | Inaugural Exhibition, Lowe Gallery, Santa Monica, CA | “Underfoot,” Brazil Traveling Exhibit (2001-03) | Eastern Louisiana University, New Orleans, LA

SELECTED COLLECTIONS Dennis and Kimberly Quaid Minneapolis Museum of Art, Minneapolis, MN Hirshhorn Museum, Washington, DC Spanish Embassy, Washington, DC University of Notre Dame, South Bend, IN Ashland Oil Company, Ashland, KY Hoyt Institute of Fine Arts, New Castle, PA KTR Capitol Partners, New York, New York Transwestern, Boston, Ma. Acadian Asset Management, Boston Ma. Health Dialog, Boston, MA Tokio Millenium Re.LTD Hamilton,Bermuda Wolf Greenfield, Boston, MA Fenway Venture LLCC, Boston MA Westfield Capitol, New York New York Mc Carter English, Boston MA Boyle and Chase, Boston MA. Wetzler Collection,La Jolla Ca. Estelle and Elliot Silverstein, Santa Fe, New Mexico Walkush Collection,La Jolla, Ca. John Rogers, La Mesa, Ca. Mr. and Mrs. Jack White, La Jolla Ca. James and Laurie Brosnakin, Berkeley, Ca. Bea and Robert Epstein, La Jolla, Ca. Thiel College, Greenville, PA

University of Texas at EI Paso, EI Paso, TX California Museum of Art, Santa Rosa, CA Heilman Brewing Company, Chicago, IL Arkansas Art Center Margolis Collection, FL The Gap Saks, Fifth Avenue, New York, NY Wisely Collection, Los Angeles, CA Weber State College, Ogden, UT GLG Grand, Atlanta, GA Charleston Museum, Charleston, WV Fifth Group Restaurants, Atlanta, GA Federal Reserve Bank of Atlanta, GA IBM Corporation Saks Fifth Avenue Cartoon Network Dean Gardens, Atlanta, GA Dreamworks Halle Berry Will and Jada Pinkett Smith

DAVID SHAPIRO

(1944-2014, New York)

Origin and Return 54, Acrylic on Paper, 15 x 48 Inches, 2001

DAVID SHAPIRO David Shapiro was an American multimedia artist known for his symbol based abstractions. The motifs which the artist incorporated into his work partly derived from Buddhist hand symbols and yoga poses, which he would then translated onto burlap, nylon screes, and Japanese papers, creating a textured surface on top of the canvas. For example, in his painting Clearing 15 (2011), Shapiro printed a swirling pattern on to a piece of yellow, hand-colored piece of paper. Born in 1944 in Brooklyn, NY, he studied at the Pratt Institute before receiving his MFA from Indiana University in 1968. Shapiro died in 2014 in New York, NY after a long battle with cancer. Today, his works are held in the collections of the Solomon R. Guggenheim Museum in New York, the University of Chicago, the Cleveland Museum of Art, and The Museum of Modern Art in New York, among others.

EDUCATION AND TEACHING EXPERIENCE 1944 | Born in Brooklyn, NY (Died 2014, NY) 1965 | Skowhegan School of Art Skowhegan, ME 1966 | Taught - John Herron School of Art Indianapolis, IN |BFA, Pratt Institute Brooklyn, NY 1968 | MFA, Indiana University Bloomington, IN 1968–1969 | Taught - Western Michigan University Kalamazoo, MI 1970–1971 | Taught - Pratt Institute Brooklyn, NY 1971–1972 | Taught - Barnard College New York, NY 1970–1977 | Taught - University of Bridgeport, New York, Connecticut 1974–1980 | Taught - Parsons School of Design New York, NY EXHIBITIONS 2012 | Nicholas Metivier Gallery, Toronto, ON 2011 | Nicholas Metivier Gallery, Toronto, ON | Perimeter Gallery, Chicago, IL | Allyn Gallup Contemporary Art, Sarasota, FL 2010 | Amy Simon Contemporary Art, Westport, CT 2009 | Nicholas Metivier Gallery, Toronto, ON 2008 | Aichi Prefecture Museum of Art, Nagoya, Japan | Bobbie Greenfield Gallery, Santa Monica, CA | Goya Contemporary Art, Baltimore, MD 2007 | Perimeter Gallery, Chicago, IL | Bobbie Greenfield Gallery, Santa Monica, CA 2006 | Numark Gallery, Washinton, DC 2006 | Nicholas Metivier Gallery, Toronto, ON | Allyn Gallup Contemporary Art, Sarasota, FL | Nicholas Metivier Gallery, Toronto, CA | Bobbie Greenfield Gallery, Santa Monica, CA 2005 | Perimeter Gallery – Chicago, IL | The Lowe Gallery, Atlanta, GA 2003 | The Lowe Gallery, Atlanta | Numark Gallery, Washington, D.C. 2002 | Mira Godard Gallery, Toronto 2001 | Sherry Leedy Contemporary Art, Kansas City | The Lowe Gallery, Atlanta

2000 | Mira Godard Gallery Toronto | Perimeter Galery Chicago, IL 1999 | The Fine Art Society London | Numark Gallery Washington, DC 1998 | Perimeter Gallery Chicago, IL | The Lowe Gallery Atlanta, GA | Elliot Smith Contemporary Art St. Louis, MO 1997 | Numark Gallery Washington, DC 1995 | Frameless, Inaugural INTernational Invitational Bienale, Mie Cultural Center Japan | US Print Grafikan Paja Hummelblau Tampere, Finland 1990 | Art on Paper, Weatherspoon Art Gallery, Univ. of North Carolina Greensboro, NC | Echo Press: A Decade of Printmaking (catalog), Indiana University Museum of Art Bloomington, IN | Eleventh British International Print Bienale, Bradford Art Galleries and Museums 1989 | Mind and Matter, Seoul and travel | Graphic Biennial, Ljubljana, Yugoslavia | Myth Symbol Dream: Structures of the Unconscious, Delaware Center for the Contemporary Arts Wilmington, DE 1983 | Vanderwoude-Tanenbaum Gallery, New York 1982 | Fort Wayne Museum of Art, Fort Wayne, Indiana 1981 | Getler/Pall Gallery, New York 1979 | Alexander Milliken Gallery, New York 1978 | Roy Boyd Gallery, Chicago 1974 | Poindexter Gallery, New York 1971 | Gertrude Kasle Gallery, Detroit

KEVIN SONMOR (Canada, born 1959)

Redland:2, Oil on Linen, 36 x 36 Inches, 2006

Backdrop, Oil on Linen, 30 x 30 Inches, 2006

Stable Study, Oil on Linen, 30 x 30 Inches, 2006

Red Break, Oil on Linen, 24 x 24 Inches, 2006

Black Study, Oil on Linen, 30 x 30 Inches, 2006

Red Study, Oil on Linen, 16 x 16 Inches, 2006

KEVIN SONMOR 1959 | Born in Lacombe, AB (Canada) 1986 | Summer Studio Program, The Banff Centre, Banff, AB 1988 | Diploma with Distinction, Alberta College of Art, Calgary, AB 1991 | M.F.A. Concordia University, MontrĂŠal, QC

EXHIBITIONS 2013 | G’ddy Up!, Newzones, Calgary, AB 2013 | artMRKT San Francisco, San Francisco, CA, with Newzones | Dallas Art Fair, Dallas TX, with Newzones 2012 | The Education of Pegasus, Newzones, Calgary, AB | Simple Short Stories, Sherbrooke Fine Arts Museum, Sherbrooke, PQ | Galerie de Bellefeuille, Montreal, PQ | The Prairie Art Gallery, Grand Prairie, AB | G’ddy Up!, Newzones, Calgary, AB | Nature of the Beast, Macdonald Stewart Art Centre, Guelph, ON 2011 | G’ddy Up!, Newzones, Calgary, AB 2010 | Dallas Art Fair, Dallas TX, with Newzones | Lahey, Sonmor, Bartram, Macdonald Stewart Art Centre, Guelph ON | Nature Sublime, Addington Gallery, Chicago Il | Paintings, Galerie de Bellefeuille, Montreal, PQ 2009 | New Paintings, Leo Kamen Gallery, Toronto, ON | Addington Gallery, Chicago, Il 2008 | Paintings, Newzones, Calgary, AB (solo) | LA Art Show, Los Angeles, CA 2007 | G’ddy Up!, Newzones, Calgary, AB 2006 | Sunscreen 2006, Newzones, Calgary, AB | Art Chicago in the Park, with Newzones, Chicago, IL | Recent Paintings, Newzones, Calgary, AB (solo) | Recent Paintings, Gwenda Jay / Addington Gallery, Chicago, IL (solo) 2005 | Suite, Leo Kamen Gallery, Toronto, ON (solo) | Landscape X 9, Newzones Gallery of Contemporary Art, Calgary, AB 2004 | Failing Gravity, Art Gallery of Mississauga, Mississauga, ON (solo) | Paintings, Galerie de Bellefeuille, Montreal, QC (catalogue) (solo) | Paintings, Leo Kamen Gallery, Toronto, ON | Paintings, Newzones Gallery of Contemporary Art, Calgary, AB (solo) 2002 | The Landscape Perilous: Kevin Sonmor Paintings 1998-2002, Organized by the Mendel Art Gallery, Saskatoon, SK. Traveling to The Art Gallery of Southwestern Manitoba, MB; The McLaughlin Art Gallery, Oshawa, ON (catalogue) | Œvres récentes: 1999-2002, Galerie de Bellefeuille, Montréal, QC (solo) | Cultural Sensations-North America, Coca-Cola, Atlanta, GE | Marks, Gestures, Symbols, White Mountain Art Academy, Elliot Lake, ON | The Affordable Art Fair, New York, with Newzones Gallery of Contemporary Art, New York City, NY

