STEWART GALLERY
FEBRUARY 27TH - MARCH 2ND
METROPOLITAN PAVILION
125 WEST 18TH STREET
NEW YORK, NY 10011
Wesley Anderegg
Outsider Fair 2025
Wesley Anderegg objects about the complex ceramic Wesley’s exhibition participated in countless been featured in Clay Figures” and The Artist as Social and “Hand built Craft.” His work is held Museum, the Archie in Minneapolis, Minnesota, mento, California, and the San Angelo country. He has also curated Columbus State .
Anderegg approaches his work from the perspective of the primitive sculpture artists, fashioning the world he knows and how he sees it. As an avid people watcher, Wesley has created a full and ceramic figurative world, combining dark humor and light spirits.
exhibition history is impressive by almost any standard. He has had over 25 solo exhibitions, and countless group exhibitions and art fairs all across the United States. In addition, his work has in Lark Books’ highly successful catalogue series three times – “500 Ceramic Sculptures”, “500 and “ The Best of 500 Ceramics”. His work has also been featured in “Confrontational Ceramics: Social Critic” by Judith Schwartz, “A Potters Handbook” by Glenn Nelson and Richard Burkett, Ceramics” from Lark Books. His work has also appeared in “Ceramics Monthly” and “American
in numerous public collections including the Renwick Gallery at the Smithsonian American Art Archie Bray Foundation, the Mint Museum of Craft and Design, the Fredrick R. Weisman Museum Minnesota, the Columbus Museum in Columbus, Georgia, the Crocker Art Museum in SacraCalifornia, and many others. He’s won awards at the Centennial Celebration at the University of Kansas Angelo Ceramic National in Texas, in addition to various other accolades in institutions across the curated exhibitions of ceramics and has lectured at UCLA, the Anderson Ranch Arts Center, University and the California Conference for the Advancement for the Ceramic Arts.
The attractions of ceramics lie partly in its contradictions. It is both difficult and easy, with an element beyond our control. It is both extremely fragile and durable. Like ‘Sumi’ ink painting, it does not lend itself to erasures and indecision.
Isamu Noguchi
installation
Stewart Gallery
Rider - front
Head Spinner
26” x 8” x 8”
hand-built ceramic wood base
Rider - back
Head Spinner
26” x 8” x 8”
hand-built ceramic wood base
Guitar Lady
10” x 5” x 3”
hand-built ceramic
Snake Oil Salesman
9” x 5” x 3”
hand-built ceramic
18” x 8” x 8” hand-built ceramic wood base
Flying Man
Surrounded by Pricks
16” x 8” x 8”
hand-built ceramic wood base
Gun Slinger
16” x 8” x 8” hand-built ceramic wood base
Nice Socks - front
Head Spinner
25” x 8” x 8”
hand-built ceramic wood base
Nice Socks -back
Head Spinner
25” x 8” x 8”
hand-built ceramic wood base
Rabbit
23” x 18” x 3” handbuilt ceramic
Man with Rabbit
23” x 18” x 3” handbuilt ceramic
Shooting Snakes
23” x 18” x 3”
handbuilt ceramic
Running Rabbit
23” x 18” x 3” handbuilt ceramic
Family - front
Head Spinner
37” x 24” x 18” hand-built ceramic medal base
Family - back
Head Spinner
37” x 24” x 18”
hand-built ceramic metal base
1957 Corvette - front Head Spinner
18” x 11” x 7”
hand-built ceramic medal base
1957 Corvette - back
Head Spinner
18” x 11” x 7”
hand-built ceramic medal base
Ring of Fire
12” x 18” x 10”
handbuilt ceramic wood base
Dragging my Crap Around 16” x 19” x 8” handbuilt ceramic wood base
Outsider Fair 2025
Andrea has been She embraces a from around the world. meanings. In her lation of the pandemic to address the changing the now “essential” lighted for the crucial to the essential worker piece Food Bank seum, Monroe, Louisiana.
Her newest series viewed as faceless tence along with can define an existence
They are Circling 17” x 13” x 15”” handbuilt ceramic
Andrea Gutierrez
working with needle, thread, and beads for over twenty years. long tradition of hand work to investigate both contemporary and historical cultural patterns world. Her meticulous technique produces intricate and de-tailed forms with multi-layered body of work, beginning in 2020, Andrea produced a series of small pieces describing the isopandemic using the imagery of single dwellings and familiar objects. This exploration allowed her changing cultural norms and shifts of the pandemic. She examined the growing perception of “essential” worker. Persons, who up until the pandemic were often invisible to many, were quickly highcrucial role they play in keeping society functioning. The transformation from the unseen worker worker is but one of many shifts driven by a pandemic that altered the lives of everyone. Her from this series was recently included in the 61st Annual juried Competition at the Masur MuLouisiana. Juried by Kerry Inman, owner of Inman Gallery in Houston, Texas.
