Kathryn Markel Fine Arts at Oct. 1 – 4, 2015
On the cover: Deborah Zlotsky Once it started, 2015 Oil on canvas, 60 x 48 in.
Kathryn Markel Fine Arts New York City/Bridgehampton Booth # 207
October 1-4, 2015 George R. Brown Convention Center HALL A3 1001 Avenida De Las Americas Houston, Texas 77010
Mary Didoardo Mary Didoardo processes experiences into forms that make them intellectually and viscerally interesting. She coaxes ambiguities, avoids the literal, opting for a state of mind. The gesture in her works evoke heightened emotions and elements of time; her textures create space and psychological atmosphere. These paintings, drawings and sculptures are strenuously worked, heavily layered and evolve in their own time. It’s a balancing act performed through the sensuality of material.
Mary Didoardo Knot, 2015 oil on panel 14 x 11 in.
Deborah Zlotsky Zlotsky begins each painting with something incidental and personal — a few colors or shapes, a memory of a tangled pile of laundry or the movement of sunlight through her grandmother’s apartment. From there, she responds to relationships and discovers unanticipated proximities that fuel her decisions: correcting, repairing, adjusting, and connecting parts in a responsive process of accumulation and revision. Zlotsky’s language of forms and planes play with our assumptions. Some may appear solid, others hollow. Still others appear as open boxes, flaps out, or cubes stacked on top of one another. Our perspective is constantly challenged. Bold, unexpected colors punctuate the work and contribute to the dynamic space. In each torqued rectangle, another moment is revealed. Hints of under-painting, opaque planes and ghostly forms reveal histories of reversals, accidents and change. Drips and smears also mark time, leaving a visible trace of the artist’s hand. The paintings seem to have no beginning or end, with idiosyncratic forms flowing between flat and more dimensional space. Zlotsky draws us into a world where everything is connected.
Deborah Zlotsky Once it started, 2015 oil on canvas, 60 x 48 in.
Anne Neely Anne Neely’s work is centered on the process of painting as much as the ideas expressed. She works in abstraction, referencing nature and forming emotive images. She has created a language out of circles, squares and rectangles, which she uses to articulate mood and feeling. Neely’s concern for water issues has deepened her sense of purpose, transforming her paintings into curiosity-inducing scenarios often depicting imaginary water-scapes. Some of the paintings contain cross-sections of ground water and aquifers that move in and out of multiple points of view. Neely begins each of her paintings by pouring washes of paint over stretched linen. She then builds the surface with a series of marks, more layers of washes or drips of varying opacity, honing the depth and complexity of both the image and the subject. They strike a dynamic balance between spontaneity and intention, encouraging the viewer to make visceral connections.
Anne Neely Imagine, 2013-‐2014 oil on linen, 36 x 44 in.
Marcelyn McNeil Marcelyn McNeil starts her work by developing two or three simple forms based on their ability to engage one another and make for a dynamic relationship. Most often these forms are animated, leaning slightly towards the peculiar. Considering a sense of “flatness” plays a major role in her painting, though her compositions create space and volume. She synergizes dissonant elements of rigid lines and soft shapes, neutral tones and bright colors to make a bold, yet quietly confident statement. Her animated combinations of elements encourage a connection to the viewer and welcome a personal interpretation.
Marcelyn McNeil Stormy Weather, 2015 pigment on cut paper 22 x 22 in.
Fran Shalom “I am a modernist abstract painter with a pop sensibility. My works balance the formal with the playful, paring down shapes and ideas into their most basic forms. It is a search for clarity and humor, as is evidenced by the shapes and colors in my paintings: cartoony, bright, blobby. But, like life itself, there is an undercurrent of conflict beneath the whimsy, as reflected in the tension and interaction between the shapes. Ultimately, it is important that the viewer becomes involved with the paintings, tempting them to stay long enough with the images to connect to a narrative that is at once ambiguous yet taps into the specifics and subtleties of their own lives.”
