R E YN O L D S F I N E A RT presents
The Line
For inquiries please contact:
Reynolds Fine Art 96 Orange Street New Haven, CT 06510 203.498.2200 info@reynoldsfineart.com
www.reynoldsfineart.com
Dennis Angel Las Vegas, NV
For the past thirty years, my desire to draw has been underscored by my interest in observation. Because of the patience and time required to complete detailed, perceptual drawings, the still life genre is the ideal vehicle for the undertaking of uninterrupted, optical investigations. By carefully arranging and lighting objects on a table top surface, I am able to analyse, record and manipulate subtle transitions in shape, tone, and edge in service of a heightened reality, a personal theatre of sorts. By choosing inexpensive plastic and metal items as my subject matter, I am asking the viewer to reexamine their definition of the mundane and to assess an object’s value on purely visual items. The process I have chosen for these drawings is metal point, a painstakingly unforgiving antique process, commonly used by artists in the 13th and 14th centuries. When properly layered, this process possesses a luminosity and delicate tonal range otherwise unattainable with any other graphic medium. Additionally, the use of metal point further divorces the object from its usual function, in a sense elevating it, while providing an intriguing contrast between the present and the past. By employing copper, silver, gold and platinum, different patinas are achieved over time as the metals slowly oxidize in reaction to the air around them, promoting subtle change long after the actual drawing is completed. Ultimately, I wish for my drawings to serve as quite, tender, and thoughtful records of acute optical experiences, embracing craftsmanship and formalism as fundamental criteria upon which standards of beauty can be evaluated and maintained.
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Anna Held Audette New Haven, CT
My paintings comment on the melancholy beauty found in relics of our industrial past. Both the literal and evocative meanings of these subjects strike a responsive chord in me and provide variations on a theme that has been central to my paintings for a long time. The relics remind us that, in our rapidly changing world, the triumphs of technology are just a moment away from obsolescence. Yet these remains of collapsed power have a strength, grace and sadness that is both eloquent and impenetrable. Transfigured by time and light, which render the ordinary extraordinary, they form a visual requiem for the industrial age.
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Cathi Bosco Madison, CT
Originally from Colorado, I currently live and work in Madison, Connecticut where I have been working full time from my creative design studio, C & D Studios for the last 15 years. As a working artist, illustrator, photographer, creative director and designer, the projects, subjects and work objectives have changed over time, but passion, artistry and skills have sharpened with new experiences, resources and challenges. My design tools include “old school� paper & pencil as well as many digital design programs. I have had the unique experience of being able to bridge the digital revolution throughout the information age as my body of work has evolved in parallel with the fluid development and implementation of technology. I am a merit scholar and graduate from The School of the Art Institute of Chicago where I studied 2,3 and 4-D Time Arts. I love drawing, Art and creativity. My studio is divided equally between digital and analog. I am currently publishing a series of picture books and designing for clients in print and on the web including drawing college mascots for colleges and universities for a large collection.
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Jane Catlin Hyde Park, UT
The point of departure for my work – in terms of both subject matter and conceptual organization – is the accelerating global impact of human activity on biological organisms and systems. I am equally fascinated and appalled by the processes and consequences of changes that take place not only within the interior and exterior forms of individual creatures, but throughout entire ecosystems. I am drawn to the widespread visual manifestations of these changes and, as it is such a crucial part of the preparatory research for all my work, am continually gathering images from popular culture, scientific texts, direct observation of nature and also contemporary design that I then use as – often only oblique – points of reference. These reference points then become the genesis for the creation of imagined environments through the juxtaposition of fragmented pieces of biological and non-biological/inorganic imagery. On the one hand, these illogical compositions refer to the adaptations through which organisms must go in order to adapt to the severe and rapid changes to which they are increasingly subjected. On the other hand, while they are my way of calling attention to the harm being done to our planet, the images are created to be so beautiful and compelling that they work for the viewer, as they do for me, as pure visual play.
