PAINTING AND MIXED MEDIA
THE LIONHEART GALLERY
TABLE OF CONTENTS INTRODUCTION GEOFFREY STIEN Kings and Queens of Late Night Paintings Credit Crunch
3 5 13 23
JO HAY Rabbitude
29 31
BETSY PODLACH Figure Paintings Animal Paintings Floral Paintings
41 43 63 69
DON BRACKEN Dirt Paintings
81 83
DAVID HUTCHINSON Words Are Elves Elf Paintings Strange Hell of Beauty Poetry Series Jean Genet Works
99 101 107 111 117 123
SERGE STROSBERG Tales of the Highline Sins of Paris Paintings
129 131 141 147
SUSAN POWERS Paintings
153 155 161 163 169
PHILIPPE HALABURDA Imaginary Mindscapes Unstretched Canvasses
WHIT CONRAD Playing What’s Not There Paintings
179 181 193
KAREN VOGEL Postscript Works on Panel
201 203 213
CONSTANCE OLD Analog
221 223
CLAUDIA MENGEL Paintings
237 239
HELEN CANTRELL Large Works Medium Works Small Works DARIO CAMPANILE Paintings
245 247 257 261 271 273
MIREILLE DUCHESNE Paintings
281 283
LESLIE GIULIANI Coded Narratives
293 295
THE LIONHEART GALLERY
The Lionheart Gallery in Pound Ridge, New York is located in Northern Westchester’s Hudson River Valley on the border of Stamford and New Canaan, Connecticut. The Lionheart Galley has beautifully lush grounds with a pond and a aviary garden. Gallery Director Susan Grissom curates each exhibit from work chosen from the artists’ studio. We have eight exhibitions a year. Our inventory consists of painting, printmaking, fine art photography,Mixed Media and Sculpture. We also have a small works library with affordable works of art, art books, and art gifts. Our hours are Wednesday thru Saturday from 11 to 5 and Sunday from 12 to 5. and by appointment. Those traveling a distance would be advised to call ahead, as the gallery is occasionally closed for private viewings with collectors. Group visits welcomed with notice.
OUR SWEET SPOT: PAINTING AND MIXED MEDIA The Lionheart Gallery’s approach to nurturing painters and mixed media artists can be summed up by two quotes with an affinity that might not be apparent: “Through a painting we can see the whole world” (Hans Hofmann), and “A painting that doesn’t shock isn’t worth painting.” (Marcel Duchamp) Artists represented and exhibited by the gallery favor diverse styles and media, but share a passion for creating works that represent portals to captivating places—sociopolitical commentary, nature personified with swagger, literary allusions with the power of a novel, even distillations of almost pure thought. In transporting viewers, the gallery’s artists may not shock to the degree Hofmann implicitly suggests, but they achieve an artistic frisson that them in the vanguard of contemporary art pushing from what’s now to what’s next—resulting in an ideal equation for collectors, interior designers, and art advisers. These works have dynamic appeal, bring a dramatic presence to any space, and possess inherent value. “Recovering lawyer” Geoffrey Stein’s recent large scale, mixed media collage portraits of late night TV’s comics and pundits offer razor-sharp commentary on contemporary American culture and politics. The New York Times praised painter Betsy Podlach’s figurative nudes for combining “the classicism of the Renaissance with the potency of expressionism.” Painter Whit Conrad’s dreamlike images harness both sociopolitical commentary and figurative tendencies on their way to unique destinations. Philippe Halaburda, who comes from the South of France, creates large abstract works that resemble maps of fantastical cityscapes, filled with implied architecture and topography to channel emotive themes of love, beauty, crisis and death. Inspired by French literary tradition, specifically Jean Genet, David Hutchinson choreographs abstract works, large and small, that are built with a new coded visual language. Donald Bracken’s work packs a tactile punch. His “dirt” paintings of scenes including farmers in the field were inspired by Dorothea Lange photographs, and Constance Old uses an old form—rug hooking—to transform contemporary materials like paper and plastic into three dimensional works commenting on the excesses of the consumer economy. Read on to explore in greater detail the work of these and the gallery’s other painters and mixed media artists, and get in touch with any questions at 914.764.8689. The gallery’s website is www.thelionheartgallery.com. Susan D. Grissom, Gallery Director
GEOFFREY STEIN
Geoffrey Stein is a recovering lawyer, who has been painting full-time since 2000. He received an MFA from the Slade School of Fine Art, London in 2007. Stein lives and paints in New York City. He is represented by the Lionheart Gallery in Pound Ridge, NY and the Minster Gallery in the UK. I paint to find out what I think about the world: to discover the things I do not have words for. I savor the slips of the hand that express one’s unconscious feelings. I am interested in the tension between abstraction and realism. I do not want to make an academic copy of the model or a photorealistic illustration. My paintings explore the tension between what needs to be shown and what does not, the seen and the unseen. In my studio practice I utilize collage as a formal element. It provides a way of putting down tone or erasing previous marks. There is a randomness in collage; the secondary meaning in the text or image becomes an important part of the finished work. Collage allows me to layer multiple images over the scaffolding of a drawing. I use materials from the subject’s world to create their likeness.
