ECHO - LLOYD MARTIN, FRANK PHILLIPS, CAMERON WILSON RITCHER, AND ALAIN VAES

ECHO

a

group catalog

MARCH 3, 2023 - MARCH 24, 2023

ARTISTS FEATURED

LLOYD MARTIN

FRANK PHILLIPS

CAMERON WILSON RITCHER

ALAIN VAES

ECHO / ekō /

1. a sound or series of sounds caused by the reflection of sound waves from a surface back to the listener.

2. a close parallel or repetition of an idea, feeling, style, or event.

Page Bond Gallery is pleased to present the group catalog ECHO featuring artists: Lloyd Martin, Frank Phillips, Cameron Wilson Ritcher, and Alain Vaës.

As we transitioned to a virtual platform over the past several months, we were able to begin actively engaging online with new artists in and beyond Virginia. ECHO features work from artists new to the gallery in Martin, Phillips, Ritcher, and Vaës.

Throughout their artist statements, each painter describes the power that lies in editing compositions. Martin in his rhythmic arrangement of vibrant color, Phillips in his construction of “blueprint” compositions, Ritcher in his assemblage of found and recycled materials, and Vaës in his meditative creation of pattern paintings.

A focus on color, line, and repetitive form allows the paintings to evoke movement without imposing a concrete narrative.

While the twenty-four artworks range in subject matter and format, they share a framework that references structural organization, rhythm, and architecture. The collection of paintings, while often abstract, remains grounded in the real world and this structural framework allows the works to carry a sense of gravity and cohesion.

Opposite Page, from left

“We adore chaos because we love to produce order.”

M.C. Escher

Lloyd Martin, Orange Rift | Frank Phillips, Memo 2 | Alain Vaes, Tunami | Cameron Wilson Ritcher, Tripoley II

LLOYD MARTIN

Orange Riff, 2016

Oil on canvas

56 x 60 inches

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LLOYD MARTIN

Folio Weave, 2018

Oil on canvas

54 x 72 inches

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LLOYD MARTIN

Grey Quad, 2021

Oil on canvas

66 x 72 inches

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LLOYD MARTIN

Carbon, 2014

Oil on canvas

66 x 72 inches

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LLOYD MARTIN

Yellow Step, 2015

Oil on canvas

66 x 72 inches

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LLOYD MARTIN

Folio 8, 2016

Oil on canvas

66 x 72 inches

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LLOYD MARTIN

Folio 10, 2016

Oil on canvas

54 x 80 inches

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LLOYD MARTIN

Sheaved, 2017

Oil on canvas

60 x 66 inches

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LLOYD MARTIN

Artist Statement

These compositions have been derived from observations of architectural incidents. Unlike the reductionists interests of mid-century, (20th), painting and sculpture, these works do not contemplate an end game, a formal rigor that may suggest innate or static staging. Instead they may exact a capacity for incident and nuance. An implicit pictorial space advanced by a series of organized painting events.

Much of the process explores my ideas about staged “painting events”. Based initially on observations of architecture and nature’s interventions. Relationships evolve through process and compositional commitments. The painting’s components play a role in the evolution of the process as the manipulation of color and some given reductive elements serve the whole. The results of these actions may reveal the unexpected, alternating between some uniform deliberate constructions. The artifice may be breached by the unintended and the accidental.