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Beverly Gardner Milford, CT
Drawing is my playtime, my examination time, my crystal ball. I’m captivated by the contrasts of light and dark within the texture of tree bark. The surface created has so much complexity and it varies when appearing in space. The images are from my imagination. I love to show the viewer how some limbs appear to be flat, while others can have that awkward 3-D effect. Inventing them from my mind is always a challenge. It’s the discovery of the texture itself when shading that I appreciate the most. The part my drawings create drama and illusion for the viewer, as if they are looking up or through; the dominate theme in my work. The limbs are representative of the inner struggle I have to stay at that place of rest in my own mind. The bad which we need to let die and the good we should hold on to. It’s a positive message of life being a process of discovery. My invitation to the viewer is to stop, take a moment, and find that inner peace, while also appreciating the struggle.
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Robert Reynolds Stony Creek, CT
The most basic of the tools an artist has at his disposal are charcoal, graphite and ink. These three tools have been the foundation of my work since I began to have visual ideas. Manhandling and abusing these materials to demand an image have delighted me for years. The two “Ghost� images employ both dense ink and charcoal to delve into the subject. Using mans earliest drawing materials to search out the depth of these drawings brought me back 30,000 years to the cave drawings we all know so well of mysteries and beings or animals that are both familiar and exhilaratingly exotic in their subject and execution . Drawing has shown me more of the depth and wonders of image making than any other media. Erasers are a close second.
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Geoff Silvis Hartford, CT
These drawings were created with the intent to better understand the nature of a sketch. Primarily a realist, I’ve learned over years that a good drawing starts with a good sketch. Keep it light, and keep your eye moving. Always reevaluate. Since graduating college, I’ve lost sight of some of the meaningful lessons I had learned. To instil them once again, I have taken certain ideas to a level near obsession. With many initial sketches, lines fade over time, and will not be evident in the final product (Holding On). However, the contrast between the two drawings is simply determined by the lack of constant reorganization in Organizing the Chaos. No additional changes have been made to aspects such as proportion, balance, or continuity: therefore leaving the original sketch as visible architecture for the final product. The balance of fast, vigorous sketching, and the meticulous nature of retracing all of the original sketch lines in Organizing the Chaos creates a dynamic that forces me to rethink the urge to rush headfirst into finite details of a new drawing. Comparing the two images and the processes to create them, I have once again come to appreciate the delicacy and necessity of a truly accurate underdrawing.
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Rick Stevens Santa Fe, NM
My work may be seen as an open window to other realms. Its visual vocabulary has evolved from years of painting the landscape. Although I no longer consider myself a landscape painter nature continues to be my muse. I think of nature as a continuous flow of shapes and patterns of energy that has, or more precisely is, an intelligent force. Most modern day physicists will tell us that all the forces and particles in nature are one, just different ripples on the ocean of consciousness: a Unified Field. While acknowledging a debt to the abstract expressionists I don’t consider myself ‘of that school’. That movement tended to focus our attention upon the work as a thing in itself, identified with the art-process. While I wish to stay true to the modernist idea of process-oriented art, behind my shapes and colors on the picture surface there is always another realm, another order of meaning, however abstract that meaning may be. A sense of structure is important to me, but I avoid strong divisions. I require a certain ‘fluidity’ where everything is flowing into the next thing. My compositions are infused with an overall light that is all-inclusive. This doesn’t allow anything to be read as separate from the whole. There is diversity, just like in the natural world, but there is an underlying unity that is apparent. I sometimes use preliminary sketches as beginning compositions for paintings and pastels. Much of my process is improvised, allowing the work to evolve organically.
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Daphne Taylor New York, NY
In my Quilt Drawing series I honor my love of drawing and painting. Lines reminiscent of landscape and figure are embroidered, pieced and composed within frameworks ranging from open white spaces to complex color fields. The rich visual language of these lines and markings is influenced and restrained by the power of simplicity. Hand quilting is of great importance in my work because it is equivalent to the act of drawing. While the placements of fabric are composed geometrically, the quilting done on top is a loose, spontaneous act. My hand responds to the shapes in the cloth, creating a loose rhythm of shadow line that is simple, clear and meditative.
