CADENCE

CADENCE 1

CADENCE MICHAEL MARLOWE MARK POMILIO TRAVIS RICE JEREMY THOMAS DENISE YAGHMOURIAN ERIC ZAMMITT Bentley Gallery Exhibition December 17, 2021 - February 12, 2022 BENTLEY GALLERY | 215 East Grant Street, Phoenix, AZ 85004 | 480-946-6060 | www.bentleygallery.com

Famed jazz musician Count Basie once said, “If you find a note tonight that sounds good, play the same damn note every night!” The artists of CADENCE similarly extol the virtues of repetition. Across mediums of watercolor, fiber, steel, paint, acrylic plastic, and charcoal, each artist crafts distinct visual phrases that are multiply iterated in form, tone, or motion to impressive effect. Through pattern, rhythm, and repetition, the anomalous is amplified and the artist’s hand is brought back to fore.

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MICHAEL MARLOWE

Michael Marlowe is a studio artist, interior designer, and art director with previous experience as a production designer working in the film and television industry. He attended the University of Cincinnati’s College of Design Architecture and Art and Arizona State University, earning several degrees culminating in an MFA in set design for theater. He has been exhibiting nationally in both group and solo exhibition since 1982. In a distinct departure from his abstract approach to figurative representation, Marlowe’s latest body of work seeks to explore the blurry line between art and design.

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Michael Marlowe watercolor on paper 30 x 22.5 inches, each 2021

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Michael Marlowe watercolor on paper 30 x 22.5 inches, each 2021

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Michael Marlowe watercolor on paper 30 x 22.5 inches, each 2021

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Michael Marlowe R.1. watercolor on paper 30 x 22.5 inches 2021 17

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Michael Marlowe B.1. watercolor on paper 30 x 22.5 inches 2021 19

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Michael Marlowe Untitled 2 (Yellow 60 x 40) watercolor on paper 62 x 41.25 x 2 inches, framed 2021

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MARK POMILIO

Mark Pomilio’s method, motives, and conceptual considerations are centered on visually articulating recent developments in the life sciences. It is not his intent to condemn or celebrate these developments, but rather, to express their profound relevance within our current era. He has chosen to create imagery, which expresses a developmental process rather than an overt visual depiction. The origin of this research has been formulated through a series of simple geometrical equations. These equations have yielded a group of “parent” rudimentary geometrical forms. One or several of these forms are multiplied and folded equally throughout the pictorial field. Through this process, a formal, pictorial, structure is born. Therefore each image has evolved through the development of pictorial representations of geometric systems of growth. This “parent” form is representative and meant to emulate a single cell dividing and compounding into a complex organism. Therefore, within the image field, each decision is multiplied equally throughout the field, causing a type of visual unity. This balance and symmetry has a visual equivalency in how we read the meditative qualities of a reflective pool, or a religious icon. In the end, his goal is to force a harmony upon the image field that, in turn, forces a potential meaning through the integration of the image and title.

Pomilio has exhibited his work extensively across the United States and abroad.

His work is included in the permanent collections of Baylor University, Martin Museum of Art, Waco, TX; Dupont Corporation, Wilmington, DE; University of Arizona, Museum of Art, Tucson, AZ; University of Michigan, Ann Arbor, MI; in addition to many private collections. He currently lives and works in Arizona and teaches painting and drawing at Arizona State University.

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Mark Pomilio Primal I charcoal on paper 41.75 x 36.75 x1.75 inches, framed 2021 27

Mark Pomilio Primal II charcoal on paper 41.75 x 36.75 x1.75 inches, framed 2021 28

Mark Pomilio Primal III charcoal on paper 41.75 x 36.75 x1.75 inches, framed 2021 29

Mark Pomilio Primal IV charcoal on paper 41.75 x 36.75 x1.75 inches, framed 2021 30

Mark Pomilio Primal V charcoal on paper 41.75 x 36.75 x1.75 inches, framed 2021 31

Mark Pomilio Primal VI charcoal on paper 41.75 x 36.75 x1.75 inches, framed 2021 32

Mark Pomilio Primal I-VI charcoal on paper 41.75 x 36.75 x1.75 inches each, framed 2021

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Mark Pomilio Hemispheres oil on canvas (diptych) 27.25 x 21.25 x 1.75 inches, framed each 2020-2021

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Mark Pomilio The Forest From Within oil on canvas 61.25 x 36.25 x 2.25 inches, framed 2019-2021

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TRAVIS RICE

Travis Rice received his MFA from Arizona State University’s Herberger Institute for Design and the Arts. Influenced by his background in architecture, his work incorporates 3D modeling to create complex hard edge compositions that give an illusion of space through both form and materiality. This initial digital process allows forms to rupture, fracture, glitch, and pixilate, but the analog translation is meant to always bring the work back to being a primitive human process. Wandering between painting, drawing, and sculpture, Rice investigates various motifs inspired by the southwestern landscape; the butte, the mesa, and the plateau, incorporating media that test codes of taste through finish, color and application.

His interests lie in creating a language of image making that speaks to our current digital era, but roots itself in a historical context through analog translation.

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Travis Rice Wind Sculpt acrylic on panel 47.25 x 35.75 x 2 inches 2021

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Travis Rice Hoodoo acrylic on panel 47.25 x 35.75 x 2 inches 2021

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Travis Rice Poly Arch acrylic on panel 47.25 x 35.75 x 2 inches 2021

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Travis Rice Bridge acrylic on panel 47.25 x 35.75 x 2 inches 2021

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JEREMY THOMAS

For the past eighteen years, Thomas has focused on inflating steel objects. In that time, his understanding of this and why he does it has evolved from viewing his process as a metal sculptor to the exploration of atmosphere and air itself.