KINGS AND QUEENS OF LATE NIGHT
GEOFFREY STEIN
6
Stephen Colbert, 2016 Collage material from The New York Times, acrylic, gesso and pencil on canvas 60� x 48�
7
John Oliver, 2016
Collage material from The New York Times, USA Today and the London tube map, acrylic, gesso and pencil on canvas
60� x 48�
8
David Letterman, 2016 Collage material from The New York Times, acrylic, gesso and pencil on canvas 60� x 48�
9
Jay Leno, 2016
Collage material from The New York Times, Hemmings Motor News and photocopies from Classic and Sports Car and Thoroughbred Classic Cars magazines acrylic, gesso and pencil on canvas
60� x 48�
10
Bill Maher, 2016 Collage material from The New York Times, and photocopies of High Times magazine, acrylic, gesso and pencil on canvas 60� x 48�
Left to Right: Amy Schumer Bill Maher Chelsea Handler Jay Leno John Stewart John Oliver David Letterman Samantha Bee Stephen Colbert Trevor Noah All are 60” x 48”
PAINTINGS
GEOFFREY STEIN
14
Blue Couch, 2008 Collage and Acrylic on Canvas 48” x 48”
15
BB Green Coat, 2015 Acrylic on Canvas 28” x 24”
16
BB Green Sunglasses, 2015 Mixed Media and Collage on Canvas 24” x 18”
17
Belle, 2015 Acrylic on Canvas 24” x 18”
18
Ghost Blonde, 2012 Acrylic on Canvas 24” x 18”
19
Seen and Unseen, 2012 Oil and Acrylic on Canvas 48” x 36”
20
Red Couch Observer, 2013 Mixed Media on Canvas 33.75” x 22.75”
Left to Right BB Green Coat BB Green Sunglasses Belle
28” x 24” 24” x 18” 24” x 18”
Ghost Blond Blue Couch Seen and Unseen
24” x 18” 48” x 48” 48” x 36”
Re-Pose Red Couch Observer
48” x 84” 33.75” x 22.75”
CREDIT CRUNCH
GEOFFREY STEIN
24
Shelia Blair, 2010 WSJ Collage, Acrylic and Oil on Canvas 30” x 30”
25
Elizabeth Warren, 2012 Collage from the Dodd-Frank Act authorizing the creation of the Consumer Financial Protection Bureau and Acrylic on Canvas 24� x 36�
26
Trump Bankruptcy Portrait, 2015 Mixed Media and Collage on Canvas 62” x 72”
27
Jamie Dimon, 2015 Mixed Media and Collage on Canvas 30” x 30”
28
Madoff, 2009 SEC and Dept. of Justice complaints against Madoff & Acrylic on Canvas 30” x 30”
JO HAY
Jo Hay was born in Newcastle Upon-Tyne, England in 1964. In 1982 she began a BA course at Middlesex University in London. After graduating in 1986, Hay was employed as a designer at Elle magazine in London, UK. After four years she moved to New York City. On arrival, Hay became senior designer of Allure, Conde Nast’s beauty magazine and in 1992 she was chosen as art director for Elle Decor, an international interiors magazine. In the evenings and weekends Hay began attending classes at the Art Students League of New York, an art school steeped in formal study of the figure. At this time, while living in the Greenwich Village, Hay became aware of the presence of transsexuals, transvestites, as well as transgendered men and women. These glamorous, provocative characters initiated her exploration of gender and sexual identity in her portraits of the human figure. In 1994, Hay left the corporate world and began painting full time. In 2003 Hay moved to Provincetown, MA, home of the oldest art colony in the United States. She was the first recipient of the Lillian Orlowsky and William Freed Foundation Grant. The Provincetown Art Association and Museum, a nationally recognized organization accredited by the American Association of Museums, awarded it in 2010. Returning to Manhattan in 2010, she was accepted into the New York Academy of Art MFA program. She graduated with honors in 2012 from this figurative based school and was awarded the New York Academy of Art Portrait Scholarship. “My portraits examine our psychological and biological perception of gender. They explore a fascination that arises in me when both male and female characteristics are clearly present in one person, either biologically or artificially. Since childhood, when I first witnessed the flamboyantly styled and often androgynous members of UK glam rock bands of the 1970’s, I have been captivated and delighted by the visual and emotional confusion that gender duality produces. I find an encounter with a figure that holds the possibility of both sexes jarringly potent and hypnotically seductive. To fully reflect the overwhelming physical and emotional charge I feel from this allure I make large-scale paintings. Focusing on maintaining a strong sense of anatomical form I let some areas of the painting fall away into abstraction in an effort to reflect the dissolving and resolving nature of gender in flux. With an over-sized portrait scale, clean color mixes and dynamic paint marks, I wish to engage the viewer in a comparable disarming seduction with my subject. As a figurative painter, I initially imagined the rabbit paintings would be purely experimental. I very quickly realized that they are equally relevant portraits in themselves. My work is dependent on a variety of paint marks made with different sized brushes and tools. Along with color, the scale and position of these marks is responsible for the vigorous visual activity that I want in all of my work. The rabbits are a place for me to find new ways of constructing a living figure without being concerned with likeness or gender. Instead it forces me to closely examine each rabbit’s personality differences to make each portrait unique. This focused study also helps me to achieve strong anatomical structure and it gives me time to contemplate my unequivocal belief in animal consciousness”.
RABBITUDE JO HAY
32
The Thin White Duke, 2016 Oil on Canvas 60” x 48”
33
Starman, 2016 Oil on Canvas 60” x 48”
34
Blue Jean, 2016 Oil on Canvas 60” x 48”
35
Nelson, 2015 Oil on Canvas 30” x 24”
36
Zephyr, 2015 Oil on Canvas 48” x 36”
37
Dylan, 2016 Oil on Canvas 14” x 11”
38
Hermione, 2016 Oil on Canvas 14” x 11”
Left to Right Blue Jean The Thin White Duke Starman
60” x 48” 60” x 48” 60” x 48”
Dylan Hermione Rocket Man Little Wonder
14” x 11” 14” x 11” 14” x 11” 14” x 11”
Hercules Nelson Zephyr
30” x 24” 30” x 24” 48” x 36”
BETSY PODLACH
Artist Betsy Podlach was born and raised in Bedford, NY before her artistic evolution took her from Harvard University, where she was a National Merit Scholar and a Watson Scholar, to stints as a Visiting Artist in Umbria, Italy. At the beginning of her professional career, Betsy’s work was collected by the Princess Donnatello Borghese of Rome, who was so impressed with her work that she invited Betsy to return the following summer, and provided her with an apartment and studio within her family castle near Rome. Betsy also credits numerous scholarships from Harvard and the New York Studio School as well as the International School of Art in Umbria with allowing her to take time to develop her craft. My still lives and landscapes are also the result of seeking to present an image that was born and exists outside of time. They are also a creation begun with observation and completed through the process of something new being found as the canvas develops and though my confidence of what is true beyond and beneath what I see directly.