2000 | Still Lives, Newzones Gallery of Contemporary Art, Calgary, AB 1999 | Thick as Thieves, Leo Kamen Gallery, Toronto, ON | The Menlove-Goode Collection: Endgames, The Agnes Etherington Art Gallery, Queens Univ., Kingston, ON 1998 | The Journeyman, Newzones Gallery of Contemporary Art, Calgary, AB | Sites of Contention, Organized by the University of Waterloo, Waterloo, ON; Traveling to The Art Gallery of Sudbury, Sudbury, ON; The Art Gallery of Algoma, Sault Ste. Marie, ON; | The Thompson Memorial Art Gallery, Owen Sound, ON 1997 | Wander, Leo Kamen Gallery, Toronto, ON | The Persistent Tradition-the Canadian Landscape, The University of Waterloo, Waterloo, ON | Wander, Leo Kamen Gallery, Toronto, ON 1996 | I’m in Awe of the Future, Deacon Ulrich Fine Arts, Calgary, AB 1995 | Paintings, O.K. Harris Works of Art, New York, NY | The Common Hand, Leo Kamen Gallery, Toronto, ON | Roland Reese, Kevin Sonmor, Deacon Ulrich Fine Art, Calgary, AB | Paintings, O.K. Harris Works of Art New York, NY | The Common Hand, Leo Kamen Gallery Toronto, ON 1994 | Recent Works, Recent Works Montreal, PQ | Recent Works, Waddington and Gorce, Montréal, QC 1988 | Reflections-Relocations, 2nd Story (Truck) Gallery, Calgary, AB (solo) | Systemic Re/Locations, The Works, Edmonton, AB 1987 | Systemic Re/Locations, Kozak Gallery, Toronto, ON 1986 | Prints by Painters, The Pumphouse Theatre, Calgary, AB | With Introspection, Walter Phillips Gallery, The Banff Centre Banff, AB

TOM SWANSTON (New York)

Park View, Acrylic, Silver Leaf, and Gold Leaf on Panel, Park View, 60 x 81 Inches, 2017

TOM SWANSTON Tom Swanston celebrates the splendor of nature by mixing organic imagery with opulent color. Swanston’s latest series references landscape traditions using silver, gold, and copper leaf to form the contour of bird and vegetation placed upon a hazy, soft pastel background. The subject matter of his paintings is energetic and decisive in one sense, yet yielding in another. Swanston’s work is the end result of an omnivorous search for meaning, and emerges from a love of many seemingly disparate elements. Swanston harnesses the spirituality of the natural world through close observation of the timeless rhythms that inform it. Swanston has exhibited his art work in 20 solo and over 50 group gallery exhibitions - with the Sense Gallery in San Fran, Lowe Gallery in Atlanta & Santa Monica, CA., M-13 in New York, NY., Horizon Gallery, Jackson Hole, WY. Soren Christensen, New Orleans, LA., and 707 Gallery, Santa Fe, NM. He has been included in 8 museum exhibitions and published in over 65 trade and lifestyles magazines. Swanston has been awarded two Ford Foundation grants, a Rubenstein Foundation grant and has been a Fellow at the Hambidge Center for Arts and Sciences. Swanston’s work is included in private and corporate collections in China, Dubai, France, Japan, Kazakhstan, Korea, Mexico, Morocco, Spain, USVI, UAE, Taiwan, Turkey, the Caribbean, and across the United States.

ARTIST STATEMENT The visual and spiritual coalesce in my surroundings, from which I draw much of my inspiration. For the past twenty years I’ve lived and worked on a 650-acre parcel of land, and have come to know well its history, creeks, and ravines. Seasons change in a profound manner – twice yearly, migrating sandhill cranes rest in the thermal that rises directlyoverhead. In this mystical setting, my favorite time of the day is sunset, when what you know to be true is evoked but not seen. It is that frame of mind that I capture – the twilight between observation and imagination. The materials I use span the history of technological innovation. Twenty-five hundred years ago, Coptic Egyptians attributed magical properties to the wax of bees; they heated it, added pigment to it, and used it to paint exquisite portraits of their dearly departed. Since 1981, the United States has launched space shuttles with skins made of aluminum honeycomb sandwich panels. These paints and panels, major technical achievements of their respective eras, are what I use to create my paintings. My work is the end result of an omnivorous search for meaning. It emerges from the love of many seemingly disparate elements, including the history, processes, and materials of art making; Nature with a capital “N,” then, with a small “n;” an everything-but-the-kitchen-sink approach to color; classic Haiku; the comical of shapes and things paradoxical; Technologies old and new; the spirituality of the natural world, and close observation of simple things come together to form the conceptual underpinnings of my work.

2011 | Abernathy Arts Center, Atlanta, GA | Fairhope Unitarian, Fairhope, AL 2009 | George Segal Gallery, “Art Connections 5”, Montclair, NJ | Lyon & Lyon Fine Art, New Orleans, LA 2007 | Audubon Artists Annual, New York City, NY 2005 | 707 Contemporary, Santa Fe, NM | Soho Myriad, “A Common Thread”, Atlanta, GA 2003 | Studio Eleven, Lexington, VA | The Studio, Middleburg, VA 2000 | Handsel Gallery, “White”, Santa Fe, NM | Lenox, “Wax Works: 5 Encaustic Artists from GA”, Atlanta, GA 1999 | Twinhouse Gallery, “Visions of the Land”, Atlanta, GA} | City Gallery East, “Fire”, Atlanta, GA 1998 | Holter Museum of Art, “ANA 27”, Helena, MT | King Shaw Gallery, King Plow Arts Center, Atlanta, GA 1996 | Muscarelle Museum of Art, “American Drawing Biennial”, Williamsburg, VA 1995 | Stanback Museum, Columbia, SC | McIntosh Gallery, Atlanta, GA | Gibbes Museum, “Northern Seeds - Southern Soil”, Charleston, SC 1994 | Haggin Museum, “National Print and Drawing Exhibition”, Stockton, CA | Spazi Contemporary Arts Center, “Small Works”, Housatonic, MA 1993 | Hastings Seed Building, “The November Show”, Atlanta, GA | Fay Gold Gallery, “Exceptional New Artists”, Atlanta, GA | Beaverton Arts Commission, “Showcase ‘93”, Beaverton, OR | Galerie Mesa, “Drawn to Extreme”, Mesa, AZ | Columbia College, “Paper in Particular National Exhibit”, Columbia, MO | Artsquad, “Contemporary American Drawing”, Easton, PA | Fay Gold Gallery, Atlanta, GA | Sheppard College, “Works on Paper ‘92”, Sheppardstown, | University of Richmond, “National Works on Paper”, Richmond, VA | Haggin Museum, “National Print and Drawing Exhibition”, Stockton, CA | SW Texas State University, “21st Annual Works on Paper”, San Marcos, TX | Museum without Walls, “Depth and Diversity in Recent America”, Bemus, NY 1992 | The Lowe Gallery, “Southern Visions”, Atlanta, GA | Exhibit ‘A’ Gallery, “Small Works”, Atlanta, GA |King Plow Arts Center, “The Mattress Factory Exhibit”, Atlanta, GA 1990 | The Lowe Gallery, “Inner Visions of Space and Time”, Atlanta, GA | Parsons School of Design, “Ten Years Later”, New York, NY 1988 | Urban Institute for Contemporary Art, Grand Rapids, MI

PUBLIC COLLECTIONS Almaty Esentai Park, Almaty, Kazakhstan 1010 Midtown Condominiums, Atlanta, GA Brigham and Women’s Hospital, Boston MA The Mansion, Atlanta, GA Alston Bird, Atlanta, GA Marco Island Spa, Marco Island, FL Ansley Country Club, Atlanta, GA Marriott, Austin, TX Marriott, Orlando, FL Marriott, New Orleans, LA Atlantis III, Paradise Island, Bahamas Callaway Gardens, Pine Mt. GA Chicago Intercontinental, Chicago, IL JW Marriott, Washington DC Childress Klein Properties, Atlanta, GA Mass Mutual, Boston, MA Disney Yacht Club, Orlando, FL Mohegan Sun Casino, Uncasville, CT DLA Piper, Atlanta, GA Northside Hospital, Women’s Center, Atlanta, GA Drew, Eckill & Farnham, Atlanta, GA Liberty Mutual, Boston, MA Omni Hotel at CNN Center, Atlanta, GA EDL & Associates, Atlanta, GA Raines and Raines, New York, NY Embassy Suites Hotel, Lombard, IL Richmond Hyatt Regency, Richmond, VA Epstein, Becker & Green, Boston, MA Ritz-Carlton, Coconut Grove, FL Ethan Allen International, Danbury, CT Ritz-Carlton, Dubai

Ritz-Carlton, Key Biscayne, FL Euro Disney, Paris, France Ritz-Carlton, Ocoee, GA Ritz-Carlton, Naples, FL Fleishman-Hillard, Atlanta, GA Ritz-Carlton, Osaka, Japan Four Seasons, Jackson Hole, WY Four Seasons, Palo Alto, CA Four Seasons, Marrakech, Morocco Frito-Lay, Atlanta, GA Ritz-Carlton, Shenzhen, China GE E-Commerce, Atlanta, GA Rollins Sch. Public Health, Emory Univ., Atlanta, GA General Service Administration – PNH, Atlanta, GA Saks Fifth Avenue, New York, NY Goizueta Schl. Of Business, Emory, Atlanta, GA Scient, Atlanta, GA Grady Hospital,9A, Atlanta, GA Sterling Drug, Philadelphia, PA Grove Park Inn, Asheville, NC Raffles, Istanbul, Turkey St. Regis Hotel, New York, NY St. Regis Hotel, Atlanta, GA Hartsfield International Airport, Atlanta, GA SunTrust Corporation, Atlanta, GA Henderson’s Wharf, Baltimore, MD The Peninsula, Chicago, IL Toronto Intercontinental,Toronto, Canada Hilton Anatole, Dallas, TX Tremont Plaza, Baltimore, MD Hilton Hotels, Atlanta GA Lotte, Seoul, Korea W Hotel Midtown, Atlanta, GA Insignia Centennial Tower, Atlanta, GA The Waldorf Astoria, New York, NY IDI, Atlanta, GA Westin Hotel, St. John USVI IXL Enterprises, Atlanta, GA Westin Hotel, Hilton Head, SC XL, Pembroke, Bermuda Yinchuan Kempinski, Beijing, China

