Please stop by the gallery and see Gretchen Feldman's exhibition "stitches in time, etc." before it closes THIS Sunday, June 1, 2008. Don't miss the opportunity to see Gretchen's new paintings, which mark both a forward progression in her development as an abstract watercolorist and a return to her roots as a textile conservator. We are open until 8pm tonight and Saturday, and until 6pm on Sunday.
For more information on the artist, please visit:
http://www.gretchenfeldman.com
Showing posts with label contemporary art. Show all posts
Showing posts with label contemporary art. Show all posts
Friday, May 30, 2008
Thursday, April 10, 2008
Recent Acquisitions!
Mary Chiaramonte's "Dead Eyes" and "Desert Floor"Mary Chiaramonte and Ellyn Weiss recently brought in new paintings to the gallery. Both artists have continued painting in their signature styles and produced works that fascinate us. Please stop by and see their new creations, as well as other gallery artists, during the month of April.
Ellyn Weiss' "Morning Becomes Electric", "Oxford Avenue", "The Secret Life of My Ever-Fleeting Thoughts"Stayed tuned for news on upcoming our exhibitions, and enjoy the start of spring!
Friday, March 28, 2008
Recent NKG Feature!
Many thanks to the Prince of Petworth for featuring NKG and the Water Media on Paper show on his March 25, 2008 blog entry! We really appreciate the kudos. The entry, complete with a fabulous picture of Boone, can be found here.
Gallery artists (local, national and Polish) are currently on view between now and the beginning of May. We hope you drop by and see us again soon!
Gallery artists (local, national and Polish) are currently on view between now and the beginning of May. We hope you drop by and see us again soon!
Friday, February 08, 2008
Looking Ahead...
January has come and gone, and February is well under way. With the start of spring right around the corner, it seems appropriate to introduce talented, emerging artists into the local art community. From February 27 thru March 23, Nevin Kelly Gallery will host a traveling exhibition featuring the winners of the National Society of Arts and Letters’ 2007 arts competition. This competition was open to young artists (ages 18-29) who work in water media on paper. Local artist Jenny Davis, a previous NKG exhibitor, won this year’s $10,000 national first prize for her watercolor work entitled "Portrait of Tess” (pictured above). The winning works of the other 18 local chapter competitions who competed for the grand prize will also be on display.
We will host an opening reception at the gallery, 1517 U Street, NW for the National Tour of Works by 2007 NSAL Water Media On Paper competition winners on Thursday, February 28, 2008 from 5:30 to 7:30pm. Please stop by and see this notable exhibition!
Friday, February 01, 2008
New Works by Sondra Arkin
She’s done it again! Local artist Sondra Arkin recently brought four new works to the gallery depicting a different style. She was uncertain about the new direction her paintings were headed and wanted to see her work outside the confines of the studio. Arkin’s works were mounted on the gallery’s white walls right before the talk on Saturday afternoon. They were the most talked-about pieces of the day. Sondra may have felt that she “jumped off the cliff”, but she sure landed well.
Stylistic development is crucial in the oeuvre of every artist. If Picasso stuck with the academic realism of his figures prior to 1901, the history of art would have never witnessed his defying of tradition via the Blue, Rose and African-influenced Periods, as well as the different stages of Cubism. In the twenty-first century, artists are expected to reinvent their styles over and over again. For many, it is the only way to keep developing artistically. It is hard to do, and even harder to do it successfully.
Two of Arkin’s new works (pictured above), 32’’x32’’ encaustic on dibond paintings, particularly stand out. Her “brick wall” motif both dominates and accents the new compositions, without becoming repetitive, (as, in my view, the paintings in Sean Scully’s Wall of Light series did). These compositions are less structured than before, and indicate the artist’s desire to toss all pre-determined fears aside and simply jump into the unknown. The colors, though still energetic, are slightly muted, as if to reduce the focus on color itself in favor of returning to a focus on the effects of layering – which contain Arkin’s stylistic reference to the overlapping layers of joy, sadness, triumph and tragedy that come to define each of us.
In my opinion, the biggest difference between the old and new Arkin works is in her ability to create movement with the tactile rendering of colors. Rather than having the colors compliment each other side by side, Arkin has produced lines, points and shapes that are suspended in a timeless dance on the picture plane. In her new paintings Mitosis and Waterloo (both 2008), it is the texture that compliment each other; they tell stories and compose melodies. Like the musical paintings of Wassily Kandinsky, Arkin’s new works express power in linear forms and prove that abstraction is not simply the effect of a random process but the result of authenticity and an effort towards the beauty found inwards.