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Sandra Vlock Stony Creek, CT
When I’m traveling, the first thing that gets packed is a small sketchbook, 6B pencils, and a handful of pastels usually tossed into my yellow dry bag or backpack. It’s a happy ritual. This is my way to take it all in and “smell the roses,” stopping just long enough to be in the moment and drink deeply what I see and feel. Drawing for me is a private joy and the best way to connect with someone else. I love sketching with my daughter, Mira. On a family trip last November at the Hoover Dam, we found a perch and got busy drawing, oblivious to a huge crowd. Lots of people stopped to look at what we were doing but it was our special moment together. When I’m drawing like this, I feel centered, spontaneous and free to let the world in. One treasured memory was hiking in the remote Peruvian Highlands a few years ago. Sharing a sketchbook with a young boy was all I needed to make a new friend. We didn’t speak the same language and came from totally different life experiences—but we connected.
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Susan Weinreich Peekskill, NY
Susan Weinreich is an accomplished and gifted painter who has been exhibited across the nation. Diagnosed in 1975 with Paranoid Schizophrenia while attending the Rhode Island School of Design, Weinreich’s art is an example of heroic commitment, perseverance and personal healing. Her work both as an advocate for those less fortunate and as an artist has made much impact on the lives of many people and their energy. Weinreich’s art continues to evolve and inform us, as it often speaks and relates to the human condition. Susan Weinreich’s work is in the collection of countless individual’s, including Four Winds Hospital, Katonah, NY, The Eli Lilly Corporate World Headquaters, Indianapolis, IN and the William Jefferson Clinton Presidential Library, Little Rock, AK. Ms. Weinreich has spoken publicly throughout the U.S., Canada and Israel regarding her work and life since 1982.
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Injoo Whang New York, NY
My work examines the interconnectedness between the individual and the collective. I accumulate single pattern, cut-out paper or fabric to create bigger drawings or installations. When these tiny and seemingly insignificant individual pieces are gathered together, they generate a powerful existence as a collective body. I’m interested in creating visual illusion and the energy of the collective. The labor-intensive and meditative process is employed to highlight and pay homage to individuals and everyday activities of life. In framing art-production as labor, the discourse of my work derives not only from formal decisions but rather metaphysical exploration and the process of creating the work, beyond the physical appearance.
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Price List 1. Dennis Angel Mirari Metal point on paper
2,500
15. Robert Reynolds Drinking Ghost II Ink and charcoal on paper
1,500
2. Dennis Angel Ogive Metal point on paper
2,500
16. Geoff Silvis 400 Holding On Graphite on Canson paper
3. Anna Held Audette Wrapped Airplane Graphite on paper
1,300
17. Geoff Silvis 400 Organizing the Chaos Graphite on Canson paper
4. Anna Held Audette Magnolias Graphite on paper
750
18. Rick Stevens Flowing Spectacle Pastel on paper
5,100
5. Anna Held Audette Bees Graphite on paper
750
19. Rick Stevens 80-12 Pastel on paper
3,300
6. Anna Held Audette Mounted Rider Graphite on paper
800
20. Daphne Taylor Triangle Series #5 Graphite on paper
400
7. Cathi Bosco 3,000 Yellow Spiral Graphite and color pencil on paper
21. Daphne Taylor 400 Triangle Series #2 Silk fabric fragments, hand embroidered
8. Cathi Bosco 3,000 Pink Spiral Graphite and color pencil on paper
22. Daphne Taylor 400 Triangle Series #1 Linen, silk fabric fragments, hand embroidered
9. Cathi Bosco Shells Graphite on paper
4,500
23. Sandra Vlock Mount of Olives Pastel on paper
Not for sale
10. Jane Catlin Drift Crayon on linen
1,800
24. Sandra Vlock Moon Over Money Island Pastel on paper
Not for sale
11. Jane Catlin Coalesce II Crayon on linen
2,000
25-30. Susan Weinreich From the Flame Series Charcoal on paper
1,000 each
12. Beverly Gardner Tree Bark Study #11 Graphite on paper
400
31. Injoo Whang 3,800 Multiples Ink and watercolor on paper
13. Beverly Gardner Tree Bark Study #7 Graphite on paper
400
32. Injoo Whang 2,200 Yellow Infinity Ink and watercolor on paper
14. Robert Reynolds Drinking Ghost I Ink and charcoal on paper
1,500
2012 pricing. All prices are subject to change.