BIBLIOGRAPHY 2011 | Clinton Smith, “Designer Showhouse”, Atlanta Homes & Lifestyles (Feb) 2008 | Clinton Smith, “The Mansion,” Atlanta Homes & Lifestyles (August) | Georgia Dzurica, “Green EcoManor: Sustainable Style,” Veranda Magazine (May-June) | Lori Johnston, “Designs for Life and Work that Intertwine,” Atlanta JournalConstitution (March 20) | LaTria Garnigan, “Painting the Town,” South Fulton Neighbor (March 19) | Rumaan Alam, “Three Green Homes,” Domino Magazine (March) | Clinton Smith. “Summer Simplicity: 2008 Designer Showhouse.” Atlanta Homes & Lifestyles (Summer) 2007 | Factory Girl. Pregnancy & Newborn Magazine (July) | Reinventing the Green House. Garden and Gun (Spring) | Building Green. The Atlanta-Journal Constitution (February 1) 2006 | Golden, Nichole. StudioSwan Features “new works.” The Newnan Times-Herald (November 17 | Campanella, Thomas J. A Workable Utopia. Metropolis (June 2006) | Lerner, Jonathan. Rustic Revolution in the Hill Country. Atlanta Peach Magazine (Winter) | Thomas, Mary Booth. Location, Location, Location. The Atlanta-Journal Constitution (September 9 | Image and listing. More To Do. The Ledger-Enquirer (May 4) | Image and write-up. Artist to Demonstrate at Pasaquan. The Tri-Country Journal (May 3) 2005 | Frank, Peter. Go: Gail Foster, Thomas Swanston, Tremain Smith. The LA Weekly (October 21-27) | Harral, Alyse. Blood, Sweat & Trim. Atlanta Homes and Lifestyles (October) | Laughinghouse, Amy. White Hot. Atlanta Homes and Lifestyles (March) 2004 | Cullum, Jerry. A Blending of Styles, The Atlanta Journal-Constitution (September) | Gleim, Sarah. Double Take for Art’s Sake, Atlanta Magazine’s Home (Fall) | Pendley Koser, Karin. An Art Museum within Its Walls, A+ (Spring) 2003 | Pendley Koser, Karin. Unconventional Art at the Georgia International Convention Center, Supplement to Atlanta Business Chronicle (March) | Cullum, Jerry. Art Seen and Heard, The Atlanta Journal Constitution (January) 2001 | Cullum, Jerry. Hot Spots, Georgia, Art Papers (July/August) | Jones, Jennifer. Bridging the Gap–With Art. The Northside Neighbor (May) | Klausner, Debra. Helping Children across the Bridge, The Gazette (May)

2000 | Fox, Catherine. Minding Their Beeswax, The Atlanta Journal (September 15) | Blaise, Oma. Two of a Kind, Atlanta Homes and Lifestyles (September) | Cullum, Jerry. Words help forge a fiery intensity, The Atlanta Journal (June 18) 1998 | Frank, Peter. Ana 27-National Juried Exhibition, Holter Museum of Art Exhibition Catalogue | Cullum, Jerry. Pleasure and Personal Pilgrimage, (Lowe Gallery) Exhibtion Catalogue | Dorsey, John. Paintings Suggest Grasping At Fog, Baltimore Sun, (March 7) | Guiliano, Mike. In the Abstract, City Paper, (March 12) 1995 | Blaise, Oma. People, Short Takes, Atlanta Homes and Lifestyles (November) | Locke, Donald. Visual Arts Review, Creative Loafing (October 4) | Cullum, Jerry, Figuratively Speaking, The Atlanta Constitution (September 29) | Schwartz, Carolan. Revival of the Figure, (City Gallery East) Exhibition Catalogue | Carey, Erika. A Sense of Place, (Gibbes Museum of Fine Arts) Exhibition Catalogue | Day, Jeffrey. Artists reveal Transformation after Transplantation, The State (July 2) | Greenberg, Suzie. The Yankees are Coming!, The Herald, (June 29-July 12) | Cullum, Jerry. Sedate November a Worthwhile Experience, The Atlanta Constitution (November 17) | Prochaska, Tom. Showcase â&#x20AC;&#x2122;93: (Beaverton Arts Commission) Exhibition Catalogue | Jinkner-Lloyd, Amy. Set & Subset, Creative Loafing (September 3) | Cullum, Jerry. Visual Arts Review, The Atlanta Constitution (March 19) 1992 | Trader, Beverly. So Long Soho, Atlanta Magazine (March 19) 1991 | Ruhstaller, Todd. Stockton National, (Haggin Museum) Exhibition Catalogue | Carbrey, Agnes. The Lexington News-Gazette (July 24) 1990 | Levy, David. Ten Years Later, (Parsonâ&#x20AC;&#x2122;s School of design) Exhibition Catalogue 1987 | Perry, Pam. Urban & Endangered Landscape Engineering, Creative Loafing (December 8)

GABRIELE SCHNITZENBAUMER (GERMAN, BORN 1938)

Gabriele Schnitzenbaumer, “Cosmos”, Mixed Media on Canvas

GABRIELE SCHNITZENBAUMER BORN | 1938 Augsburg, Germany BIO

Sharing elements of early 20th century Surrealism and Cubism, Gabriele Schnitzenbaumer’s figures also refer to non-Western cultures and their statuary. She often uses rudimentary materials, such as clay, iron, wheels, and wood, fashioning hybrid forms with long arms, rakish hands, and exaggerated bodies. In works such as Wheel Chair Figure and Wheelbarrow Woman, Schnitzenbaumer synthesizes the corporeal and the manmade in a manner that suggests mythology and devotional objects. She often focuses on women, a subject that has been described in her work as “commentary on matriarchy as a kind of secular religion.” Inspired by the archaic art of the Cycladic islands and Western Africa, her work also shares attributes with the sculptures of Kiki Smith and Thomas Schütte.

Gabriele Schnitzenbaumer Essay The depiction of the human figure has always been a constant preoccupation of most artists throughout all recorded time. It is the most immediate representation of not only our perceived sense of physical self, but also of all those qualities, our strength, frailties, and unresolved issues are central to our identity and sense of being Gabriele Schnitzenbaumerâ&#x20AC;&#x2122;s work is no exception to this rule. The human figure, and what it potentially represents, is the thematic focus of this most recent body of work. One thing strikes the viewer immediately. This is a strong sense of stylization and formal containment of both body language and facial characteristics, very reminiscent of ancient Cycladic figurative work and African tribal sculpture. We are not being offered the easy identification of a figure or character moving through a recognizable narrative or drama. These figures are totemic in aspect, the narratives are indirect and internal. The stories they contain are in fact archetypal ones and require an effort of self-recognition and serious introspection on the part of the viewer. Some of these works are confrontational, and they do not always let us off lightly. Schnitzenbaumerâ&#x20AC;&#x2122;s eclectic use of materials, from molded clay to acrylic paints and incorporated found objects and tools reinforces the confrontational (and occasionally humorous) aspect of these figures. Although they remain firmly rooted to the ground, immobile never static, there is always an uneasy sense that theyâ&#x20AC;&#x2122;re at times moveable arms might enclose us in a sharp and uncomfortable embrace. Worse yet, they might ask us to examine our own arms and hands and the use habitually make of them.

For example, “Warrior” displays two scythe-like curved arms which reach out menacing gesture, amplified by the immobility of the torso. A blood-red line around the thorax could be read as a warning signal, or a display of his own vulnerability. No less menacing is “Untouchable”. Two long, moveable, and defensive saw blade arms belie the delicate slender-waisted figure. Her expression is fixed, as if expecting contact, but not necessarily inviting intimacy. “Amazon” is an uncompromising study of strength and power. Her broad, tank-like body, massive shoulders and widespread stance give her a sense of a sense of great weight an inflexibility of purpose. Her white face recalls the lime masks of Celtic and African Warriors, and her broad lead belt adds a sense of invulnerability. “Split Personality” moves away from the mask like- stylization of many of the other pieces. The divided face is disturbingly realistic on the armless and legless torso. We are left with two possibilities: a disconcerting splitting apart of what was once whole or the gerundival closing up of a deep fissured wound. “Iron Virgin” is one of the most abstract works in this series. It is a headless, armless, and legless torso shape, tightly wrapped, and sex covered with a triangular metal plaque. All desire, all sexuality is contained and repressed. The implied constraint might be perceived as ambiguous. Certainly not all Schnitzenbaumer’s work in the series are as overly menacing or disturbing. A more vulnerable piece is “Cautious Observer”. Here we see an upper torso and head only, with massive shoulders and raised hands resting on supporting arms and elbows. The face is partially hidden by the protective hands, and slightly anxious eyes are only beginning to observe the world or invite any contact in return.

“Archaic Stranger” on the other hand is supremely confident, well-balance, upright female figure. Her long, overstretched arms and hands create an almost eternal tripod, from which stable position she looks out into the distance with a kind of stoic calm. “Nike” alludes to her Greek namesake, but in perhaps less flamboyant fashion than her dramatic famous counterpart in the Louvre Paris. Her wings are small and moveable, and her head is tiny and faceless. Thin, almost bird-like legs seem to be readily poised for flights as well. She has no other function or desire; flight is everything. On a more humorous note we meet “Diva Dora”. A well-bosomed and corseted figure pushes into space, balanced by a voluptuous projecting bum. Her face seems to express a naïve pleasure in her over gaudy, slightly prickly necklace, and her tangled well-twirled red hair. “Pop Star” is her most “contemporary” of figures. She is an icon of the times, blatantly overdressed, overhung with fetish-like jewelry, waving her red lacquered fingers, and insolently (or covertly) regarding the world from behind the safety of her colorful goggles.