FIGURE PAINTINGS BETSY PODLACH
44
Lady on the Couch, 2015 Oil and Egg Tempera on Linen 46” x 46”
45
Afternoon Nap, 2015 Oil and Egg Tempera on Linen 50” x 46”
46
After the Ball, 2015 Oil and Egg Tempera on Linen 38” x 38”
47
New Love, 2015 Oil and Egg Tempera on Linen 36” x 36”
48
The Kiss, 2015 Oil and Egg Tempera on Linen 44” x 44”
49
Woman, Bunny and Cardinal, 2013 Oil and Egg Tempera on Linen 38� x 38�
50
Venetian Hotel Room with Ernest the Bunny, 2013 Oil and Egg Tempera on Linen 57� x 60�
51
The Bohemian, 2015 Oil and Egg Tempera on Linen 25.25” x 25”
52
The Traveler, 2015 Oil and Egg Tempera on Linen 26” x 26”
53
Woman with Pink Flowers, 2013 Oil and Egg Tempera on Linen 25” x 25”
54
The Ballgown, 2015 Oil and Egg Tempera on Linen 38” x 36”
55
Lady with Peacock, 2015 Oil and Egg Tempera on Linen 40” x 40”
56
Eyes Wide Open, 2015 Oil and Egg Tempera on Linen 42” x 42”
Left to Right After the Ball Afternoon Nap Venetian Hotel Room with Ernest the Bunny
38” x 38” 52” x 46” 57” x 60”
Woman, Bunny and Cardinal Lady on the Couch
38” x 38” 46” x 46”
La Boheme Paris Apartment The Bath
56” x 57” 56” x 58” 46” x 46”
Left to Right High Tea in Vienna New Love Eyes Wide Open
36” x 36” 36” x 36” 42” x 42”
The Kiss Ballerina Dreaming Woman Relaxing Together
44” x 44” 56” x 56” 42” x 40” 36” x 34”
Lady with Peacock Moonlight Swim Winter Evening on Balcony
40” x 40” 60” x 41” 54” x 50”
Left to Right The Bohemian Lady with Birds The Ballgown
25.25” x 25” 39.5” x 39.5” 38” x 36”
Lady Going to Rehearsal The Traveler Daydreaming Woman with Pink Flowers
34.25” x 34.25” 26” x 26” 26” x 26” 25” x 25”
Contemplative Lady Reading Lady at the Opera
32” x 32” 36” x 36” 28” x 28”
ANIMAL PAINTINGS BETSY PODLACH
64
Floating Otter, 2014 Oil and Egg Tempera on Linen 24” x 24”
65
Little Bunny, 2015 Oil and Egg Tempera on Linen 20� x 18�
66
Upright Bunny, 2015 Oil and Egg Tempera on Linen 16” x 16”
Left to Right Upright Bunny Little Bunny
16” x 16” 20” x 18”
The Ducklings Duck Dove
18.25” x 16” 42” x 40” * 36” x 34” *
Floating Otter Baby Polar Bear
24” x 24” 18” x 18”
FLORAL PAINTINGS BETSY PODLACH
70
Purple Flowers, 2013 Oil and Egg Tempera on Linen 35” x 34”
71
Pink Flowers, 2013 Oil and Egg Tempera on Linen 42” x 34”
72
Pink Flowers, Red Background, 2017 Oil and Egg Tempera on Linen 20” x 20”
73
Hyacinths on Red Cloth, 2014 Oil and Egg Tempera on Paper 30” x 22.5”
74
Hyacinths in a Jar, 2014 Oil and Egg Tempera on Paper 30” x 22.5”
75
Pink Flowers in Vase, 2014 Oil and Egg Tempera on Paper 30” x 22.5”
76
Flowers XI, 2014 Oil and Egg Tempera on Paper 30” x 22.5”
Left to Right Strawberries Pink Flowers, Red Background
16” x 16” 20” x 20”
Purple Flowers Pink Flowers
35” x 34” 42” x 34”
Small Vase with Roses Spring Bouquet
16” x 16” 22” x 22”
Left to Right Vase with Flowers I Pink Flowers in Vase Vase with Flowers II
30” x 22.5” 30” x 22.5” 30” x 22.5”
Hyacinths in a Jar Flowers XI
30” x 22.5” 30” x 22.5”
Bouquet in Vase Black and White Roses Hyacinths on Red Cloth
30” x 22.5” 30” x 22.5” 30” x 22.5”
DON BRACKEN
Donald Bracken, a nationally known award-winning artist, is a native San Franciscan and UC Berkeley graduate who has lived in West Cornwall, Connecticut, for 34 years. Painting and drawing have always been his primary creative focus. One of his greatest visual in uences has been the windows of the World Trade Center, where he had an artist in residency fellowship in 1997; and he has used that motif as a repeated shape or format idea in many of his works since. In 2007, a series of paintings of deserted farms in the Connecticut River valley became not just about the earth but of the earth when he began to paint the landscapes using soil from the farms he was painting. The earth-polymer material he has developed has a dynamic, visceral, and visual quality that, as it dries and cracks, allows the processes of nature a role in the uid, changing canvases they form together. Much of his focus has continu-ed to shift toward celebrating earth materials, among them leaves, vines, and beaver sticks, as voices unto themselves. As he has become ever more inspired by alternative materials and different ways of looking at nature, form, and structure, his means of expression, even when sculptural, are still essentially drawing and painting. Sculptural elements are a way to make 3-D paintings that he can fully inhabit. His use of vines as a material and a medium began as an element in the earth paintings and has evolved into its own approach, opening up the process of creating works that resemble calligraphy in space.
DIRT PAINTINGS DON BRACKEN
84
Ice Lillies # 1, 2012 Acrylic, Earth and Clay on Canvas 60” x 46”
85
Nocturnal Pond !, 2017 Acrylic on Canvas 40” x 30”
86
Nocturnal Pond II, 2017 Acrylic on Canvas 68” x 68”
87
Frozen Moment, 2017 Acrylic and Clay on Canvas 40” x 30”
88
Frozen Moment II, 2017 Sand, Acrylic and Clay on Canvas 40” x 30”
89
Fireflies in a Grey Mist, 2014 Acrylic on Canvas 68” x 48”
90
Dream of Umbria, 2017 Limestone, Powdered Pigments and Acrylic on Canvas 60” x 48”
91
Secret Meeting, 2017 Earth, Acrylic and Powdered Pigments on Canvas 46” x 60”
92
Overgrown Fields, 2017 Earth and Powdered Pigments on Canvas 46” x 60”
93
Sower, 2017 Earth, Clay and Acrylic on Canvas 18” x 24”
94
Night Sower, 2017 Earth and Acrylic on Panel 19.5” x 21.5”
Left to Right: Dream of Umbria Umbrian Dreams Emergence
46” x 60” 30” x 40” 36” x 48”
Walking the Dog Frozen Moment I Frozen Moment II Fireflies in a Grey Mist
24” x 18” 40” x 30” 40” x 30” 68” x 48”
Falling
24” x 72”
Man with a Hoe Night Sower Sower
18” x 24” 19.5” x 21.5” 18” x 24”
Forgotten Fields Triptych
36” x 108”
Left to Right: Looking East Charlie Doesn’t Surf
46” x 60” 10” x 10”
Overgrown Fields Anonymous Farmer (after Dorothea Lange) Secret Meeting
46” x 60” 16” x 20” 46” x 60”
Filipenos Cutting Lettuce 1935 Gleaners (after Millet) Potato Digger (after Dorothea Lange)
16” x 20” 16” x 20” 16” x 20”
Nocturnal Pond II Nocturnal Pond I Ice Lillies # 1
40” x 30” 68” x 60” 60” x 46”
DAVID HUTCHINSON
As a concept based abstract artist, my work investigates the nature of communication and the meaning of visual presentation. Over the years I have developed a few devices that are consistently employed: the use of over-writing (the transcription drawings), a ‘chromatic alphabet’, and an ‘achromatic alphabet’. The way in which these tools are used vary, depending on the work’s emphasis or intended message. The work may change slightly from project to project, but the underpinnings remains constant. In reading the texts of Jean Genet, I am continuously amazed at how he utilized formally evocative language to entice his readers into a complex world of amoral imagery, using the persuasive power of language to seduce his audience into the world’s dark underbelly. Christian painters have been doing something similarly for multiple generations by visually translating challenging, inhuman stories into graphic representations with incredible magnetic pull. For nearly two decades, I have been trying to push this phenomenon by emphasizing modernism’s push-and-pull between presentation and content. A large part of the body of my work has been working with the texts and life of Jean Genet to examine how the nature of formalism can absorb and subsume questionable morality by willfully re-presenting the material in a different artistic vocabulary.