(The Silence Beyond Human Endeavor) of embroidered and beaded pieces of women alone, faceless figures. - a conversation about the illusions created by social media and the cultural insisthe constant evaluation of our worth based on being looked at and being part of another, that existence from birth to death.
In the silence of the woods, it felt like I could hear the passage of time, of life passing by. One person leaves, another appears. A thought flits away and another takes its place.
Haruki Marukami
Women # 8
11.5” x 7.5” silk and cotton thread
Women # 7
4” x 5” silk and cotton thread
Women # 6
7.5” x 6.5” silk and cotton thread
Women # 2
2.5” x 5” silk and cotton thread vintage beads
Women # 9
4” x 8” silk and cotton thread
Women # 3
6” x 4”
silk and cotton thread
vintage beads
Women # 5
3.75” x 3.75” silk and cotton thread vintage beads
Women # 3
6” x 4” silk and cotton thread vintage beads
Women Hands
2.5” x 3.75”
silk and cotton thread
vintage beads
Women Hands with Book
3” x 3.5”
silk and cotton thread
vintage beads
House lV
3” x 3” silk and cotton thread
House ll
2” x 2.5” silk and cotton thread
Buildings
3” x 2.5”
silk and cotton thread
Single House
2” x 3”
silk and cotton thread
Stephanie Wilde
Outsider Fair 2025
Over four decades and the imperiled which the visual arts appeal to the senses, Wilde tends to work sometimes decades research supported context to inform combination of both Wilde received an for her most recent in 2017, and a Joan Governor’s Award the State of Idaho. Wilde received a research and then collections, including Victoria and Albert International, Port
decades Wilde has created works of art that tell stories of our shared humanity, individual dignity, imperiled environment. In creating series on such themes, Wilde is a seeker of rarefied moments in arts transfigure facts, figures, and political rhetoric, making of them universal statements that senses, emotion, and logic.
work in series exploring themes over extended periods, especially for series that span years decades of creation. Her approach to each project is painstakingly methodical, starting with supported by scientific, historical and literary sources, while relying on symbolism and historical a complex narrative. Wilde’s technique, incorporates ink, acrylic, gesso and gold leaf in a both painting and drawing.
an Artist in Residency Fellowship at Monte Azul Contemporary Art, Costa Rica in 2023 and 2025, recent project Treachery of the Common. Djerassi Resident Artist program, Woodside, California Joan Mitchell Foundation Grant, New York for painting in 2015. In 2002 she was awarded the for Artistic Excellence in the Arts and in 1999 a Mayor’s Award for Artistic Excellence from Idaho. She has received three Regional Fellowships from the National Endowment of the Arts. Work Site grant from the National Endowment for the Arts for travel to Scotland in 1994 for then created a series of etchings on the sacredness of trees. Wilde is in numerous public and private including the New York Public Library, Library of Congress, Harold B. Lee Library, Marriott Library, Albert Museum, Long Beach Museum of Art, Fresno Art Museum, Boise Art Museum, Wonderful Port Louis Embassy, Louis-Dreyfus Family Foundation and Allan Katz Americana.
“Whatiscommontothegreatestnumbergetstheleastamountofcare”.
Flora and Fauna
18” x 18” ink, acrylic, gesso and gold leaf
Bellwether
20” x 20” ink, acrylic and gold leaf
Bellwether detail
Mother of Thousand ll 20” x 20” ink, acrylic and gold leaf
Moving the Colony 12” x 12” ink, acrylic and gold leaf
Listening 24” x 24” ink, acrylic, gesso and gold leaf
Listening detail
The Black Madonna triptych middle panel 26” x 20” side panels 24” x 6” ink, acrylic, gesso and gold leaf
Tthe Black Madonna detail
Words / Possessed by the Furies triptych middle panel 13” x 13” side panels 6” x 6” ink, acrylic, gesso and gold leaf
STEWART GALLERY
2230 WEST MAIN STREET
BOISE, IDAHO
208 -433- 0593