Above all, Sondra Arkin’s continued success in creating abstract art teaches us to observe our surroundings and "see" things we have never seen before or perhaps never looked close enough to see. May these musical pieces continue to add to the many layers of experience that influence our lives.
Stylistic development is crucial in the oeuvre of every artist. If Picasso stuck with the academic realism of his figures prior to 1901, the history of art would have never witnessed his defying of tradition via the Blue, Rose and African-influenced Periods, as well as the different stages of Cubism. In the twenty-first century, artists are expected to reinvent their styles over and over again. For many, it is the only way to keep developing artistically. It is hard to do, and even harder to do it successfully.
Two of Arkin’s new works (pictured above), 32’’x32’’ encaustic on dibond paintings, particularly stand out. Her “brick wall” motif both dominates and accents the new compositions, without becoming repetitive, (as, in my view, the paintings in Sean Scully’s Wall of Light series did). These compositions are less structured than before, and indicate the artist’s desire to toss all pre-determined fears aside and simply jump into the unknown. The colors, though still energetic, are slightly muted, as if to reduce the focus on color itself in favor of returning to a focus on the effects of layering – which contain Arkin’s stylistic reference to the overlapping layers of joy, sadness, triumph and tragedy that come to define each of us.
In my opinion, the biggest difference between the old and new Arkin works is in her ability to create movement with the tactile rendering of colors. Rather than having the colors compliment each other side by side, Arkin has produced lines, points and shapes that are suspended in a timeless dance on the picture plane. In her new paintings Mitosis and Waterloo (both 2008), it is the texture that compliment each other; they tell stories and compose melodies. Like the musical paintings of Wassily Kandinsky, Arkin’s new works express power in linear forms and prove that abstraction is not simply the effect of a random process but the result of authenticity and an effort towards the beauty found inwards.
Above all, Sondra Arkin’s continued success in creating abstract art teaches us to observe our surroundings and "see" things we have never seen before or perhaps never looked close enough to see. May these musical pieces continue to add to the many layers of experience that influence our lives.
Polish Art Talk Re-cap
A big, heart-felt thank you to those who came out for the Polish Art Talk and reception supporting “An Ideal Mix-Up” last Saturday. Highlights from the afternoon included the unveiling of Sondra Arkin’s newest pieces (see entry above) and Nevin’s talk on the history of the gallery and the Polish art that inspired it. As indicated on the press release, we will be switching paintings around during the course of the show so please stop by and see us this winter – you’re bound to see something new.[ Links ]
Video: Polish Art Talk
Photos: Talk and Reception
and...
Photos from the 40x26.667 show featuring Mark Parascandola and Stirling Elmendorf:
Thursday, January 24, 2008
An IDEAL Mix-Up: Event this Saturday!
An Ideal Mix-Up: A Winter Group Exhibition at the NKG
January 16 - February 24, 2008
Please join us THIS Saturday, 26 January 2008 at 4pm for a lecture on Polish art by gallery director Nevin Kelly. Refreshments will follow the talk...
A group exhibition that includes works by the contemporary Polish artists that helped launch the gallery in May 2003 and the many local artists who have joined the gallery along the way. The exhibition celebrates both the gallery's origins and its development as a platform for showcasing emerging trends in local art. Unlike most group shows, which remain static during their entire run, works in this show will be hung and re-hung in stages as works are sold or anchor pieces are moved to share the spotlight. The exhibition will feature works by local artists Sondra Arkin, Joan Belmar, Ellyn Weiss, Mary Chiaramonte and Laurel Hausler and by Polish artists Edward Dwurnik, Darek Pala, Krzysztof Kokoryn, Pawel Król, Lukasz Huculak and Michal Zaborowski.