Some of these figures are uncompromising in the political and moral questions they raise, and yet they remain strangely impartial and unjudgmental. It is we - the viewers - that must raise the relevant questions and provide our own answers, and perhaps even our own solutions to the endless unresolved issues that we each must work through. As Warriors and Amazons, we might be both protective and aggressive; the Iron Virgin might reflect a self-imposed unwillingness to share love or be brutal repression of sexuality by an outside force. The Diva might be the selfish and selfabsorbed center of her own universe, or simply the happy extrovert, pleased to flaunt and share her abundant charms. There is no single register of meaning to the works, they are multi-layered as we ourselves are. We are all Warriors and Amazons, split personalities, extrovert, and untouchable. These works are a catalyst of self-recognition, and it is the quality that ensures their power, appeal, and complicity. -Matthias Osterman

CREATIVE TIMELINE 1956-1959 | Kunstchule, Augsburg 1970 | Began Painting and Sculpture 1972 | Began Exhibiting in Europe 1982-1992 | Taught at LMU University, Munich, Germany 1984 | Created first large outdoor sculpture 1986 | Started creating Book, Book Cover, and Illustrative Designs 1990 | First Solo Exhibition in New York City 1991 | Began first regular exhibitions in the United States 1998 | Began Tapestry Design 1999 | First Monumental Solo Exhibition at The Lowe Gallery, Atlanta, Georgia 2003 | First Exhibition at The Lowe Gallery â&#x20AC;&#x201C; Santa Monica, California 2009 | Solo Exhibition at Bill Lowe Gallery â&#x20AC;&#x201C; Atlanta, Georgia

EXHIBITIONS ‘13th Anniversary Show’, The Lowe Gallery, Atlanta, Georgia The Lowe Gallery, Atlanta, Georgia The Lowe Gallery, Atlanta, Georgia. Capazza, Paris Nancay Atelier Tapisserien , Munich. Kunsthalle Schwaben, Weitnau Project: ‘ Weltumwohnung’ Galerie Capazza, Paris Nancay Galerie Mader, Munich Domizil, Berlin Galerie Mader, Munich The Lowe Gallery, Atlanta The Lowe Gallery, Los Angeles E&P Galerie, Dusseldorf. Galerie Ruth Siegel. New York

SHEILA SULLINS

(ATLANTA, GEORGIA)

Untitled Abstract III, 36 x 24 unches, Mixed Media with Multiple Layers of Beeswax

Untitled Absract II, 36 x 24 Inches, Mixed Media with Multiple Layers of Beeswax

SHEILA SULLINS Atlanta, Georgia BIO

Sheila has always exhibited an immense passion for life. A very proud Auburn Alumnus, she taught in the Mongomery School System for ten years. She has been a professional photographer since 1978. He inate ability ro understand light and shaddow contributed to her success and the eventual creation of Atlanta Lighting Design in 1990. With the inspiration of her mentor and master teacher, Micahel David, Sheila has become obsessed with the world of encaustic taking her photography to a new level. Encaustic, or hit wax painting, is an ancient technique of paper and fabric preservation, dating back to ancient Egypt. Enamored with the etherial quality that the living beeswax imparts to her photographs, she believes she has found her passion.

BREIF HISTORY OF ENCAUSTIC PAINTING Encaustic painting is one of the world’s oldest art forms! The earliest applications of encaustic wax paint was done by the artists of Ancient Greece--hence, where the Greek term “enkaustikos”comes into play meaning “to burn in”. Greek artists wrer using wax painting to adorn sculpture, murals, boats and even architecture. Greek art spread to Egypt during the Hellenistic period and with a large Greek population, it didn’t take the Egyptians long to adapt to the use of wax paint.

Greek-trained Egyptians started to incorporate encaustic paint into their paintings as well as mummification practices. The most well known encaustic paintings from those Ancient Times are beyond a doubt, the very life-like Faiyum Mummy Portraits of Egypt. These portraits were created to be placed over a mummy as a memorial and had impressive details of realistic looking facial features. They not only showcased the advanced skills of the ancient portraiture artists but also demonstrated the unique qualities of encaustic paint. It is also amazing to see how well these Faiyum mummy portraits have been preserved over time. Despite being over 2000 years old, they are still on display in museums today withstanding the test of time with minimal cracking and without having faded or darkened in color. As encaustic painting flourished in Greece and Egypt, it was also inevitable to spread to Rome. Pliny, the Roman historian, wrote in the first century that encaustic wax paint was being used in the Roman portraits and mythology paintings done on panels.Pliny also noted that it was a popular trend of roman aristocrats to possess encaustic paintings in their villas leading us to believe that encaustic paint did hold popularity and prestige. In fact, Julius Caesar commissioned an encaustic painting from the artist Timomakus. After the Roman Empire fell, artists began turning to cheaper, quicker paint instead of the encaustic paint because the ancient heating process was so laborious.

VARIOUS ARTISTS

Penny Dobson, “Sunflowers”

EDIE MORTON Ecologically inspired artworks that honor the natural world and promote environmental awareness “Edie Morton channels the energy and intricacies of nature into her encaustic paintings and sculptures. Using beeswax, pigments and natural objects she creates wondrous windows to private places. There’s a harmony derived from peaceful reflection and a gut-level understanding and appreciation of the rhythms of nature.” – Laura Goodman, Art Conservator

Edie Morton, Various Encaustic Works (1-6)

Julie Nellenbach, â&#x20AC;&#x153;Ox and Llamaâ&#x20AC;?, Works on Paper

Van Benschotin, Untitled, 12/82

W. Janner

The Collection of Dr. Jacquie Damgaard

HARRY ALLY

Harry Ally, Figure 32, Sister, Mixed Media On Panel, 2006, 73 x 50 Inches

Harry Ally, Horse 2, Mixed Media On Panel, 2006, 43 x 60 Inches

ARTIST STATEMENT My work follows in the long tradition of painting. For me painting is the primal impulse to mark. It’s a visual record of the mind, the body, and the human spirit. It’s about a need to both create and to destroy. Maybe it’s out of sheer frustration that I paint, maybe it’s out of a need to violate or to contradict, or possibly, it’s simply about the pure enjoyment of mark-making, either way, there is a strong feeling present and I feel compelled to react to this feeling.

They begin with a series of random mark-making. Marks, images, textures, and colors often appear, then are revised, altered, corrected, rejected, and at times even accepted. The works are based on an improvisational search for correctness with an emphasis on documenting the history of the painting. They are a response to the physicality of painting, a love of materials, an appreciation of process, and to the seduction of surface.

The paintings allude to the beauty of decay, to violation, and to vulnerability. They are excavations, a palimpsest of surfaces layered with a variety of materials...dry pigments, acrylics, tar, fabrics, oils, bonding agents, along with different clays dug from the Georgia soil. From these materials figurative images are often unearthed. At other times paintings are often left devoid of specific visual references completely and rely solely on pure abstraction. They are surfaces that attempt to reveal a sense of time and a certain kind of depth, a depth that is both physical through build up and layering as well as emotional depth through destructive scarring. In the end the works are about a search, a search for truth and a search for correctness through the act of painting.

SELECTED GROUP EXHIBITIONS 2018 | Group Exhibition, Mason Fine Arts, Atlanta. GA 2015 | Gender, National Juried Exhibition, Indiana University East, Richmond, IN 2014 | Drawn, International Juried Drawing Exhibition, Manifest Gallery, Cincinnati, OH 2013 | Group Exhibition: Yes, Artspace III, Fort Worth, Texas | Group Show w/Prospect .1 Biennial, Soren Christensen Gallery, New Orleans, LA | 22nd National Juried Fine Art Exhibition, Douglasville Cultural Center, GA 2010 | Three Person Exhibition, Craighead Green Gallery, Dallas, Texas 2007 | 21st National Juried Fine Art Exhibition, Douglasville Cultural Center, GA | Harry Ally, Recent Drawings and Paintings, Lowe Gallery, Atlanta, GA | Harry Ally, Recent Drawings and Paintings, Hildegard’s, Valdosta, GA | Figures, Group Exhibition, City Market, Valdosta, GA | Recent Works: Harry Ally, Craig Hawkins, Matt Armstrong, Loft Gallery, Valdosta, GA 2006 | Group Exhibition, Julie Nester Gallery, Park City, UT | Twelve New Paintings, Lowe Gallery, Atlanta, GA | Exhibition of Recent Work, Kresge Gallery, Lyon College, Batesville, AK 2005 | Art Miami International, The Lowe Gallery Pavilion, Miami, FL | Installation in Doheny Mansion, Beverly Hills, CA, through The Lowe Gallery, Santa Monica, CA | Recent Works: Harry Ally, Dusty Griffith, and Wiliam Morris,” The Lowe Gallery, Santa Monica, CA 2004 | Recent Works: Harry Ally, Dusty Griffith, and Wiliam Morris,” The Lowe Gallery, Atlanta, GA | ATLart(04) Exhibition, The Lowe Gallery, Atlanta, GA 2003 | “Recent Works: Harry Ally, Maggie Hasbrouck, and Ferdinand Rosa,” The Lowe Gallery, Atlanta, GA | “Inaugural Exhibition: Works by 22 National and International Renowned Artists,” The Lowe Gallery, Atlanta, GA | Invitational Group Exhibition, MacMurray College, Jacksonville, IL 2002 | Invitational Group Exhibition, MacMurray College, Jacksonville, IL | 13th Anniversary Show, The Lowe Gallery, Atlanta, GA | “30th Anniversary Exhibition,” Neiman Marcus, Atlanta, GA The Lowe Gallery, Atlanta, GA 2001 | 12th Anniversary Show, The Lowe Gallery, Atlanta, GA | The Lowe Gallery, Atlanta, GA | Positive Negative Sweet Sixteen, 16th National All Media Juried Exhibition, Slocumb Galleries, East Tennessee State University, Johnson City, TN

DANIEL BLIGNAUT

Fountain Of Life, Acrylic On Wood Panel, 48 x 64 Inches

Summer Poem, Acrylic On Wood Panel, 32 x 48 Inches

His work has always incorporated vibrant color, the use of symbols, and personal iconography like the chess board pattern. Over the past three decades his main interests have lied in the expressive, symbolic impact of color and representational objects, and in earlier works, explored the use of naïve art with definitive expressive undertones. Blignaut has used children’s paintings as “found objects” for the framework for many of his paintings.