WORDS ARE ELVES DAVID HUTCHINSON
102
Jean Paul Sartre, 2016 Acrylic and Enamel on Paper 60” x 42”
103
Not an Idealization, 2016 Acrylic and Enamel on Paper 60” x 42”
104
Words Are Elves, 2016 Acrylic and Enamel on Paper 60” x 42”
Left to Right The Floral Substance Not an Idealization Words Are Elves Beauty Jean Paul Sartre All are 60” x 42”
ELF PAINTINGS
DAVID HUTCHINSON
108
Elf Painting A, 2016 Acrylic and Enamel on Panel 12” x 9”
109
Elf Painting B, 2016 Acrylic and Enamel on Panel 12” x 9”
110
Elf Painting C , 2016 Acrylic and Enamel on Panel 12” x 9”
STRANGE HELL OF BEAUTY DAVID HUTCHINSON
112
Strange Hell of Beauty A, 2016 Ink on Clayboard Panel 12” x 9”
113
Strange Hell of Beauty D, 2016 Ink on Clayboard Panel 12” x 9”
114
Strange Hell of Beauty F, 2016 Ink on Clayboard Panel 12” x 9”
Left to Right: Strange Hell of Beauty A Strange Hell of Beauty B Strange Hell of Beauty C Strange Hell of Beauty D Strange Hell of Beauty E Strange Hell of Beauty F All are 12” x 9”
POETRY SERIES
DAVID HUTCHINSON
118
Poem for “G”, poem, theme, RITE, EROTIC, PIMP, MYSTIQUE, 2015 Oil on Linen 32” x 24”
119
Poem for JG “A”, Liberty, Black Sum, First, Provoked, 2015 Oil on Linen 32” x 24”
120
Poem for JG ORDER, Self, Staged, Confe$sed, Raging, Subject, 2015 Oil on Linen 32” x 24”
Left to Right: Poem for “J”, Evil, Auto, PLAYS, CouRAGE, Ritual Poem for “Q”, Saint, Maudit, Actor, Moralist, made, Private Poem for “F”, Born Outlaw Lived mentor Role Fiction Poem for JG “A”, Liberty, Black Sum, First, Provoked Poem for “G”, poem, theme, RITE, EROTIC, PIMP, MYSTIQUE Poem for JG ORDER, Self, Staged, Confe$sed, Raging, Subject All are 32” x 24”
85
JEAN GENET WORKS DAVID HUTCHINSON
124
Jean Genet New York Times Obit, 2014 Ink on Clayboard Panel 9” x 12”
125
Prisoner of Love: pp 240 – 284.5, 2001 Ink on Clayboard Panel 24” x 18”
126
Prisoner of Love: pp 3 – 48.5, 2001 Ink on Clayboard Panel 24” x 18”
127
Prisoner of Love: pp 142.5 –189, 2001 Ink on Clayboard Panel 24” x 18”
128
The Screens, 2014 Ink and Acrylic on Clayboard Panel 20” x 48”
SERGE STROSBERG
Strosberg was born in Antwerp, Belgium and was trained at some of France’s nest art schools : Academie Julian and The Beaux-Arts in Paris. He learned the di cult and beautiful technique of oil and egg tempera from Joerg Hermle, a german expressionist painter. In 2002, he was the recipient of the Jan Cockx Prize given by The Director of Muhka (Museum of Contemporary Art of Antwerp). Recently, some of Strosberg’s paintings were acquired by The Shanghai Himalayas Art Museum, the Felix Nussbaum Museum (Germany), The Musee of Pontoise (Paris), The Southern district court of Florida and Mercersburg Academy which has 2 William Merritt Chase paintings in its collection. His work has also been exhibited in more than 40 group shows including two with Lucian Freud and Pearlstein at The Felix Nussbaum Museum (Germany) and The Musee de Pontoise near Paris (France).Strosberg has produced more than 15 individual exhibitions including Artsenat (France), Elaine Baker Gallery (Florida), Paul Fisher Gallery (Palm Beach), Alexandre Gertsman Contemporary (New York), The Jewish Museum (Amsterdam), The Ann Norton Sculpture Gardens (Palm Beach, Florida) and The Lighthouse Center for the Arts (Jupiter, Florida). His work is currently in 140 private collections in Europe and the United States In 2018, the Coral Springs Museum (Florida) will present a survey of his work.The show “Tales of the High Line” at The Lionheart will be the artist’s second show at the gallery and presents portraits and cityscapes inspired by the mesmerizing NY “Coulee Verte” (High Line). Working very much like a collage artist, using paper clips and cutouts, Strosberg attempts to decontextualize socioeconomic events that recently occured after the crash, painting absurd situations and some of the dark and well known facets of Manhattan as well as political turmoil outside of the USA.Using portraiture in a satirical way, he brings expressionism and realism together in paintings that are very fresh and pop…
TALES OF THE HIGHLINE SERGE STROSBERG
132
The Afterparty, 2011 Oil and Egg Tempera on Canvas 69” x 48”
133
The Photographer and The Muse, 2016 Oil and Egg Tempera on Canvas 52” x 38”
134
Olga’s World, 2016 Oil and Egg Tempera on Canvas 45” x 66”
135
The Standard Hotel, 2016 Oil, Egg Tempera and Enamel on Canvas 38� x 41�
136
Hopper Highline, 2016 Oil, Egg Tempera and Enamel on Canvas 25” x 30”
137
In Vivo In Vitro II, 2010 Oil, Egg Tempera and Enamel on Canvas 53” x 65”
138
In Vivo In Vitro IV, 2010 Oil, Egg Tempera and Enamel on Canvas 50” x 41.5”
Left to Right Hopper Highline The Standard Hotel The IAC Building
25” x 30” 38” x 41” 52” x 36”
In Vivo In Vitro I In Vivo In Vitro II In Vivo In Vitro IV
53” x 65” 53” x 65” 50” x 41.5”
The Afterparty Serenity Femme Au Chat
69” x 48” 29” x 45.5” 44.5” x 42”
Olga’s World The Photographer and The Muse
45” x 66” 52” x 38”
SINS OF PARIS
SERGE STROSBERG
142
Vanity, 2007 Oil and Egg Tempera on Canvas 53” x 33”
143
Lust, 2007 Oil and Egg Tempera on Canvas 53” x 33”
144
Sloth, 2007 Oil and Egg Tempera on Canvas 53” x 33”
Left to Right Envy Gluttony Wrath
53” x 33” 53” x 33” 53” x 33”
Lust Sloth Vanity
53” x 33” 53” x 33” 53” x 33”
PAINTINGS
SERGE STROSBERG
148
Queen of the Jungle, 2010 Oil, Egg Tempera, Copper and Silver on Canvas 72” x 48”
149
Full Bloom, 2009 Oil and Egg Tempera on Canvas 34” x 43”
150
Metro, 2006 Oil and Egg Tempera on Canvas 60” x 65”
Left to Right Full Bloom Metro Reflection on Blue
34” x 43” 60” x 65” 53” x 33”
I Can See Soho From My Window Bad Timing Queen of the Jungle
60” x 45” 47” x 35” 72” x 48”
SUSAN POWERS
Susan Powers is a self-taught artist who began painting in 1979, encouraged by a friend and fellow painter who had seen her expressive pencil drawings. Only a year later, her work had been accepted for display by the prestigious Jay Johnson American Folk Art Gallery in New York City. In 1980, Powers spent a year in England and France developing her craft, before returning to the U.S. Her paintings are in many permanent collections, including the Smithsonian Institution in Washington, D.C. And the American Museum in Bath, England. Her works have been exhibited in numerous museums, including the Bede Gallery, Jarrow, England, the Woodspring Museum, Weston-Super-Mare, England, the Camden Arts Center, London, the Haworth Art Gallery, London, and the White House in Washington, D.C. Over the years, Ms Powers has been represented by several well-known galleries, including Jay Johnson American Folk Art Gallery in New York, NY, its successor the Frank J. Miele Gallery, and Gallerie Je Reviens in Westport, CT.