Nevin J. Kelly, Director
Nevin Kelly Gallery
1517 U Street, NW
Washington, DC 20009
Tel.: 202-232-3464
Fax: 202-232-3465
E-mail: info@nevinkellygallery.com
Web: www.nevinkellygallery.com
and http://nevinkellygallery.blogspot.com
Friday, January 18, 2008
Artist Feature 10: Pawel Król
Have you ever wondered what it’s like to be an art student by day and exhibiting artist by night, while contributing to the history of art? Pawel Król did. This Cracow native is among the newest generation of young artists to appear on the contemporary Polish art scene since the collapse of socialism almost twenty years ago. With his uncommonly mature painting style, it is hard to believe that Król was a full-time painting student (Institute of Art of the Pedagogical Academy, Crakow) at the same time he was having solo exhibitions at galleries and venues in Europe and the United States. Like those of many of his Polish contemporaries, Król’s work capture a certain Polish identity crisis at the onset of the 21st century.
Tea (2004) tempera and india ink on canvas paper
On first glance, each of the artist’s paintings seems to be carefully planned, as if he knew exactly what was going on the canvas. Król explains the process differently:
“The plain sheet of paper or canvas before which I sit creates a blank space; and a blank space develops inside me, in my soul. I become as vulnerable as a child. Neither my knowledge of my trade nor my knowledge of painting techniques can eliminate this sense of vulnerability; it is still just me and the empty space, which must soon be filled with a subject and colors to start the process of coming to be.”
Król's “streams of consciousness” methodology produces results that are refreshingly honest; his works capture the young Pole’s struggle to be Polish in the wider world. His works seem to reflect a journey into the innermost parts of his soul, where he touches on emotions of reluctance, melancholy and elation. His paintings seem to reflect the collision between the new and old Poland, seen from every angle. The subject matters he chooses—women sharing a pot of afternoon tea, a thief stealing the moon, roly-poly men dancing around the Polish flag—reflect a keen sense of humor that counterbalances the angst of his introspective search. Król is perceptive of all that is going on around him, and illustrates it with maturity.
Vive L'Polonia, watercolor on paper
In the works on display at the gallery, Pawel Król’s work is mostly water media on paper—tempera, India ink and watercolor. In paintings such as Tea (2004) and Musical Chairs, the tempera paint helps fill in a background drawn in India ink, using brush strokes that create a scratchboard-like effect. His colors are raw and naturalistic. His process produces highly detailed, precise and sometimes textured artwork.
Król’s childlike vulnerability is shown in pieces such as the watercolor Vive L’Polonia, which uses the medium as a linear technique (note the sketchbook qualities of the figures) to insert a sense of playfulness into what might be considered a more “nationalistic” piece.
Król’s paintings are allegorical. They are capable of broad interpretation. They are “music” to one’s eyes. If one wants to know what it feels like these days to be young and Polish, one could do little better than to look at the paintings of Pawel Król.
Tea (2004) tempera and india ink on canvas paper“The plain sheet of paper or canvas before which I sit creates a blank space; and a blank space develops inside me, in my soul. I become as vulnerable as a child. Neither my knowledge of my trade nor my knowledge of painting techniques can eliminate this sense of vulnerability; it is still just me and the empty space, which must soon be filled with a subject and colors to start the process of coming to be.”
Król's “streams of consciousness” methodology produces results that are refreshingly honest; his works capture the young Pole’s struggle to be Polish in the wider world. His works seem to reflect a journey into the innermost parts of his soul, where he touches on emotions of reluctance, melancholy and elation. His paintings seem to reflect the collision between the new and old Poland, seen from every angle. The subject matters he chooses—women sharing a pot of afternoon tea, a thief stealing the moon, roly-poly men dancing around the Polish flag—reflect a keen sense of humor that counterbalances the angst of his introspective search. Król is perceptive of all that is going on around him, and illustrates it with maturity.
Vive L'Polonia, watercolor on paperIn the works on display at the gallery, Pawel Król’s work is mostly water media on paper—tempera, India ink and watercolor. In paintings such as Tea (2004) and Musical Chairs, the tempera paint helps fill in a background drawn in India ink, using brush strokes that create a scratchboard-like effect. His colors are raw and naturalistic. His process produces highly detailed, precise and sometimes textured artwork.
Król’s childlike vulnerability is shown in pieces such as the watercolor Vive L’Polonia, which uses the medium as a linear technique (note the sketchbook qualities of the figures) to insert a sense of playfulness into what might be considered a more “nationalistic” piece.
Król’s paintings are allegorical. They are capable of broad interpretation. They are “music” to one’s eyes. If one wants to know what it feels like these days to be young and Polish, one could do little better than to look at the paintings of Pawel Król.