As an architect, Blignaut had to work with very strict drafting guidelines regarding precision, with accuracy as the most important rule. As an artist, he has become fascinated with the accidental line, and in rich complex surfaces, so I have always worked with “found” and “discovered” elements within my own work.

In my latest work, I return to the subject of trees, which has fascinated me since childhood and occurred in my work since the early eighties. Instead of a representational depiction, I employ something similar to an Iconographic template to portray their presence, complexity, and majesty. I use trees as a metaphor for the human condition â&#x20AC;&#x201D; for instance, the visual measure of the passage of time, the seasonal cycle of death and rebirth, and the diversity of personalities. My work is interested in the physicality of trees, and in the way that time, environment and climate impacts the body to produce an enormous visual variety.

In â&#x20AC;&#x153;A Conversation with Trees,â&#x20AC;? the vibrant colors that have been a hallmark of my work are slightly de-saturated and toned down. I explore the visual nature of my subject matter by expressing it in a variety of textures. The chess board pattern which has always been a dominant symbol in my art now inhabits a new role as part of the broader language of pattern and texture.

I see my current work as a culmination of early artistic influences and the maturation of my distinctive personal style. Through an increased intricacy and variety of elements, I continue to push the boundaries of longstanding themes in my work.

EDUCATION 1983–1984 | University of South Africa | Enrolled in Bachelors of Fine Arts 1976–1980 | University of Pretoria Pretoria, South, Africa | MA Architecture

GROUP SHOWS 2006 | Gala Corina Art Exhibition – Tampa FL 2005 | Gala Corina Art Exhibition – Tampa FL 2004 | Gala Corina Art Exhibition – Tampa FL 2003 | Gala Corina Art Exhibition – Tampa FL 1995 | Arcadia Gallery – Pretoria South Africa 1986 | SA Art Society New Signatures –Volkskas Gallery Pretoria South Africa 1985 | SA Art Society New Signatures – Volkskas Gallery Pretoria South Africa

MARGARITA CHECA

The Doors Of Perception, 2003, Olive Wood Inlaid With Bullhorn, 83 x 42 x 24 Inches

CHRISTOPHER COUSINS

Wailing Wall, Oil And Mixed Media On Canvas, 2004, 36 x 72 Inches

MICHAEL DAVID

State Of Grace, Encaustic, Linen, And Mixed Media On Wood, 2015 - 2017, 60 x 60 Inches

The One Eyed Turtle And Sandalwood Log 2 (Large), Encaustic, Steel, And Mixed Media On Wood 44 x 48 Inches

The Theory Of Everything, Encuastic and Mixed Media On Wood, 43 x 59 x 6 Inches, 2015

IMMEDIACY REDIVIVUS: MICHAEL DAVID’S PAINTINGS The best abstract painting seems “nothing short of miraculous,” the French poet and critic Yves Bonnefoy remarks, for it satisfies “the desire for immediate” – for pure sensation., uncorrupted by consciousness of meaning. Bonnefoy thinks that that experience of immediacy of pure presence, directly given, with no need for language to shape it into comprehension (and mute its impact)- is an illusion. It is a private myth-magical thinking- that has been given social credibility, ironically by the need to escape social pressure. The “conventional readings of the word” are not so much defeated as complicated by the mirage of immediacy, he argues. They need a codicil explaining why belief in immediacy must be abandoned, however reluctantly. Bonnefoy doesn’t want to wait for the feeling of immediacy to fade away, as it will inevitably do because it is inherently transient but discredits it as a subjective indulgence. Looking at it from the disillusioning point of view of everyday reality, he implies that we must distrust the spontaneity with which it appears, thus undermining it before we can savor it, and reap its emotional benefits. He has no interest in the way it enriches the feeling for life, reminding us that there is life beyond everyday life. Bonnefoy never imagines that the experience of immediacy-eternal present, as it were, and as such suspended beyond time. We should “qualify” this “mythical” experience-peculiarly “metaphysical” for all its physicality-by analyzing it away, that is, use our minds to purge it as a lie and hallucination. Michael David’s abstract paintings renew immediacy, indeed, reconstitute, strengthen, and even apotheosize it. They raise it to a feverishly fresh intensity with their remarkable touch, indicating they are among the very best painterly abstractions made. To me they make it transparently clear that immediacy is ultimate reality: pure sensuous intensity, transcendent of ordinary, habitual understanding of the world, which is mediated by socially sanctioned language and banal meanings that force sense experience into their procrustean bed.

David’s painting is a kind of negative icon, composed of crushed gestures. I cannot help thinking of George Steiner’s remarks that our “aesthetic forms explore the void, the blank freedom which one come of the retraction (Desu absconditus) of the messianic and divine.” He argues the where art, in its “kinship…with the calling on mystery in the matter of the world and of man” – the mystery in matter itself, one might add- once “enact[ed] the epiphany of a real presence,” it now reveals the encounter with a ‘real absence’.” Steiner thinks that this is what we see in Malevich and Ad Reinhardt. We must add David to the list of these great Abstractionists, for her has shown us that real[material] presence can be real [spiritual] absence and loss as well as presence and givenness. Because David’s paintings convey both simultaneously, we are forced to ask whether he means to suggest that there are hidden sparks of life (vital colors) in the ashes of the dead symbol or whether his is flatly stating- as the blunt, recessed flatness with which the cross is given suggests- that it is irremeably dead. Is the cross a phoenix or Lazarus in the process of rising from the grave (it is “engraved” in the flatness, as though in the grave, perhaps an empty one), or is it a ghost that however haunting confirms the triumph of death? Is David struggling to restore the traditional symbol of salvation or is her showing the permanent ruin that it has become- confirming that it Is also a symbol of suffering unto death? Does his cross still have the miraculous power to absolve us of our sins or is it a black mirage that mocks us, deepening our guilt? Does it symbolize the depth of suffering- a new emotional dark age- or is it a consoling omen of resurrection- a promise of purity, a blessing in disguise? Is it a shadow with substance, or is it substance hidden in painterly shadows? Refuge, clearly is an ironical title.

Whether my gnostic interpretation is right or wrong- whether these works are masterpieces of sacred paintings, as I think- they are all aesthetic masterpieces. They restore immediacy to credibility after it has become a decedent convention. What began to be worked by Kandinsky and seemed overworked by pollock, and finally exhausted by expressionistic overuse, has given not only a new lease on life by David, but extended into new technical as well as emotional territory. Flatness is “architected,” as it were, so that is becomes a platform for the painterliness that finesses it, even as that painterliness is made more “forward” by it. David has regenerated painterliness without making it seem precious, even as he refined it so that it is no longer raw, primitive, headlong, naively aggressive. The primordial effect of immediacy remains, even as gesture seems deliberate as well as spontaneous. Indeed, the effect of immediacy, the demonstration of the immanence of immediacy, more moving and convincing. It becomes a breath through into integrity, rather than a pro forma exercise and painterly skill. -Essay by Donald Kuspit

MICHAEL DAVID BIO Born Michael David Singer, David’s family relocated to Brooklyn from Reno, where he was raised. He attended SUNY Fredonia for one year and in 1976 received a B.F.A. from Parsons School of Design. David is classified as an abstract painter, best known for his use of the encaustic technique, which incorporates pigment with heated beeswax. He is also known for his works in mixed-media figure painting, photography and environmental sculpture. His work is included in the permanent public collections of the Metropolitan Museum of Art, the Guggenheim Museum and the Jewish Museum in New York, and the Museum of Contemporary Art in Los Angeles, and the Los Angeles County Museum of Art, among others. He is the recipient of a Guggenheim Fellowship and awards from the National Endowment for the Arts, The Edward Albee Foundations, and The American Academy of Arts and Letters. BORN | 1954, Reno, NV EDUCATION | 1976 BFA, Parsons School of Design, New York, NY AWARDS 1984 | The Guggenheim Fellowship 1983 | National Endowment for the Arts 1982 | The Edward Albee Foundation, Montauk, NY | The American Academy and Institute of Arts and Letters, Art Award, New York, NY | The Meet the Composer Grant, New York, NY | Guest Professor, Advanced Painting, Princeton University, Princeton, NJ 1981 | The Edward Albee Foundation, Montauk, NY 1980 | The Edward Albee Foundation, Montauk, NY SOLO EXHIBITIONS 2011 | “New Paintings”, The Chmar Gallery, Santa Fe, NM 2010 | “New Paintings”, Bentley Gallery, Scottsdale, AZ | “Michael David: New Encaustic Works”, The Lowe Gallery, Atlanta, GA 2009 | “Michael David: Chortens”, The Lowe Gallery, Atlanta, GA | “The Greenhouse Project”, Studio Swan, Palmetto, GA | “The Greenhouse Project and New Landscapes”, Alan Avery Fine Art, Atlanta, GA 2008 | “Michael David: Old School”, Mason Murer, Atlanta, GA