Air is measured and experienced through pressure and volume. This sets up a climate or prevailing set of conditions. This work is the visual experience of those conditions as applied to geometric constructs consisting of basic concrete geometry, stemming from the shapes found in the building blocks of life. These objects are grown more than fabricated.

Each work is specific to the dialogue between maker, material and each moment of inflation. creating a record of the object’s physical history within each crease, fold and mark. Within the random nature of inflation is set up a series of relationships between surface, form, structure, color, and process.

In our modern society, we are bombared continuously with color in marketing and imagery to affect our perceptions in our consumer economy. Color is used throughout commercial industy to objectify and manipulate. When these colors are removed from their original commercial contexts and re-appropriated by the individual, we are able to experience them viscerally, outside of these pretexts. This allows for a new experience, or reflection on past experience within the context of our color memory. Each object allows the viewer to explore and evaluate past experience in relation to these abstract objects, attempting to relate them to our current experience and climate.

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Jeremy Thomas Don’t you forget about me, Grey cold rolled steel, powder coat, and urethane 31 x 44 x 29.5 inches 2021

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Jeremy Thomas Sky Grey (Just Wait) cold rolled steel, powder coat, and urethane 32.75 x 41 x 46 inches 2021

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Jeremy Thomas Napthalene Magenta cold rolled steel, powder coat, and urethane 23 x 31 x 25 inches 2021

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Jeremy Thomas Clumsy Sky Grey cold rolled steel, powder coat, and urethane 34.5 x 47 x 33 inches 2021

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DENISE YAGHMOURIAN

Denise Yaghmourian is a painter, sculptor and installation artist who works with a variety of materials, including paper pulp, paint, thread, vinyl and found objects. Her works are hybridized forms, with methodological roots in past movements like Minimalism and Post-Minimalism, and a conceptual grounding in contemporary practices. The simplicity of her surfaces reveal a material-based sensibility. Conjoining the repetitive process inherent in machine-made items with laboriously repetitious handwork, Yaghmourian embraces the hypnotic and the meditative.

Yaghmourian received her BFA from Arizona State University in 1991. Her work has been exhibited extensively throughout the United States, including The Tucson Museum of Art, Phoenix Art Museum, Ceres Gallery in New York, Bogen Galerie in Sain Paul de Vence, France, and SOHO20 Chelsea Gallery in New York. Her work is in the public collections of Banner Desert Samaritan Hospital and The Institute for Mental Health Research. Denise Yaghmourian currently lives and works in Phoenix, Arizona.

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Denise Yaghmourian Aqua Field fabric, thread, eyelets on canvas 25.5 x 25.5 x 2.25 inches, framed 2020

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Denise Yaghmourian Green Field Night Sky fabric, thread, eyelets on canvas 25.5 x 25.5 x 2.25 inches, framed 2020

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Denise Yaghmourian Scattered Blue Field fabric, thread, eyelets on canvas 25.5 x 25.5 x 2.25 inches, framed 2020

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Denise Yaghmourian Black and Blue Field fabric, thread, eyelets on canvas 48 x 48 x 2.5 inches 2018

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Denise Yaghmourian Red Sky Field fabric, thread, eyelets on canvas 25.5 x 25.5 x 2.25 inches, framed 2020

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ERIC ZAMMITT

Eric Zammitt’s work alludes to the dynamics and interplay of dual elements: matter and energy, spirit and body, emotion and intellect. It is simultaneously about our Gestalt experience of the drama and beauty of creation, our intellectual fascination with its parts, and how they come together to create a whole.

One of the methods to express this interplay is by compounding complexes of patterned color into synergistic wholes. Color and pattern are primal to our history and survival.

They touch parts of us that are archetypal, rooted in nature, and infinitely curious. Zammitt employs abstraction and minimalism as ways to bypass the literal and go directly to metaphor, emotion, and the ineffable. At the same time, like classical music, which integrates intellect and emotion, his works are based in structure, rhythm, and a form of logic.

His works are part of many private and public collections including the Harris Gallery, University of La Verne, CA; Museum of Art and History, Eglash Collection, Lancaster, CA; and Los Angeles County Museum of Art, Los Angeles, CA. Zammitt currently teaches at the Art Center for Design in Pasadena.

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Eric Zammitt laminated acrylic plastic 2014 90 To Shore Yellow Left 23.25 x 9.25 x 3 inches 90 To Shore Yellow Right 23 x 9.25 x 3 inches 83

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Eric Zammitt BLUEGREEN 3 Aqua Convex laminated acrylic plastic 29.75 x 6.25 x 2.5 inches 2014 87

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Eric Zammitt YELLOWPINK Stripe Wedge laminated acrylic plastic 14.5 x 5.5 x 2.25 inches 2014-2021 89

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Eric Zammitt HAZE 5 laminated acrylic plastic 11 x 15.75 x 1 inches 2013 91

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Eric Zammitt BLUEGREEN 3 AQUA Wedge laminated acrylic plastic 14.5 x 6.25 x 2.25 inches 2014-2021 93

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Images courtesy of the artists and John Dowd at Clutch Photos BENTLEY GALLERY | 215 East Grant Street, Phoenix, AZ 85004 | 480-946-6060 | www.bentleygallery.com