PAINTINGS
SUSAN POWERS
156
You Are Almost There, 2016 Oil on Canvas 15.5” x 19.75”
157
Iron Giant Finds Love, 2016 Oil on Canvas 12.5” x 15.5”
158
The Simple Art of Murder, 2016 Oil on Canvas 12.5” x 15.5”
159
Honeycrisp, 2016 Oil on Canvas 11” x 14”
PHILIPPE HALABURDA
Philippe Halaburda was born in France in 1972. He received his diploma in 1995, Superior Degree Graphic Art School from the EDTA Sornas School, Paris. Having lived and exhibited from Paris (France) to Zurich and Berne (Switzerland), Philippe Halaburda now divides his time between a studio in Aix-en-Provcence and his graphic art director activity in Paris. Halaburda’s paintings and drawings have been exhibited throughout the US, in Canada, Europe (France, Italy, Spain, Germany, Austria, Belgium) and Australia. He was a guest resident of the Villa Baulieu Workshop in Aix-en-Provcence in 2008. His work is in the collection of many corporate and non-profit institutions including the Radar (Bayeux, France), Draguigan permanent Art Collection (Draguignan, France) and the Villa Baulieu Art Collection (Aix-en-Provence, France). His work is in private collections in the United States, France, Belgium, Spain, Italy, Switzerland, Canada, The Netherlands andChina. His work attempts to reflect the ongoing exploration of the abstract in human nature, moving between the accidental and the consciously structured, juxtaposing spontaneous or geometric forms. He strives for a sense of order with feelings and emotions. One layer influences the next, one color brings the next, one shape creates the next. An ambiguous notion may often appear in the work, leaving the viewer to be engaged in decoding the meaning of the work. He’s very concerned with the effects of change, growth and loss inherent in his own creation process, taking the chance of losing the whole, but often rewarded by an off chance inspired image of repeated and duplicated colors and shapes. That’s why his work is very similar with maps or satellite aerial views. The surfaces and the strokes must awaken attention in the viewer and inspire imagination form one’s own experiences. Philippe Halaburda lives and works in the South of France.
IMAGINARY MINDSCAPES PHILIPPE HALABURDA
164
Sohn Botany is Mine, 2016 Acrylic, Felt Tip and Colored Pencil on Canvas 79” x 78”
165
Kid Atlaas Meriko, 2016 Acrylic, Felt Tip and Colored Pencil on Canvas 79” x 77”
166
Zysman, 2016 Acrylic, Felt Tip and Colored Pencil on Canvas 76” x 68”
Left to Right Sohn Botany is Mine En Fabis Piecha Zysman
79” x 78” 75” x 47” 76” x 68”
Kid Atlaas Meriko Cortez Dash Computer Hatch Cherokee
79” x 77” 75” x 47” 79” x 79”
UNSTRETCHED CANVASSES PHILIPPE HALABURDA
170
Ponmany, 2013 Acrylic, Felt Tip and Colored Pencil on Canvas 70” x 60”
171
Tiedt Strok, 2013 Acrylic, Felt Tip and Colored Pencil on Canvas 75” x 47”
172
Wangmo, 2013 Acrylic, Felt Tip and Colored Pencil on Canvas 70” x 60”
173
En Tout Caramel, 2009 Acrylic, Felt Tip and Colored Pencil on Canvas 45” x 41”
174
Parader la Kenna, 2009 Acrylic, Felt Tip and Colored Pencil on Canvas 34” x 30”
Left to Right Wangmo Phandango Tiedt Strok
70” x 58” 49” x 49” 75” x 47”
Ponmany Orange Sadziak Rao Fu Rode
71” x 59” 71” x 60” 70” x 60”
Left to Right Count Carrefour Val Ouvrir le Mur
31” x 51” 41” x 39”
Elle en Algerina En Tout Caramel Parader la Kenna
41” x 30” 45” x 41” 34” x 30”
WHIT CONRAD
I try to capture the poetry and mystery in what I see. My paintings are all conceived by an image that strikes me as powerful or interesting in one sense or another. The image triggers an inquiry—often emotional, often playful—into elements of form, color, and narrative. I normally begin with the visual world: a pictorial idea. This can be something I have seen and perhaps sketched or photographed, or drawn from my collection of family photos, books and newspapers: the richly landscaped archives of memory. Whatever its origin, the image becomes my companion in the journey through my imagination and the demands of the medium. Together we evolve, complicate, suffer, celebrate, transform. Without a map and without direction, we are free to wander recklessly. Eventually, the painting itself takes over as guide, steering us toward some unexpected destination. As a result, the finished work bears little resemblance to the original visual idea. And while my paintings are not heavily theoretical or conceptualized, they all do share this same unfolding: the landscapes where we end up are quite foreign to the original scenic impulse. And while my paintings are not heavily theoretical or conceptualized, they all do share this same unfolding: the landscapes where we end up are quite foreign to the original scenic impulse. Such juxtaposition is of interest to me. My ongoing study of it offers a sometimes insightful, sometimes baf ing education into my own art process and practice. Imagination plays a larger role than perception. Natural elements and geographic features – trees, water, clouds, sky – often become active forces in the life of the painting, forming mood and sentiment. The characters are often at the mercy of these forces. For me, the act of painting—the act of discovery—leaves me feeling similarly. It can be emotional and cathartic. The paintings themselves, as artifacts of this catharsis, become like specimens in a sort of personal, imaginary museum. Whit’s Museum. Welcome. As is the case with all museums, it’s best to wander aimlessly. I hope you enjoy your visit.