2007 | “Michael David: Painting and Photography,” The Lowe Gallery, Atlanta, GA 2006 | “Compassion,” The Lowe Gallery, Atlanta, GA | “Michael David: New Encaustic Painting,” Wooster Projects, New York, NY 2001 | “Michael David,” The Lowe Gallery, Atlanta, GA 2000 | “New Encaustic Paintings,” Knoedler and Company, New York, NY 1999 | “Michael David,” The Lowe Gallery, Atlanta, GA 1998 | “Cruciforms,” Meredith Long and Company, Houston, TX 1988 | “New Work,” Dorothy Blau, Bay Harbor, FL 1997 | “Michael David,” Bentley Gallery, Scottsdale, AZ | “Michael David,” Knoedler and Company, New York, NY 1995 | “Michael David,” Aspen Art Museum, Aspen, CO | “The Poured Image,” Knoedler and Company, New York, NY 1994 | “Paintings and Works on Paper,” Meredith Long and Company, Houston, TX | “Paintings,” Margulies Taplin Gallery, Boca Raton, FL 1993 | “The Wolfen Series,” Knoedler and Company, New York, NY | “Michael David,” Irving Galleries, Palm Beach, FL 1992 | “Michael David,” Margulies Taplin Gallery, Boca Raton, FL | “Painted Collage,” Knoedler and Company, New York, NY 1991 | “Paintings on Paper,” Meredith Long Gallery, Houston, TX | “The Georgia Series,” Solo Gallery, New York, NY | “New Paintings: The Georgia Series,” Knoedler and Company, NY 1990 | “Six Paintings,” Meredith Long Gallery, Houston, TX | “Works on Paper,” Knoedler and Company, New York, NY 1989 | “New Work,” Knoedler and Company, New York, NY 1988 | “New Work,” Meredith Long and Company, Houston, TX | “Golem and Other Prints,” The Metropolitan Museum of Art, New York, NY | “New Paintings: Invisible Cities,” Compass Rose Gallery, Chicago, IL 1987 | “New Paintings,” The Greensberg Gallery, St. Louis, MO | “Paintings and Drawings,” Knoedler and Company, New York, NY | “Recent Works,” Knoedler Gallery, London, England 1986 | “Recent Painting,” Knoedler and Company, New York, NY 1984 | “New Paintings,” Knoedler and Company, New York, NY | “Paintings,” Dart Gallery, Chicago, IL 1983 | “Michael David,” Hamilton Gallery, New York, NY 1982 | “Michael David,” Hamilton Gallery, New York, NY 1981 | “New Paintings: Evolutions of the Symbol,” Sidney Janis Gallery, New York, NY

GROUP EXHIBITIONS 2010-2011 | “Post Mammalian Tension, Michale David & Scott Browning”, Bill Lowe Gallery, Atlanta, GA 2006 | “Unspoken Connections,” The Lowe Gallery, Santa Monica, CA 2004 | The Lowe Gallery, Atlanta, GA 2002 |“Unexpected Selections from the Martin Z. Margulies Collection: Art from 1985 to the present,” The Art Museum at Florida International University, Miami, FL 1999 | “Waxing Poetic: Encaustic Art in America,” Montclair Art Museum, Montclair, NJ | “Forty Years of American Drawings,” Raab Galerie, Berlin, Germany 1997 | “Michael David and James Hyde,” Margulies Taplin Gallery, Coral Gables, FL 1996 | “Different Sides: Drawings/Photographs/Prints/Paintings/Sculpture,” Knoedler and Company, New York, NY 1994 | “Summer Group Exhibition 1994,” Knoedler and Company, New York, NY | “Michael David: Paintings / Nicholas Pearson: Sculpture,” Margulies Taplin Gallery, Boca Raton, FL 1992 | “Group Exhibition,” Knoedler and Company, New York, NY 1991 | “Group Exhibition,” Knoedler and Company, New York, NY | “Working with Wax: Ten Contemporary Artists,” Tibor de Nagy Gallery, New York, NY 1990 | “Heland Wetterling Gallery Shows Knoedler Gallery Artists,” Wetterling Gallery, Stockholm, Sweden | “Works on Paper,” The Harcus Gallery, Boston, MA 1989 | “Projects and Portfolios: the 25th Print National,” The Brooklyn Museum, Brooklyn, NY | “Important Works on Paper,” Meredith Long and Company, Houston, TX | “New Editions,” Pace Prints, New York, NY 1988 | “Golem! Danger, Deliverance, and Art,” The Jewish Museum, New York, NY | “1988 Invitational,” New Britain Museum of American Art, New Britain, CT | “Seventeen Years at the Barn: Highlights of the Edward F. Albee Foundation,” Rosa Esman Gallery, New York, NY 1987 | “Monotypes,” Pace Editions, New York, NY | “Working in Brooklyn / Painting,” The Brooklyn Museum, Brooklyn, NY

BERND HAUSSMANN

Untitled 1150 (My Secret Work), Mixed Media On Wood, 48 x 40 Inches, 2003

Haussmann was the artist-in-residence at the Broad Institute of Harvard and MIT, 2012 2015.

THRUSH HOLMES

Portrait of Tree with Wallpaper In New Circle Format, Mixed Media with Resin on Panel, 60 Inches, 2006

Moments of Canada 2, Mixed Media with Resin on Panel, 24 x 16 Inches, 2006

Moments of Canada 4, Mixed Media with Resin on Panel, 24 x 16 Inches, 2006

THRUSH HOLMES B. 1979 Lives and works in Toronto, Canada EDUCATION 2000 | Ontario College of Art and Design, Toronto, Canada | Opening Exhibition, The Studio, Welland, Canada

JIMMY Oâ&#x20AC;&#x2122;NEAL

Sama Rium Gown, Oil and Acrylic on Sanded Plexi, 72 x 60 Inches

ARTIST BIO EDUCATION MFA, Painting Savannah College of Art and Design, 2016 BFA, 1989 Illustration Savannah College of Art and Design, 1989 SOLO EXHIBITIONS 2018 | Jimmy O’Neal - solo exhibition: “Adrift Within A Long Loving Look”, Bill Lowe Gallery. Atlanta, GA 2016 | Jimmy O’Neal exhibition: “What Essence Was It, That Time Was Of”, SCAD. Savannah, GA | Jimmy O’Neal: Bill Lowe Gallery, Atlanta, GA 2015 | Jimmy O’Neal: LA International Art Fair 2014 | “Ahamkala”, Tennis Courts at Black Mountain College. Black Mountain NC 2012 | “Paradisio”, Bill Lowe Gallery, Atlanta, GA 2011 | Lucifren Fading, Studio installation, Alexander, NC 2009 | Siddhartha-vision of Sweet-Feed, Installation and Public Performance, Madison Arts Council, Marshall NC 2008 | Qualia, The Bill Lowe Gallery, Atlanta, GA 2006 | Shock and Awe, The Dangerfield Home, Hollywood, CA 2005 | Trumpets Gallore, The Bill Lowe Gallery, Santa Monica, CA. | Angel Web, The Bill Lowe Gallery, Atlanta, GA 2004 | Primacy of Movement, The Joie Lassiter Gallery, Charlotte, NC 2002 | Jimmy O’Neal: “Speculum”, Van Every Gallery, Davidson College, Davidson, NC 2000 | Decade, The Lowe Gallery, Atlanta, GA 1999 | Jimmy O’Neal: Indifferent Staves, Choreography Experiment, Carolina Theater, Charlotte, NC | Bid for Life, The Lowe Gallery, Atlanta, GA | O’Neal: Time Machines, Hero Space, Performance, Atlanta College of Art, Atlanta, GA SELECTED GROUP EXHIBTIONS 2015 | i feel ya: SCAD + André 3000 Benjamin, Savannah College of Art and Design Museum, Savannah GA 2014 | i feel ya: SCAD + André 3000 Benjamin, Art Basel Miami, Mana Miami Wynwood, Miami FL 2013 | “The Things We Know: Seven Conceptual Artist”, The Upstairs Art Space, Tryon NC 2010 | Graphic Abstraction, Sympathetic Magic, Moot Gallery, Hong Kong 2007 | Transporting Location, Rebecca Parker and Jimmy O’Neal, Dumbo Art Festival, Brooklyn NY Make it New, Asheville Art Museum, Asheville NC. Cross Currents II, Mint Museum of Art, Charlotte NC

2005 | Cross Currents, North Carolina Museum of Art, Raleigh, NC. | Group exhibition. Activating Space, Installation of EEG painting machine, Jacksonville Museum of Modern Art, Jacksonville, FL 2004 | The Domino Effect, The Santa Fe Art Institute, Sante Fe, NM | Twitch, College of Santa Fe, Santa Fe, NM 2003 | Painting4, Ingrid Calame, Katharina Grosse, Michael Lin, Jimmy O’Neal, | The Rose Art Museum, Brandeis University, Waltham, MA | Home Grown, SECCA (Southeastern Center for Contemporary Art), Winston Salem, NC. | Holographic Glances, SGF Atlanta, GA | Rites of Passage, Tenth Annual Art Exhibition at TrizecHahn, Charlotte, NC VISITING ARTIST/RESIDENCIES 2013 | Lincoln Center Institute International Educator Workshop, University of North Carolina School of the Arts. 2012 | The Intersections Project: Artist in Residence Southeastern Center for Contemporary Art, Selected artist for in high school artist residency program, Winston-Salem, NC AWARDS | Nomination for a Louis Comfort Tiffany Biennial Award, 2013 | The Annual Year in Review Award, Public Art Network, American for the Arts. 2012 | Wheels on the Bus in 7 Cymatic Sonatas, a public artwork commissioned by Charlotte Area | Transit System, has been named as one of the 50 best public art projects in the 2012 Public Art |Network Year in Review by Americans for the Arts. AFTA is the nation’s leading nonprofit organization for advancing the arts and arts education. The annual Year in Review program recognizes the most exemplary, innovative, permanent or temporary public art created in the past year. The 2012 Year in Review awardees were chosen from 393 works from 147 cities across 40 states and three countries. | DODO, Progressive Insurance Automotive X PRIZE, 2008 - Official entrant, presentation of 100 mpg hybrid car design. | Guinness book of World Records, 1995 - The World’s Largest Painting, as one of the founding members of the Southern Arts Revival group.