Friday, January 11, 2008
Artist Feature 9: Darek Pala
This week’s feature focuses on one of the first artists shown at NKG: Polish-born Darek Pala who currently resides in Miami, FL. Pala graduated from the Academy of Fine Arts in Cracow in 1992 and became a well known exhibitor in Warsaw before moving to the U.S. in 1998. He still exhibits frequently there and has exhibited extensively in the United States and elsewhere in Europe. Pala’s paintings are marked by a thick impasto and bold colors that project both energy and mood.
[Author’s interpretation of Darek Pala’s Pamamour (Amant), 1999, oil on canvas, 42’’x42’’]
It is a sunny, Saturday morning on the Miami shoreline. A fair-skinned woman, wearing a flowery blouse, sits in front of her caffe con leche at the local breakfast café, smoking what appears to be a pipe. Sunlight radiates throughout the room, creating a sharp contrast of yellow against the light blue sky peeking out of the small window behind the woman. Globs of textured yellow paint are highlighted over a hidden under painting of orange, red, turquoise and indigo blue colors. To the left stands a contemporary accent vase, splashed in red, green, blue and white tones, with decorative stems sprawling out. As is typical in Pala’s paintings, this woman is depicted in profile. She raises her index finger, as if to request something. A tanned accordion player wearing a red coat and white bowtie stands cropped to the right, serenading her with lively [mariachi] music. Their eyes meet, and a connection is made. This seemingly private moment is brought to life by Pala’s use of yellow to bring out the intensity of the situation.
Darek Pala’s paintings vibrate with the energy of living. His figures, when facing each other, are engaged in constant dialogue. When we take a closer look, we discover the mixtures of their personalities. Pala is also a master of still-life objects such as flowers and fruit. On his canvases of flattened picture planes highlighted with sharp lines, these objects have the tendency to jump out at the viewer. Together, with the texture, they form a timeless and poetic, physical unity.
Like the geometric compositions of Joan Miró, Darek Pala has succeeded in exuding his love for shapes and vibrant colors. His mission statement in life is to trust his intuition and paint the world around him. Pala is not interested in painting only the happy scenes in life, but instead, to evoke feelings of love, fear, laughter, and delight through the eyes of a child.
Pablo Picasso once stated: “Every child is an artist. The problem is how to remain an artist once we grow up.” In my opinion, Darek Pala has excelled in remaining a true artist into his adult years, constantly reminding us to never lose our childish innocence no matter where this journey of life takes us.
For more information...
Official Website: http://www.darekpala.com
NKG Artists Site: http://www.nevinkellygallery.com/artists/pala
[Author’s interpretation of Darek Pala’s Pamamour (Amant), 1999, oil on canvas, 42’’x42’’]
It is a sunny, Saturday morning on the Miami shoreline. A fair-skinned woman, wearing a flowery blouse, sits in front of her caffe con leche at the local breakfast café, smoking what appears to be a pipe. Sunlight radiates throughout the room, creating a sharp contrast of yellow against the light blue sky peeking out of the small window behind the woman. Globs of textured yellow paint are highlighted over a hidden under painting of orange, red, turquoise and indigo blue colors. To the left stands a contemporary accent vase, splashed in red, green, blue and white tones, with decorative stems sprawling out. As is typical in Pala’s paintings, this woman is depicted in profile. She raises her index finger, as if to request something. A tanned accordion player wearing a red coat and white bowtie stands cropped to the right, serenading her with lively [mariachi] music. Their eyes meet, and a connection is made. This seemingly private moment is brought to life by Pala’s use of yellow to bring out the intensity of the situation.
Darek Pala’s paintings vibrate with the energy of living. His figures, when facing each other, are engaged in constant dialogue. When we take a closer look, we discover the mixtures of their personalities. Pala is also a master of still-life objects such as flowers and fruit. On his canvases of flattened picture planes highlighted with sharp lines, these objects have the tendency to jump out at the viewer. Together, with the texture, they form a timeless and poetic, physical unity.
Like the geometric compositions of Joan Miró, Darek Pala has succeeded in exuding his love for shapes and vibrant colors. His mission statement in life is to trust his intuition and paint the world around him. Pala is not interested in painting only the happy scenes in life, but instead, to evoke feelings of love, fear, laughter, and delight through the eyes of a child.