PLAYING WHAT’S NOT THERE WHIT CONRAD
182
All Jazzed Up, 2015 Oil on Linen 50” x 80”
183
Comanche Diptych, 2015 Ink and Acrylic on Linen 48” x 56”
184
Not My Birthday, 2016 Oil on Linen 36” x 48”
185
Come As You Are, 2016 Oil on Linen 24” x 36”
186
Electors, 2016 Acrylic and Acrylic Ink on Linen 48” x 48”
187
Monday Bloody Monday, 2016 Acrylic and Acrylic Ink on Canvas 24” x 36”
188
Untitled, 2016 Oil on Linen 48” x 36”
Left to Right All Jazzed Up Untitled 3 Bonefishing
50” x 80” 48” x 36” 48” x 48”
Comanch Diptych Monday Bloody Monday Untitled
48” x 56” 48” x 36” 48” x 36”
Not My Birthday Don’t Call Me Vulgar Thanks For Dinner
36” x 48” 48” x 36” 30” x 40”
Bad News Day Easter Man Electors
30” x 40” 48” x 36” 48” x 48”
Left to Right: Death Dances a Slow Boogie II Untitled 2 Martin Hayes
24” x 36” 40” x 30” 36” x 48”
Lady Luck Goat with Bright Eyes Santus Welcome Home
24” x 36” 17” x 27” 26” x 21” 39” x 48”
Girl with Dog Trouble Focusing Springtime
36” x 24” 24” x 30” 40” x 30”
PAINTINGS
WHIT CONRAD
194
Callipygous with Deer Fly, 2015 Oil on Panel 36” x 24”
195
Deer Fly, 2015 Oil on Canvas 48” x 36”
196
Good Hand, 2015 Acrylic Ink and Acrylic on Linen 48” x 36”
197
Silky, 2015 Acrylic on Linen 36” x 48”
198
Happy Goat, 2015 Acrylic on Linen 36” x 48”
199
Silky, 2015 Acrylic on Linen 36” x 48”
KAREN VOGEL
Karen Vogel is a printmaker and painter who finds inspiration in the natural world. Exploring the connection between patterns, textures, layers, colors, perspective and scale, she is interested in the parallels between art-making and landscape design, her two passions. Ms. Vogel has studied painting and drawing at The Art Students’ League (New York, NY), The Corcoran College of Art and Design (Washington, DC), The San Francisco Art Institute (San Francisco, CA) and The Center for Contemporary Printmaking (Norwalk, CT). She has a Master Garden Certificate from the University of Connecticut, and is currently enrolled in the Landscape Design Program at the New York Botanical Garden. Her prints and paintings have been featured in museums and galleries across the country. Connecticut venues include the Housatonic Museum, (Bridgeport), River Street Gallery (New Haven), Kohn-Joseloff Gallery (Cheshire), Bendheim Gallery (Greenwich), the Center for Contemporary Printmaking (Norwalk), White Gallery (Lakeville) and Fairfield’s Art/Place Gallery, Bruce Kershner Gallery and Fairfield University. In New York, she has shown at the Brooklyn Front Gallery. Ms. Vogel’s work has been collected by numerous private and corporate patrons. She has completed commissions for the National Academy of Science (Washington, DC) and American Public TV Stations (Washington, DC). Earlier in her career, she was an Art Consultant for The Aldrich Gallery (San Francisco, CA) and served as Director of Art and Exhibition Programs at the American Institute of Architects (Washington, DC). The artist is currently an active member of the Center for Contemporary Printmaking (Norwalk, CT) and Silvermine Guild of Artists. She teaches printmaking classes from the studio she maintains in Norwalk, CT.
POSTSCRIPT
KAREN VOGEL
204
Friday Night Lights, 2017 Mixed Media on Canvas 40” x 40”
205
Worlds Apart, 2017 Mixed Media on Wood Panel 36” x 36”
206
Roma, 2017 Mixed Media on Wood Panel 36” x 36”
207
Crossover, 2017 Mixed Media on Wood Panel 24” x 24”
208
I Spy, 2017 Mixed Media on Wood Panel 24” x 24”
209
Cross Fit, 2017 Mixed Media on Wood Panel 24” x 24”
210
Swing Low, 2017 Mixed Media on Wood Panel 16” x 16”
Left to Right Thin Red Line Worlds Apart Swing Low
12” x 12” 36” x 36” 16” x 16”
ARC Somewhere Truck Stop
18” x 18” 10” x 10” 10” x 10”
Roma December 25th One Way
36” x 36” 12” x 12” 12” x 12”
Cross Fit Crossover I Spy
24” x 24” 24” x 24” 24” x 24”
WORKS ON PANEL KAREN VOGEL
214
D2, 2015 Mixed Media on Wood Panel 24” x 24”
215
Configuration, 2014 Mixed Media on Wood Panel 12” x 12”
216
No Trespassing, 2016 Mixed Media on Wood Panel 8” x 8”
217
Building Blocks, 2016 Mixed Media on Wood Panel 8” x 8”
218
Curve Ball, 2016 Mixed Media on Wood Panel 8” x 8”
219
Pink Sands, 2016 Mixed Media on Wood Panel 8” x 8”
CONSTANCE OLD
Constance Old captures the spirit of the 21st century in her work by taking advantage of the excesses of the consumer economy. Old uses the traditional craft of rug hooking to make three dimensional wall pieces. Combining printmaking and rug hooking with contemporary materials, her work is both timeless and an index of our time. Although serious in nature, one can’t help but notice a subtle wink of the eye and sense of humor when looking at the work of Constance Old. Old states: “Paper and plastic interest me as abundantly available fibers that, with imagination and coaxing, can be made into ‘rugs,’ or at least wall pieces. Living in a time of material excess, it intrigues me to work in a medium that originated from need and a scarcity of materials.” After graduating from Princeton University, Constance Old received her MFA from Yale University in Graphic Design and worked as an art director for Martha Stewart Living and as a freelance book designer before committing full time to making her own work. Her work uses everyday materials and focuses on trying to make fleeting aspects of human experience “concrete.” She has exhibited at International Print Center New York, Gallery for Contemporary Art at Sacred Heart University, Farnsworth Art Museum, Orange County Center for Contemporary Art, Hunterdon Museum of Art, The Carver Museum, Katonah Museum of Art, Brookfield Craft Center, Silvermine Guild Arts Center and Center for Contemporary Printmaking. Old’s work is in corporate and private collections throughout the US and in Australia.