Fran Shalom Speculate, 2012 oil on panel 24 x 24 in
Jeffrey Cortland Jones Jeffery Cortland Jones’ paintings have a fine, cool sense of simplicity. They are not concerned with telling a story, or weighty in heavy concept. These, like the great Minimalists of the '60's, are simply about the physical act of painting and the physical experience the viewer has with that creation. They sit patiently and quietly on a wall in a beautifully minimal room, waiting to be spoken to. When discussing his work, Jeffrey Cortland Jones describes his near constant preoccupation with presenting reinterpretations of forms, objects, and colors as optical exercises. These optical exercises serve to see things in ways that others—primarily his viewers who are not artists themselves—may otherwise take for granted, and to teach these others to see these things anew. Within these exercises, he works to explore the dynamics expressed between numerous different binaries: light and dark, matte and gloss, organic and geometric forms. The result of these explorations manifests themselves on his panels; some of the forms contained within—stacks of polygonal shapes, squares, and blocks—create a tension between each other. They seem to struggle for purchase, and some feel as if they are on the verge of toppling over; the work is geometric, and yet, not quite. Nothing is actually as orderly as it may have first appeared.
Jeffrey Cortland Jones Blushed (Charlo=e Some>mes), 2015 enamel, gesso, latex, and graphite on acrylic panel 48 x 36 in.
Dan Gualdoni Dan Gualdoni, born in St. Louis received his BFA in painting from Washington University and his MFA in painting at Otis Art Institute in Los Angeles, California. He worked as a lithographer at Gemini, Ltd, in Los Angeles in the late 1960’s. Following that experience, he co-founded the lithography workshop for Sam Francis in Santa Monica, California. After returning to St. Louis, he taught at Washington University, where he co-founded Washington University Printmaking Workshop and served as its first printer-collaborator. Since that time he has taught painting, drawing, printmaking, materials & methods, and 2 dimensional design at Washington University, St. Louis Community College, Webster University, and Fontbonne College while continuing to produce and show his own work. His work has shown throughout Missouri, as well as in Chicago, New York, Nashville, San Francisco, Los Angeles, Seattle, San Diego and Ireland and Austria.
Dan Gualdoni Coastal Redux #175, 2015 oil, printer's ink, glue medium on panel 20 x 27 in.
Marilla Palmer Marilla Palmer’s faux botanical studies are derived directly from shadows of handheld twigs and branches, and incorporate mushroom spores, pressed leaves and natural elements with theatrical embellishments made of sequins, glitter, holographic paper and beads. Her works on paper reflect her overall interest in combining natural elements with fabricated materials. Her mixed media collages humanize her subjects in a way that questions how what one puts on can shift the the perception of who or what one is.
Marilla Palmer Taupe and Metallic, 2015 ink, watercolor, silk, and pressed foliage on Arches paper 61 x 64 in. overall 6 works at 30 x 22 in. each
Sydney Licht
Sydney is interested in updating the conventions of still life by picturing things that reflect the way we currently live. Remnants of our consumer culture continue to find their way into her work. She is interested in modern domestic culture, and hyper focusing on how food packaging and interior spaces consume our lives. Through a continued focus on shape, pattern and color, she hopes to translate what she sees around her into works that articulate this aspect of our visual culture.
Sydney Licht Piles #3, 2014 oil on linen 16 x 16 in.
Yolanda Sanchez
Yolanda gathers her awareness of being and experiences of moving with and
living among other beings, places and things. It is her desire to become a more “finely tuned observer” and to live more in the moment. Yolanda Sanchez's expressionist paintings engage us with color as an experience. They allude to gardens, natural forms and joyful movements that act as references for enchantment and joie de vivre.
Yolanda Sanchez A Joyful Conversa>on, 2014 oil on canvas 59 x 110 in.
Rocío Rodríguez
Rocío Rodríguez's painYngs and drawings consist of opposing and divergent forces. She examines the process of painYng by taking apart her visual language and then reconstrucYng it anew from its various parts. In her work she quesYons the boundaries of abstract and illusionisYc space. Her composiYons express open narraYves that metaphorically suggest a world where nothing is fixed, differences are celebrated, and all is in the process of change.
Rocio Rodriguez November 21, 2014, 2014 pastel, oil pastel, and charcoal paper 18 x 24 in
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