Pablo Picasso once stated: “Every child is an artist. The problem is how to remain an artist once we grow up.” In my opinion, Darek Pala has excelled in remaining a true artist into his adult years, constantly reminding us to never lose our childish innocence no matter where this journey of life takes us.
For more information...
Official Website: http://www.darekpala.com
NKG Artists Site: http://www.nevinkellygallery.com/artists/pala
Friday, January 04, 2008
Artist Feature 8: Krzystof Kokoryn
Welcome back! I hope your new years have gotten off to a brilliant start. This month, we are going “back to the basics” and I will be blogging about the art that helped launch NKG five years ago – Polish contemporary art.
Krzystof Kokoryn, Duet (2005) 31.5 x 39.5 oil on canvas
A few years ago, Polish artists such as Krzystof Kokoryn (b. 1964) were strangers to the DC art scene, but they quickly attracted attention. An image of Kokoryn’s large painting At the Swimming Pool, appeared on the front cover of DC North’s August 2003 edition, and several other Polish painters were featured in press articles about the gallery. Kokoryn’s intensely colorful paintings are sure to bring life into a dark and dreary day. Their warmth seems to be just the right thing to set your eyes on during these cold, short days of winter.
Kokoryn, a native of Warsaw, graduated from the city’s Academy of Fine Arts in 1992. Since then, he has had numerous solo exhibitions in Poland, the Netherlands and Slovakia. We featured his work in a two-artist exhibition at the Nevin Kelly Gallery called “Opposite Poles” in 2004 (which contrasted the contemporary style of Kokoryn against the classical style of Polish artist Michal Zaborowski). Like many great artists since the Renaissance, Kokoryn paints everyday scenes such as musicians playing a tune, lovers chatting in a cafe or friends gathering around the campfire. Kokoryn’s works reflect his bohemian lifestyle and remain authentic notwithstanding his international success. He’s the kind of guy you might like to call up to grab a few beers with at the local pub and simply chat the night away.
Krzysztof Kokoryn, Bar (2002)
The first thing that strikes me about Kokoryn’s paintings is his ability to successfully incorporate both linear and painterly qualities. Many times, his intuitive outlines of the main subject(s) help draw the spectator’s attention to the specific scene. By doing this, he renders his own vision of the events unfolding around those depicted in the painting. A sense of joie de vivre is expressed in every one of his works, from the man playing the trumpet to the nude sitting on her bed.
Comparable to the long, primitive figural styles of Pablo Picasso and Amedeo Modigliani, Kokoryn illustrates human activity, relationships and emotion to the greatest extent. His paintings are enticing and serve as a reminder for us to live our lives in the moment, truly embracing the joy to live and be alive.
Krzystof Kokoryn, Duet (2005) 31.5 x 39.5 oil on canvasA few years ago, Polish artists such as Krzystof Kokoryn (b. 1964) were strangers to the DC art scene, but they quickly attracted attention. An image of Kokoryn’s large painting At the Swimming Pool, appeared on the front cover of DC North’s August 2003 edition, and several other Polish painters were featured in press articles about the gallery. Kokoryn’s intensely colorful paintings are sure to bring life into a dark and dreary day. Their warmth seems to be just the right thing to set your eyes on during these cold, short days of winter.
Kokoryn, a native of Warsaw, graduated from the city’s Academy of Fine Arts in 1992. Since then, he has had numerous solo exhibitions in Poland, the Netherlands and Slovakia. We featured his work in a two-artist exhibition at the Nevin Kelly Gallery called “Opposite Poles” in 2004 (which contrasted the contemporary style of Kokoryn against the classical style of Polish artist Michal Zaborowski). Like many great artists since the Renaissance, Kokoryn paints everyday scenes such as musicians playing a tune, lovers chatting in a cafe or friends gathering around the campfire. Kokoryn’s works reflect his bohemian lifestyle and remain authentic notwithstanding his international success. He’s the kind of guy you might like to call up to grab a few beers with at the local pub and simply chat the night away.
Krzysztof Kokoryn, Bar (2002)Comparable to the long, primitive figural styles of Pablo Picasso and Amedeo Modigliani, Kokoryn illustrates human activity, relationships and emotion to the greatest extent. His paintings are enticing and serve as a reminder for us to live our lives in the moment, truly embracing the joy to live and be alive.