ANALOG
CONSTANCE OLD
224
Celebration: Blue, Green, Brown + Gold, 2015 Mixed paper on brown packing paper 8.25” x 9.75” x 2.5”
225
J. Crew Revisited, 2011 – 2016 Mixed paper, plastic, wool and silk on construction fencing 41” x 56” x 4”
226
J. Crew Revisited Palatte, 2011 – 2016 All materials used to make J. Crew Revisited
227
Filling the Void: Orange Fuzz 1 (Center), 2015 Mixed paper and plastic on drawer liner 9.25” x 7.5” x 2.625”
228
Filling the Void: Orange Fuzz 2 (Sides), 2015 Mixed paper and plastic on drawer liner 7.5” x 9.25” x 2.625”
229
Filling the Void: Ica Green Center, 2015 Mixed paper on brown packing paper 7.5” x 9.25” x 2.5”
230
Filling the Void: Nepali Paper + Orange Center, 2015 Mixed paper on brown packing paper 7.5” x 9.25” x 2.5”
231
Filling the Void: J. Crew Skirt with Black Stripes 1, 2017 Mixed ribbon, paper and plastic on disassembled J. Crew skirt 9.25” x 7.5” x 2.5”
232
Filling the Void: J. Crew Skirt with Black Stripes 2, 2017 Mixed ribbon, paper and plastic on disassembled J. Crew skirt 9.25” x 7.5” x 2.5”
Left to Right: J Crew Revisited Sampler: White with Buttons
41” x 56” x 4” 30.25” x 18.75” x 2.5”
Filling the Void: Black, White, Orange + Red 1 Filling the Void: Black, White, Orange + Red 2 Filling the Void: J Crew Skirt with Black Stripes 1 Filling the Void: J Crew Skirt with Black Stripes 2
9.25” x 7.5” x 2.5” 9.25” x 7.5” x 2.5” 9.25” x 7.5” x 2.5” 9.25” x 7.5” x 2.5”
Filling the Void: Orange Fuzz 1 (Center) Filling the Void: Orange Fuzz 2 (Sides)
7.5” x 9.25” x 2.625” 9.25” x 7.5” x 2.625”
Left to Right: Beach Plastic # 4: Filling the Void: Pink Border with Speckled Brown +Pink Center Filling the Void: Brown Border with White + Silver Center Beach Plastic # 3: Filling the Void: Black + White Border with Dayglo Center Beach Plastic # 5: Filling the Void: Blue Border with Blue Center Beach Plastic # 10: Filling the Void: Red + Yellow with Black Center Beach Plastic # 8: Filling the Void: Orange + Green with Blue Center Beach Plastic # 6: Filling the Void: Purple + Gold with Green, White + Yellow Center Beach Plastic # 7: Filling the Void: Blue Border with Opalescent Center Beach Plastic # 1: Filling the Void: Grey + Aquamarine Celebration: Blue, Green, Brown + Gold Rome in Plastic (S. Prudenzia)
8.25” x 9.75” x 2.5” 11.5” x 20.5” x 2.75”
Filling the Void: Nepali Paper + Orange Center Filling the Void: Ica Green Center
7” x 9.25” x 2.5” 7” x 9.25” x 2.5”
Filling the Void: Brown Border with White Center Beach Plastic Series are all 7.5” x 9.25” x 2.5”
CLAUDIA MENGEL
“My work comes from not looking, but experiencing the world around me, and then translating these visual and emotional perceptions. With every creation, there is a new discovery, a new problem, a new solution. Every time I approach the blank white space, I take a unique journey always unlike the last, and never like the next. It is what keeps me coming back.” Claudia Mengel has been studying, instructing, and making art for many years. Fourteen years ago, she left her corporate career as Vice President of Creative Services at J.P. Morgan Chase Manhattan Bank and began concentrating on her art full-time. An accomplished painter and printmaker whose work is in many private collections in the tri-state area, she exhibits at several galleries and is a member of Silvermine Artist Guild and a member of the Center for Contemporary Printmaking, where she served on the board. The artist received her degree in printmaking from the Brainerd Art School at the State University of New York at Potsdam. She has continued her studies at the Art Students League in New York, the Silvermine Art Center, the Center for Contemporary Printmaking, and the Darien Art Center, as well as with private teachers. She has studied with Robert Reed, Professor of Art at Yale. She also studies and works with Hugh O’Donnell, Professor of Art at Boston University, Constance Kiermaier, a prominent New England artist, Master Printer Marina Anacona, and Master Printer Anthony Kirk, who has printed with major American artists including Helen Frankenthaler and Wolf Kahn. Born in New York City, Ms. Mengel now works and lives in Westport, Connecticut.
PAINTINGS
CLAUDIA MENGEL
240
Living a Dream, 2014 Oil on Canvas 48” x 48”
241
Victor’s Garden, 2014 Mixed Media on Canvas 48” x 60”
242
Giuseppe’s Garden, 2015 Mixed Media on Canvas 36” x 60”
243
Vevey I, 2014 Mixed Media on Canvas 60” x 60”
244
Heartbeat, 2014 Mixed Media on Canvas 67” x 55.5”
HELEN CANTRELL
Born March 1947 in Chicago, Illinois, Cantrell moved to New York City in 1968, and has lived along the Northeast coast for the past 40 years, currently in Old Lyme, CT. An early art inspiration was a Horizon magazine article on Richard Diebenkorn and the Bay Area Figurative painters. Elected an artist member of the Silvermine Guild of Artists in 1998, when Cantrell retired from work as a typesetter in NYC and moved to Connecticut, she has been painting and making prints fulltime for the past 16 years, most recently large-scale woodcuts.
LARGE WORKS
HELEN CANTRELL
248
Badlands Snowdrift, 2017 Oil on Board 48” x 36”
249
Salt Marsh Blue, 2017 Oil on Board 30” x 30”
250
Salt Marsh Winter Sunrise, 2017 Oil on Board 36” x 36”
251
Green Fields Suburbia, 2013 Oil on Gesso Board 36” x 36”
252
Salt Marsh Radiant Pink, 2013 Oil on Canvas 48” x 48”
253
Red Star Snow, 2017 Oil on Board 60” x 48”
254
Salt Marsh Cyclamen Pink, 2017 Oil on Board 40” x 30”
Left to Right Badlands Snowdrift Salt Marsh Winter Sunrise Cloud Cross River
48” x 36” 36” x 36” 36” x 36”
Wolf Bridge Red Star Snow
40” x 60” 60” x 48”
Green Fields Suburbia Salt Marsh Radiant Pink
36” x 36” 48” x 48”
Salt Marsh Blue Salt Marsh Cyclamen Pink Narragansett Bridge
30” x 30” 40” x 30” 48” x 48”
MEDIUM WORKS HELEN CANTRELL
258
Birdwatching, 2017 Oil on Board 24” x 24”
259
Little Black Salt Marsh, 2017 Oil on Board 24” x 24”
260
Metro North Parking Lot, 2015 Oil on Gesso Board 17” x 17”
SMALL WORKS
HELEN CANTRELL
262
Badlands Smokestack, 2017 Oil on Board 12” x 12”
263
Bridgeport Winter, 2017 Oil on Board 12” x 12”
264
Bridgeport Winter Gold, 2017 Oil on Board 8” x 12”
265
New England Roadside, 2017 Oil on Board 12” x 12”
266
Metro North Blue, 2017 Oil on Board 12” x 12”
267
Glasses, 2017 Oil on Board 16” x 16”
268
Phoenix Balcony, 2015 Oil on Canvas 27” x 21”
Left to Right New England Roadside Bridgeport Winter Bridgeport Winter Gold
12” x 12” 12” x 12” 8” x 12”
Phoenix Balcony Glasses Metro North Blue
27” x 21” 16” x 16” 12” x 12”
Badlands Smokestack Montowese Mapscape Yellow Mapscape
12” x 12” 12” x 12” 12” x 12”
DARIO CAMPANILE
Dario Campanile’s journey started in Rome, Italy where he was born April 21, 1948. Dario expressed an affinity for art as a young boy. When he was 14, the artist was bedridden with a kidney ailment for three months, and his father gave him a set of oil paints to cheer him up. He painted his first still life in just a few days. A self-taught artist, one Campanile had mastered the tools, he was off on a free-spirited ride, never quite sure where he was going, but always secure in the knowledge that his natural gifts and instincts would take him into exciting new realms. Meetings with Salvador Dali, who coined him “The Roman Master”, and De Chirico influenced his work as a painter. In 1986 Dario was commissioned to redesign and create a new logo for the famed Paramount Pictures. In 2005 Dario was invited to participate on a project called “Missing Peace”. Dario met the Dalai Lama at his home in India where he posed for a portrait exhibited in the project. After decades of painting realism and surrealism, Campanile’s work has evolved into abstract expressionism, which is now the artist’s main focus and passion. “Working in abstract for me is the most direct and pure form of artistic expression coming from my unconscious. My medium is mostly oil on canvas and some acrylics on canvas. The challenge is to be able to trust and surrender and allow the channel of creativity to come through me, like an open vessel. This process most of the time is vary daring because I want to make sure that the pure essence of child-like energy come through the body and mind of the adult. When this happens, magically, a deep, unknown world of symbolism and metaphor unfolds. It is fascinating! I find painting abstract is more difficult than painting realism because it is an act of courage and exposes my vulnerability. There is no control or rationale behind it, yet there is tremendous freedom. I am facing an open canvas waiting to be filled…” Dario Campanile has lived in the United States for the past 30 plus years, living in Los Angeles, San Francisco, and Maui, Hawaii. After 50 years of artistic expression, he is unceasingly inspired by the beauty in the world and continues on his journey through art.