MARK PERLMAN

Untitled, Encaustic On Panel, 44 x 38 Inches

MARK PERLMAN BORN 1950 Pittsburgh, PA EDUCATION 1978 | Master of Fine Arts, West Virginia University, Morgantown, WA 1974 | Bachelor of Fine Arts, Eastern Michigan University, Ypsilanti, MI SELECTED SOLO EXHIBITIONS 2017-18 | Serbia Museum of Contemporary Art-Invitational, Serbia | Shasta Community College-25 year survey, Shasta, Ca | R.B. Stevenson Gallery, La Jolla, Ca. 2016 | Perlman/Kemp Collaboration, Sonoma County Museum Of Art, | R.B. Stevenson Gallery, La Jolla Ca. 2015 | Perlman-Eight large Encaustics –Montgomery, San Francisco, Ca. | New Work, Large Format, Fremont, Ca | Drawing Invitational, Inside /Outside Museum , Beijing, China | Ellins and Eagle-Smith Gallery, Solo Exhibition, San Francisco, Ca. | Laura Rathe Fine Art, Dallas Texas 2013 | Mark Perlman”A 25 year Survey” Sonoma State University | Pryor Gallery 3 person Exhibition, Atlanta, Ga. | Erdreich/White FIne Art, Boston, Ma. 2012 | Museum of Contemporary Art(Inside Outside) Beijing, China | RB Stevenson Gallery, New Encaustic Paintings, La Jolla, Ca. 2011 | Museum of Contemporary Art, Beijing, China | Sonoma Valley Museum of Art | Aurobora Press, San Francisco, Ca. | R.B.Stevenson Gallery, San Diego, Ca. 2010 | Addington Gallery,Chicago,Illinois 2008 | R.B. Stevenson Gallery, La Jolla,Ca. | Terrasanti, Two Person Ex.-Penngrove, Ca. 2007 | R.B.Stevenson Gallery, La Jolla,Ca. | State Capitol Invitational, Sacramento,Ca. | Seattle Art Museum-Bay Area Invitational,Seattle, WA | Aurobora Press, Two Person Ex., San Francisco,CA 2006 | Lowe Gallery, Atlanta, GA | Lowe Gallery, Santa Monica, CA

| University of Notre Dame, South Bend, IN 1990 | Tortue Gallery, Santa Monica, CA | Sena Galleries West, Santa Fe, NM | Amarillo Art Museum, Amarillo, TX 1989 | Moss/Chumley Gallery, Dallas, TX 1988 | Roy Boyd Gallery, Santa Monica, CA | James/Schubert Gallery, Houston, TX 1987 Mokotoff Gallery, New York, NY SELECTED GROUP EXHIBITIONS 2010 | Sonoma Museum of Art-Kemp/Perlman Collaboration, Sonoma, Ca. | Terrasanti- Kemp and Perlman-25 years of collaboration ,Penngrove,Ca. 2009 | Dan Addington Gallery-Chicago, Ill. | S.R.J.C. -Northern Ca. Encaustic Painters Invitational 2008 | Seatlle Art museum-S.F. Artists | State Capitol Invitational, Sacramento,Ca. | Seattle Art Museum-Bay Area Invitational,Seattle, 2007 | Aurobora Press, Inaugaural Ex, San Francisco, Ca. 2006 | Lowe gallery, Atlanta | Toomey Tourell, S.F. | R.B.Stevenson ,La Jolla ,Ca. 2005 | “Abstraction”, Aurobora Press, Bolinas, CA | 5 Person Invitational, The Museum of Contemporary Art, Santa Rosa, CA 2004 | Sonoma Museum of Visual Arts (SMOVA), Santa Rosa, CA | R.B. Stevenson Gallery, LaJolla, CA | Toomey/Tourell Gallery, San Francisco, CA | Sonoma State University Art Gallery, Rohnert Park, CA 2003 | R B Stevenson, San Diego, CA | Lowe Gallery, Atlanta, CA | Inaugural Exhibition, Lowe Gallery, Santa Monica, CA | “Underfoot,” Brazil Traveling Exhibit (2001-03)

| Eastern Louisiana University, New Orleans, LA

DAVID SHAPIRO

Origin and Return 54, Acrylic on Paper, 15 x 48 Inches, 2001

EDUCATION AND TEACHING EXPERIENCE 1944 | Born in Brooklyn, NY 1965 | Skowhegan School of Art Skowhegan, ME 1966 | Taught - John Herron School of Art Indianapolis, IN |BFA, Pratt Institute Brooklyn, NY 1968 | MFA, Indiana University Bloomington, IN 1968–1969 | Taught - Western Michigan University Kalamazoo, MI 1970–1971 | Taught - Pratt Institute Brooklyn, NY 1971–1972 | Taught - Barnard College New York, NY 1970–1977 | Taught - University of Bridgeport, New York, Connecticut 1974–1980 | Taught - Parsons School of Design New York, NY EXHIBITIONS 2012 | Nicholas Metivier Gallery, Toronto, ON 2011 | Nicholas Metivier Gallery, Toronto, ON | Perimeter Gallery, Chicago, IL | Allyn Gallup Contemporary Art, Sarasota, FL 2010 | Amy Simon Contemporary Art, Westport, CT 2009 | Nicholas Metivier Gallery, Toronto, ON 2008 | Aichi Prefecture Museum of Art, Nagoya, Japan | Bobbie Greenfield Gallery, Santa Monica, CA | Goya Contemporary Art, Baltimore, MD 2007 | Perimeter Gallery, Chicago, IL | Bobbie Greenfield Gallery, Santa Monica, CA 2006 | Numark Gallery, Washinton, DC 2006 | Nicholas Metivier Gallery, Toronto, ON | Allyn Gallup Contemporary Art, Sarasota, FL | Nicholas Metivier Gallery, Toronto, CA | Bobbie Greenfield Gallery, Santa Monica, CA 2005 | Perimeter Gallery – Chicago, IL | The Lowe Gallery, Atlanta, GA 2003 | The Lowe Gallery, Atlanta | Numark Gallery, Washington, D.C. 2002 | Mira Godard Gallery, Toronto 2001 | Sherry Leedy Contemporary Art, Kansas City | The Lowe Gallery, Atlanta

KEVIN SONMOR

Redland:2, Oil on Linen, 36 x 36 Inches,2006

Backdrop, Oil on Linen, 30 x 30 Inches, 2006

Stable Study, Oil on Linen, 30 x 30 Inches, 2006

Red Break, Oil on Linen, 24 x 24 Inches, 2006

Black Study, Oil on Linen, 30 x 30 Inches, 2006

Red Study, Oil on Linen, 16 x 16 Inches, 2006

Exhibitions 2013 | G’ddy Up!, Newzones, Calgary, AB 2013 | artMRKT San Francisco, San Francisco, CA, with Newzones | Dallas Art Fair, Dallas TX, with Newzones 2012 | The Education of Pegasus, Newzones, Calgary, AB | Simple Short Stories, Sherbrooke Fine Arts Museum, Sherbrooke, PQ | Galerie de Bellefeuille, Montreal, PQ | The Prairie Art Gallery, Grand Prairie, AB | G’ddy Up!, Newzones, Calgary, AB | Nature of the Beast, Macdonald Stewart Art Centre, Guelph, ON 2011 | G’ddy Up!, Newzones, Calgary, AB 2010 | Dallas Art Fair, Dallas TX, with Newzones | Lahey, Sonmor, Bartram, Macdonald Stewart Art Centre, Guelph ON | Nature Sublime, Addington Gallery, Chicago Il | Paintings, Galerie de Bellefeuille, Montreal, PQ 2009 | New Paintings, Leo Kamen Gallery, Toronto, ON | Addington Gallery, Chicago, Il 2008 | Paintings, Newzones, Calgary, AB (solo) | LA Art Show, Los Angeles, CA 2007 | G’ddy Up!, Newzones, Calgary, AB 2006 | Sunscreen 2006, Newzones, Calgary, AB | Art Chicago in the Park, with Newzones, Chicago, IL | Recent Paintings, Newzones, Calgary, AB (solo) | Recent Paintings, Gwenda Jay / Addington Gallery, Chicago, IL (solo) 2005 | Suite, Leo Kamen Gallery, Toronto, ON (solo) | Landscape X 9, Newzones Gallery of Contemporary Art, Calgary, AB 2004 | Failing Gravity, Art Gallery of Mississauga, Mississauga, ON (solo) | Paintings, Galerie de Bellefeuille, Montreal, QC (catalogue) (solo) | Paintings, Leo Kamen Gallery, Toronto, ON | Paintings, Newzones Gallery of Contemporary Art, Calgary, AB (solo) 2002 | The Landscape Perilous: Kevin Sonmor Paintings 1998-2002, Organized by the Mendel Art Gallery, Saskatoon, SK. Traveling to The Art Gallery of Southwestern Manitoba, MB; The McLaughlin Art Gallery, Oshawa, ON (catalogue)

| Œvres récentes: 1999-2002, Galerie de Bellefeuille, Montréal, QC (solo) | Cultural Sensations-North America, Coca-Cola, Atlanta, GE | Marks, Gestures, Symbols, White Mountain Art Academy, Elliot Lake, ON | The Affordable Art Fair, New York, with Newzones Gallery of Contemporary Art, New York City, NY 2000 | Still Lives, Newzones Gallery of Contemporary Art, Calgary, AB 1999 | Thick as Thieves, Leo Kamen Gallery, Toronto, ON | The Menlove-Goode Collection: Endgames, The Agnes Etherington Art Gallery, Queens Univ., Kingston, ON 1998 | The Journeyman, Newzones Gallery of Contemporary Art, Calgary, AB | Sites of Contention, Organized by the University of Waterloo, Waterloo, ON; Traveling to The Art Gallery of Sudbury, Sudbury, ON; The Art Gallery of Algoma, Sault Ste. Marie, ON; The Thompson Memorial Art Gallery, Owen Sound, ON 1997 | Wander, Leo Kamen Gallery, Toronto, ON | The Persistent Tradition-the Canadian Landscape, The University of Waterloo, Waterloo, ON | Wander, Leo Kamen Gallery, Toronto, ON 1996 | I’m in Awe of the Future, Deacon Ulrich Fine Arts, Calgary, AB 1995 | Paintings, O.K. Harris Works of Art, New York, NY | The Common Hand, Leo Kamen Gallery, Toronto, ON | Roland Reese, Kevin Sonmor, Deacon Ulrich Fine Art, Calgary, AB | Paintings, O.K. Harris Works of Art New York, NY | The Common Hand, Leo Kamen Gallery Toronto, ON 1994 | Recent Works, Recent Works Montreal, PQ | Recent Works, Waddington and Gorce, Montréal, QC 1988 | Reflections-Relocations, 2nd Story (Truck) Gallery, Calgary, AB (solo) | Systemic Re/Locations, The Works, Edmonton, AB 1987 | Systemic Re/Locations, Kozak Gallery, Toronto, ON 1986 | Prints by Painters, The Pumphouse Theatre, Calgary, AB | With Introspection, Walter Phillips Gallery, The Banff Centre Banff, AB