LLOYD MARTIN

Abbreviated CV

EDUCATION

BFA Rhode Island School of Design, Providence, RI

SELECT EXHIBITIONS

2023 Lloyd Martin - William Campbell Contemporary, Fort Worth TX (upcoming)

2020 Monument - K. Oss Gallery, Detroit, MI (Postponed due to Covid 19)

2019 Lloyd Martin - Friesen Gallery Ketchum, Sun Valley Idaho

2019 Lloyd Martin – Incidental Structure William Campbell Contemporary Art,Fort Worth TX

2018 Lloyd Martin Ambit Friesen Gallery Ketchum, Sun Valley Idaho

2017 Lloyd Martin Robishon Gallery Denver, Colorado

2016 Lloyd Martin Cynthia Reeves, Mass MOCA Campus Gallery

Lloyd Martin Lew Allen Gallery, Santa Fe, New Mexico

2015 Interval Stux+Haller Gallery New York, NY

SELECT COLLECTIONS

The Cleveland Museum of Art, Cleveland, OH

Museum of Art, Rhode Island School of Design, Providence, RI

The Federal Reserve, Washington DC

Mead Art Museum, Amherst, MA

Bannister Gallery, Rhode Island College, Providence, RI

International Collage Center, Milton, PA

University Art Museum SUNY, Albany, NY

UCLA Medical Center, Los Angeles, CA

Fidelity Investments, Smithfield, RI

Saks Fifth Avenue, New York, NY

The Sovereign, New York, NY

MGM Grand, Las Vegas, NV

Wellington Management Company, Boston, MA

FRANK PHILLIPS

Memo 2, 2017

Acrylic and pencil on canvas

70 x 52 inches

$8,000

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FRANK PHILLIPS

Smudge Pot, 2012

Acrylic and graphite on canvas

68 x 62 inches

$9,000

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FRANK PHILLIPS

Roscoe, 2013

Acrylic and pencil on canvas

62 x 50 inches

$7,000

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FRANK PHILLIPS

508, 2014

Acrylic and graphite on canvas

60 x 84 inches

$10,000

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FRANK PHILLIPS

Mezz, 2019

Acrylic and graphite on paper

22 x 16 inches

$1,250 framed

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FRANK PHILLIPS

NM, 2016

Acrylic and graphite on canvas

76 x 60 inches

$9,000

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FRANK PHILLIPS

Artist Statement

My work uses a flat plane to convey the visual ideas of construction, mass, and volume. The formally arranged imagery is all invented, but takes cues from architecture and engineering (materials and the structures themselves), as well as the erosion and the decay of perceived ruin. The display of process is an integral component to the work; it tracks the time, mistakes, revisions, and the experience used to arrive to a resolved composition. The end results are pieces that embrace surface and relate the ideas of: the used, the weathered, the discarded, and the beaten. I aim to create a quiet calm to the work that is still able to convey a stoic presence.

At its core, the compositions are about physicality and decision making. The immediacy of drawing and painting allows me to attack spaces on the canvas. The size of the plane forces me to use my entire body; the act of painting, drawing, erasing, and sanding all require a certain balance of touch and force. One idea completion may necessitate removal, thereby initiating another physical activity. As an artist, I need the action, and the work needs to be work; the labor is chronicled in the surface as removed elements are never really gone, only ghosts of the materials’ (pencil, charcoal, and paint) permanence.

Compositions are constructed primarily with line. Line acts as a device for the illusion of suspension as well as enclosing or mapping a shape. There emerges a printmaking look to the surface (at times with embossed marks) achieved through rubbings and other treated materials. Subsequently, the compositions read as a sort of blueprint. The line-play between the “exact” straightedge is offset by the “imperfect” hand and creates a diagrammed visual tension.

FRANK PHILLIPS

Abbreviated CV

EDUCATION

MFA, Maryland Institute College of Art

B.A., Hobart College, (High Honors)

SELECT EXHIBITIONS

2023 Solo Exhibition, Quirk Gallery, Charlottesville, VA

2022 Solo Exhibition, Hidell Brooks Gallery, Charlotte, NC

“Color Notes,” Solo Exhibition, George Gallery, Charleston, SC

2021 POETS Group Exhibition, Page Bond Gallery, Richmond, VA

Selected Work, Two-Person Exhibition, Colthurst Gallery, Charlottesville, VA

2019 “Pentimento,” Solo Exhibition, Shockoe Artspace, Richmond, VA

“Intro7,” Hidell Brooks, Charlotte, NC

“Those Who Can,” Group Exhibition, Marshall Arts, Memphis, TN

“Continuum,” Solo Exhibition, The George Gallery, Charleston, SC

2018 “Too Much of Too Much,” Juried Exhibition, McLean Project for the Arts, McLean, VA

SELECT COLLECTIONS

U.S. Embassies, U.S. Department of State

AWARDS & HONORS

2018 Juror Prize for FROM 500 SKETCHES*, “Too Much of Too Much” Exhibition, McLean Project for the Arts

2017 Olsson Sabbatica

2016 Cochran Mastership for Fine Arts for Excellence in Teaching

2014 Robert E. Latham Mastership for Excellence in Teaching

2013 Excellence in Teaching Art Mastership

2012 Cochran Mastership for Fine Arts for Excellence in Teaching

2009 Cochran Mastership for Fine Arts for Excellence in Teaching

2006 Excellence in Teaching Art Mastership

2005 Faculty Incentive Award for Excellence in Teaching

2002 Norman Farquhar and Gordon N. Farquhar Mastership for Excellence in Teaching

1997 Arthur Dove Award for Excellence in Studio Art

CAMERON WILSON RITCHER

Tripoley II, 2022

Mixed media on cut + assembled wood panel

74 x 62 inches, orientation variable

$12,500 framed

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CAMERON WILSON RITCHER

Opportunity Knocks, 2022

Mixed media on cut + assembled wood panel

50 x 38 inches, orientation variable

$5,800 framed

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CAMERON WILSON RITCHER

Sugar Grove, 2023

Latex, 24k gold leaf, and mixed media on cut + assembled wood

50 x 38 inches, orientation variable

$5,800 framed

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CAMERON WILSON RITCHER

Black Jack, 2023

Latex and mixed media on cut + assembled wood

50 x 44 inches, orientation variable

$6,500 framed

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CAMERON WILSON RITCHER

Artist Statement

Often, the greatest innovations come not from abundance but from scarcity. We can recall examples of this in almost any aspect of our culture: architecture, music, food. Some of the most inventive culinary strategies were originally conceived out of economic or agricultural dearth.

I like to play a game in the studio where the only rule is that I cannot buy new materials. Instead, I try to convince myself that there is already a good painting somewhere in my studio, in the heaps of scraps from previous works and housing renovations and rusted buckets of salvaged house paint. While my marks maintain a child-like innocence, the weathered materials evoke nostalgia. When combined with the structural organization of the pieces, this suggests an urban, industrial history, and yet does not impose any concrete narrative on the viewer. The process of painting, cropping, and reassembling allows me to synthesize disparate ideas, in order to create works that are simultaneously spontaneous and available to the accident, yet is entirely within my control.