PAINTINGS
DARIO CAMPANILE
274
Dieci Cavalli (Ten Horses), 2015 Oil on Canvas 40” x 30”
275
Cavalli, 2016 Oil on Canvas 16” x 16”
276
Upcoming Fall, 2016 Oil on Canvas 10” x 10”
277
Interstellar, 2016 Oil on Canvas 30” x 40”
278
Miraggio, 2015 Oil on Canvas 48” x 60”
Left to Right Interstellar Upcoming Fall Miraggio
30” x 40” 10” x 10” 48” x 60”
Ancestors Dieci Cavalli (Ten Horses) Falling Into Flight
36” x 18” 40” x 30” 40” x 40”
Cavalli Expedition Unearthed
16” x 16” 10” x 10” 36” x 48”
MIREILLE DUCHESNE
Mireille was born in Normandie , Province of France so loved by the Impressionnists in particular Monet. She received a formal education at the Lycee of le Havre and the University of Rouen for a French master degree. Although, as long as she can recollect she always had a color pencil then a brush in her hands. Being an artist was not acceptable by her parents so beside her formel education she took evening classes at the Beaux Arts. As a former wife of a French expatriate she traveled much and was exposed to various cultures and different styles of art. When she moved to the United States of America she took classes at the Pastel Society of America in New York with Richard Pionk and also classes at the Art student league in New York where she studied with, beside Richard Pionk, Gregg Kreutz, David Leffel and later at his studio Frank Arcuri. She is a Signature member of the Pastel Society of America NY, as well as an artist member of Salmagundi Club, and an active Member of the Catharine Lorillard Wolfe. She received numerous awards for her pastels as well as her oil paintings,among others at the pastel Society of America, Salmagundi Club , The Catharine Lorillard Wolfe and the American Artists Professional league. She is teaching at the Katonah Art Center.
PAINTINGS
MIREILLE DUCHESNE
284
Fluffy,2016 Oil on Canvas 7” x 5”
285
Bo, 2016 Oil on Canvas 7” x 5”
286
Maggie, 2016 Oil on Canvas 7” x 5”
287
Pure Happiness, 2016 Oil on Canvas 5” x 7”
288
Busy Mommy, 2014 Oil on Canvas 8” x 10”
289
Three Sheep, 2016 Oil on Canvas 8” x 10”
290
Two Goats, 2014 Oil on Canvas 5” x 7”
Left to Right Fluffy Two Goats Clarabell
7” x 5” 5” x 7” 7” x 5”
Maggie Three Sheep Bo
7” x 5” 8” x 10” 7” x 5”
Bliss Busy Mommy Pure Happiness
5” x 7” 8” x 10” 5” x 7”
Seutry Elegance Charlie
10” x 10” 8” x 6” 7” x 5”
LESLIE GIULIANI
Colorful and intricately designed with imagery that combines the light-hearted and the darkly primal characterize Leslie Giuliani’s artwork. Her work features a range of old and new textile techniques combining digital embroidery, hand embroidery, digital textile printing, sewing and rug hooking embellished with encaustic painting. Her drawings are interpreted through digital programming and sewing processes. She also uses the homely craft of rug hooking in a nontraditional way. The colors and loops of the cut wool strips become textural building blocks in the design and composition. Her oddly juxtaposed images create a loose narrative, yet they resist any single interpretation. Cartoony characters, botanicals, and geometrics float asymmetrically or fall into sequence. Giuliani’s influences include Louise Bourgeois, for her inventive textile work; African-American quilters, for their asymmetrical, freeform patchwork; Sigmar Polke, for his unexpected combinations of materials, Philip Guston’s cartoon imagery; and Byzantine icon paintings, for their strong composition and flat space. Giuliani’s work has been exhibited in galleries and museums throughout the U.S. She was a recipient in 2008 of an Artist Fellowship Grant for Craft from the Connecticut Commission on Culture and Tourism and her work is included in the state of Connecticut’s permanent art collection. She teaches encaustic painting and rug hooking and has written articles on rug hooking for Rug Hooking and Hand/Eye magazines.
CODED NARRATIVES LESLIE GIULIANI
296
Excavation, 2016 Encaustic Painting, Digital Embroidery and Printmaking on Encaustiflex 46” x 32”
297
The Aegean, 2016 Encaustic Painting, Digital Embroidery and Printmaking on Encaustiflex 11” x 14”
298
Discovery, 2016 Encaustic Painting, Digital Embroidery and Printmaking on Encaustiflex 11” x 14”
299
Cautionary Tale, 2016 Encaustic Painting, Digital Embroidery and Printmaking on Encaustiflex 43” x 33”
300
Enlightenment, 2016 Encaustic Painting, Digital Embroidery and Printmaking on Encaustiflex 48” x 33”
301
Paranormal Activity, 2016 Encaustic Painting, Digital Embroidery and Printmaking on Encaustiflex 24� x 18�
302
Road Trip, 2016 Encaustic Painting, Digital Embroidery and Printmaking on Encaustiflex 20” x 16”
303
Take Me to Your Leader, 2016 Encaustic Painting, Digital Embroidery and Printmaking on Encaustiflex 45” x 33”
304
House and Garden, 2016 Encaustic Painting, Digital Embroidery and Printmaking on Encaustiflex 42� x 38�
This catalogue was published as promotional material for the painting and mixed media artists at The Lionheart Gallery. Geoffrey Stein, Jo Hay, Betsy Podlach, Don Bracken, David Hutchinson, Serge Strosberg, Susan Powers, Philippe Halaburda, Whit Conrad, Karen Vogel, Constance Old, Claudia Mengel, Helen Cantrell, Dario Campanile, Mireille Duschesne, Leslie Giuliani All images copyright of the artist. Images of the works are reproduced courtesy of the artist and The Lionheart Gallery. Curated by Susan Grissom Designed by Chelsea Walsh All rights reserved. No part of this book may be produced, stored in a retrieval system or transmitted in any form or by any means without prior permission in writing of the copyright holder and The Lionheart Gallery. 914 764 8689 www.thelionheartgallery.com 27 Westchester Avenue, Pound Ridge, NY 10576