TOM SWANSTON

Park View, Acrylic, Silver Leaf, and Gold Leaf on Panel, Park View, 60 x 81 Inches, 2017

ARTIST STATEMENT The visual and spiritual coalesce in my surroundings, from which I draw much of my inspiration. For the past twenty years I’ve lived and worked on a 650-acre parcel of land, and have come to know well its history, creeks, and ravines. Seasons change in a profound manner – twice yearly, migrating sandhill cranes rest in the thermal that rises directly overhead. In this mystical setting, my favorite time of the day is sunset, when what you know to be true is evoked but not seen. It is that frame of mind that I capture – the twilight between observation and imagination. The materials I use span the history of technological innovation. Twenty-five hundred years ago, Coptic Egyptians attributed magical properties to the wax of bees; they heated it, added pigment to it, and used it to paint exquisite portraits of their dearly departed. Since 1981, the United States has launched space shuttles with skins made of aluminum honeycomb sandwich panels. These paints and panels, major technical achievements of their respective eras, are what I use to create my paintings. My work is the end result of an omnivorous search for meaning. It emerges from the love of many seemingly disparate elements, including the history, processes, and materials of art making; Nature with a capital “N,” then, with a small “n;” an everything-but-the-kitchen-sink approach to color; classic Haiku; the comical of shapes and things paradoxical; Technologies old and new; the spirituality of the natural world, and close observation of simple things come together to form the conceptual underpinnings of my work.

1990 | The Lowe Gallery, “Inner Visions of Space and Time”, Atlanta, GA | Parsons School of Design, “Ten Years Later”, New York, NY 1988 | Urban Institute for Contemporary Art, Grand Rapids, MI PUBLIC COLLECTIONS Almaty Esentai Park, Almaty, Kazakhstan 1010 Midtown Condominiums, Atlanta, GA Brigham and Women’s Hospital, Boston MA The Mansion, Atlanta, GA Alston Bird, Atlanta, GA Marco Island Spa, Marco Island, FL Ansley Country Club, Atlanta, GA Marriott, Austin, TX Marriott, Orlando, FL Marriott, New Orleans, LA Atlantis III, Paradise Island, Bahamas Callaway Gardens, Pine Mt. GA Chicago Intercontinental, Chicago, IL| JW Marriott, Washington DC Childress Klein Properties, Atlanta, GA Mass Mutual, Boston, MA Disney Yacht Club, Orlando, FL Mohegan Sun Casino, Uncasville, CT DLA Piper, Atlanta, GA Northside Hospital, Women’s Center, Atlanta, GA Drew, Eckill & Farnham, Atlanta, GA Liberty Mutual, Boston, MA Omni Hotel at CNN Center, Atlanta, GA EDL & Associates, Atlanta, GA Raines and Raines, New York, NY Embassy Suites Hotel, Lombard, IL Richmond Hyatt Regency, Richmond, VA Epstein, Becker & Green, Boston, MA Ritz-Carlton, Coconut Grove, FL Ethan Allen International, Danbury, CT Ritz-Carlton, Dubai

Ritz-Carlton, Key Biscayne, FL Euro Disney, Paris, France Ritz-Carlton, Ocoee, GA Fannie Mae, Atlanta, GA Ritz-Carlton, Naples, FL Fleishman-Hillard, Atlanta, GA Ritz-Carlton, Osaka, Japan Four Seasons, Jackson Hole, WY Four Seasons, Palo Alto, CA Four Seasons, Marrakech, Morocco Frito-Lay, Atlanta, GA Ritz-Carlton, Shenzhen, China GE E-Commerce, Atlanta, GA Rollins Sch. Public Health, Emory Univ., Atlanta, GA General Service Administration – PNH, Atlanta, GA Saks Fifth Avenue, New York, NY Goizueta Schl. Of Business, Emory, Atlanta, GA Scient, Atlanta, GA Grady Hospital,9A, Atlanta, GA Sterling Drug, Philadelphia, PA Grove Park Inn, Asheville, NC Raffles, Istanbul, Turkey St. Regis Hotel, New York, NY St. Regis Hotel, Atlanta, GA Hartsfield International Airport, Atlanta, GA SunTrust Corporation, Atlanta, GA Henderson’s Wharf, Baltimore, MD The Peninsula, Chicago, IL Toronto Intercontinental,Toronto, Canada Hilton Anatole, Dallas, TX Tremont Plaza, Baltimore, MD Hilton Hotels, Atlanta GA Lotte, Seoul, Korea W Hotel Midtown, Atlanta, GA Insignia Centennial Tower, Atlanta, GA The Waldorf Astoria, New York, NY IDI, Atlanta, GA

Westin Hotel, St. John USVI IXL Enterprises, Atlanta, GA Westin Hotel, Hilton Head, SC King Plow Arts Center, Atlanta, GA XL, Pembroke, Bermuda Yinchuan Kempinski, Beijing, China Appleton Partners, Boston, MA BIBLIOGRAPHY 2011 | Clinton Smith, “Designer Showhouse”, Atlanta Homes & Lifestyles (Feb) 2008 | Clinton Smith, “The Mansion,” Atlanta Homes & Lifestyles (August) | Georgia Dzurica, “Green EcoManor: Sustainable Style,” Veranda Magazine (May-June) | Lori Johnston, “Designs for Life and Work that Intertwine,” Atlanta Journal-Constitution (March 20) | LaTria Garnigan, “Painting the Town,” South Fulton Neighbor (March 19) | Rumaan Alam, “Three Green Homes,” Domino Magazine (March) | Clinton Smith. “Summer Simplicity: 2008 Designer Showhouse.” Atlanta Homes & Lifestyles (Summer) 2007 | Factory Girl. Pregnancy & Newborn Magazine (July) | Reinventing the Green House. Garden and Gun (Spring) | Building Green. The Atlanta-Journal Constitution (February 1) 2006 | Golden, Nichole. StudioSwan Features “new works.” The Newnan Times-Herald (November 17 | Campanella, Thomas J. A Workable Utopia. Metropolis (June 2006) | Lerner, Jonathan. Rustic Revolution in the Hill Country. Atlanta Peach Magazine (Winter) | Thomas, Mary Booth. Location, Location, Location. The Atlanta-Journal Constitution (September 9 | Image and listing. More To Do. The Ledger-Enquirer (May 4) | Image and write-up. Artist to Demonstrate at Pasaquan. The Tri-Country Journal (May 3) 2005 | Frank, Peter. Go: Gail Foster, Thomas Swanston, Tremain Smith. The LA Weekly (October 21-27) | Harral, Alyse. Blood, Sweat & Trim. Atlanta Homes and Lifestyles (October) | Laughinghouse, Amy. White Hot. Atlanta Homes and Lifestyles (March) 2004 | Cullum, Jerry. A Blending of Styles, The Atlanta Journal-Constitution (September) | Gleim, Sarah. Double Take for Art’s Sake, Atlanta Magazine’s Home (Fall) | Pendley Koser, Karin. An Art Museum within Its Walls, A+ (Spring) 2003 | Pendley Koser, Karin. Unconventional Art at the Georgia International Convention Center, Supplement to Atlanta Business Chronicle (March) | Cullum, Jerry. Art Seen and Heard, The Atlanta Journal Constitution (January) 2001 | Cullum, Jerry. Hot Spots, Georgia, Art Papers (July/August) | Jones, Jennifer. Bridging the Gap–With Art. The Northside Neighbor (May) | Klausner, Debra. Helping Children across the Bridge, The Gazette (May)

GABRIELE SCHNITZENBAUMER

Gabriele Schnitzenbaumer, “Cosmos”, Mixed Media on Canvas

VARIOUS ARTIST

Penny Dobson, “Sunflowers”

Edie Morton, Various Encaustic Works (1-6)

Edie Morton Ecologically inspired artworks that honor the natural world and promote environmental awareness “Edie Morton channels the energy and intricacies of nature into her encaustic paintings and sculptures. Using beeswax, pigments and natural objects she creates wondrous windows to private places. There’s a harmony derived from peaceful reflection and a gut-level understanding and appreciation of the rhythms of nature.” – Laura Goodman, Art Conservator

Edie Morton, Various Encaustic Works (1-6)

Julie Nellenbach, â&#x20AC;&#x153;Ox and Llamaâ&#x20AC;?, Works on Paper

Van Benschotin, Untitled, 12/82

Sheila Sullins, Untitled Abstract III, 36 x 24 unches, Mixed Media with Multiple Layers of Beeswax

Sheila Sullins, Untitled, 36 x 24 Inches, Mixed Media with Multiple Layers of Beeswax

Unknown Artist