Of course, my work does not exist within a vacuum and it is only responsible for me to think of what impact my work may have on the world. I know, at my core, that I was designed for a very specific job: making paintings, simply for the sake of making paintings. I feel an intense and spiritual excitement and curiosity while making my work. Maybe it is a glimpse of heaven. My hope is that the viewer would feel at least a fraction of that.

CAMERON WILSON RITCHER

Abbreviated CV

EDUCATION

B.S., Studio Art, James Madison University

SELECT EXHIBITIONS

2023 Two Person Exhibition, TEW Galleries, Atlanta, GA

2023 Solo Exhibition, Hidell Brooks, Charlotte, NC

2023 25th Anniversary Exhibition, Hidell Brooks, Charlotte, NC

2022 Class of ’22, Sorelle Gallery, Westport, CT

Vivid Views, Sorelle Gallery, Westport, CT

Good Will (group show), Page Bond Gallery, Richmond, VA

SELECT COLLECTIONS

Braden Holtby (Former Goalie of the Washington Capitals)

McKesson Corporation

Della Watkins (Director of the Columbia Museum of Art)

James Madison University School of Integrated Science and Technology

James Madison University School of Art Education

AWARDS

Honorable Mention - Riverviews Artspace Annual Juried Show, Lynchburg, VA

Award of Merit - Edna Curry/John Bower Exhibition, Bedford, VA

Jay D. Kain Scholarship in Art Education

Marion Park Lewis Foundation Scholarship

JMU Studio Art Achievement Award - Painting Concentration

Juror’s Award - James Madison University Undergraduate Juried Show 2015

Juror’s Award - James Madison University Undergraduate Juried Show 2016

ALAIN VAES

Blue jays and Grapes, 2011

Acrylic on canvas

50 x 46 inches

$8,500

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ALAIN VAES

Run of the Salmon, 2011

Acrylic on canvas

72 x 60 inches

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ALAIN VAES

All Seagulls, 2013

Acrylic on canvas

50 x 46 inches

$8,000

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ALAIN VAES

Cactus wren, 2011

Acrylic on canvas

40 x 40 inches

$4,000

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ALAIN VAES

Water Lilies and Carps, 2011

Acrylic on canvas

55 x 47 inches

$7,500 framed

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ALAIN VAES

Tunami, 2018

Acrylic on canvas

72 x 60 inches

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ALAIN VAES

Artist Statement

I am drawn to depicting dense scenes populated by the beautiful and the hideous, where the dominant pattern slowly reveals the presence of a rich natural world filled with flowers, plants, animals and insects, slightly ominous, luscious and teaming with life.

The repetition of the tension between prey and predator such as in “Crows and Toads” interests me.

On a formal level, I like the abstraction created by a repeating pattern. Familiar with the work of M.C. Escher and William Morris, I am intrigued by the idea of a single composition repeating as a tessellation. In mathematics, to tessellate is to cover a plane by repeated use of a single shape without gaps or overlaps.

Each painting in this series is made up of an individual composition replicated many times, as in fabric or wallpaper. Only the size of the canvas limits a pattern that could go on indefinitely.

Painting the same thing over and over again is a meditative process that comes with an array of feelings and surprises. As I execute each repeat, the result evolves in various ways. It is my hope that the paintings do not appear static, but evoke movement and energy and intrigue the viewer.

ALAIN VAES

Abbreviated CV

EDUCATION

Ecole des Arts Decoratifs de Nice

Ecole des Beaux-Arts de Montpellier

SELECT EXHIBITIONS

2018 Secrets of The Twisted & Entwined (group show), RJD Gallery, Bridgehampton, NY 2011

Alain Vaes: New Paintings, George Adams Gallery, New York, NY

2010 Alain Vaes: Watercolors, George Adams Gallery, New York, NY

SET & COSTUME DESIGN

Boston Ballet

Charlotte Ballet

Cincinnati Ballet

Fort Worth-Dallas Ballet

Kansas City Ballet

National Ballet of Flanders

New York City Ballet

Pennsylvania Ballet

Richmond Ballet

Royal Danish Theater

Sacramento Ballet

SELECT PUBLICATIONS

The Porcelain Pepper Pot, Little, Brown and Company

The Wild Hamster, Little, Brown and Company

The Steadfast Tin Soldier, Little, Brown and Company

The Princess and the Pea, Little, Brown and Company

Puss in Boots (in collaboration with Lincoln Kirstein), Little, Brown and Company Reynard the Fox, Turner Publishing.

29 Bump Street, Turner Publishing.

SELECT COLLECTIONS

The French Government

Anne H. Bass

Lincoln Kirsten

LLOYD MARTIN, FRANK PHILLIPS, CAMERON WILSON RITCHER, & ALAIN VAES

Catalog Design

Rachel Crawford, Registrar

Back Cover

Cameron Wilson Ritcher, Sugar Grove (Detail), 2023

For inquiries, please email us at page@pagebondgallery.com