Thursday, December 27, 2007
Artist Feature 7: Double Whammy!
Mark Parascandola and Laurel Hausler
Sorry for the pause between entries, as time simply ran out these past two weeks for me to do the weekly blog. As the holiday season and 2007 draw to a close, I wanted to focus your attention on two talented local artists in our gallery. Both photographer Mark Parascondola and mixed media artist Laurel Hausler are featured in this year’s Attainable Art show, going on until December 30th. Please stop by and see the show if you haven’t done so already, and feel free to contact us about our reduced holiday hours.
One of my favorite mediums in art is digital photography, a craft that Mark Parascandola has mastered well. Featured earlier this year in NKG’s “Double Vision” photography show, Parascandola has received wide acclaim in the Washington DC area for his ability to digitally enhance images taken in a traditional manner, transforming them into eye-catching, contemporary works. His portfolio includes works from his travels to Spain, South America, Eastern Europe, the American Southwest and of course, Washington, DC. Creative travel photography is not Parascandola’s only forte, as he also works as an epidemiologist for the federal government, and has published numerous articles on public health policy. Talk about the ability to moonlight well!
As we know, there is a persistent debate about whether photography should be regarded as a legitimate art form (as much of the important work is done by a machine). Many people question what makes photography art? My best answer would be that the image (think of it as a painting) must possess some sort of aesthetic quality in order for it to be beautiful. What is it about a particular image that grabs your attention more than its counterparts? Is it the use of color? Texture? Subject matter? What gives the photo its mood, and how does it make you feel?
Despite the fact that photography is often synonymous with truth (“the camera never lies”), Parascandola’s digitally altered images seem to deliver a greater truth than what is deemed “reality.” With digital cameras rapidly replacing old-fashioned film cameras, it seems that anybody can manipulate a photograph and call it a work of art. But, what makes Parascandola stand out from the average Joe on the street with the same camera? Composition and quality. The saturated, background colors of Parascandola’s photos help balance out the sharp contrast in the foreground. (see Iglesia Salinas Gate, pigment print, 2007). His choice of subject matter, from the rustic desert churches of Almeria, Spain to the typography found on signs in Washington DC (see Lincoln Theatre, pigment print, 2007), seeks to capture the essence of the moment and make a lasting impression. Like many other great artists, Parascandola sees beauty in the mundane, reinvents truth and invites his viewers to do likewise.
For more information on Mark Parascandola:
Official website: http://www.markparascandola.com
Blog: http://parascandola.blogspot.com/
Flickr: http://www.flickr.com/photos/parascandola
Local mixed-media artist Laurel Hausler is no stranger to the DC art scene. With multiple appearances in venues such as the DC Fringe Festival and Arlington Arts Center, as well as features in the Examiner and the DCist, this young, self-taught artist has taken the nation’s capital by storm. Her eclectic yet symbolic subject matter, sometimes compared to that of Frida Kahlo and Joseph Cornell, is a redeeming breath of fresh air in a [conservative], Washington DC art scene that pushes its limits by favoring representational figures and post-war abstraction. Each piece Hausler creates is like a scene out of a theatrical production.
Heavily influenced by the limits imposed in Catholic school and a general love of history, Hausler has developed her signature style by combining collage, found objects, drawing and painting. Many of her pieces move me, but the strongest of her standout declarations is perhaps the 15x14’’ piece entitled Apothecary (Leeches). This shadowbox composition depicts a scrawly, outlined drawing of a woman perched on the counter of an old pharmacy, surrounded by a background covered with pharmaceutical ads and apothecary bottles. The dominant color is a dark, crimson red curtain covering the screen, as well as white (for the dress) and blonde (for the woman’s hair) painted over plexi-glass. A tone of melancholy perpetuates the scene, which helps us recognize the painful truth of this woman’s life. Standing before this piece, one cannot help but feel stirred inside, knowing that we ought to suffer alongside this woman, feeling her anguish and eventually helping her break free.
Like many of the artists NKG represents, Laurel Hauler pours her innermost secrets into innocent-looking tableaux in order to better understand the frightening unknowns in life. No matter what she creates, Hausler always has the ability to pull her viewers into a world of brutal reality – realizing that life is far from perfect, but that confronting the ghosts from one’s past is the first step to liberation and comprehension.
A great quote to sum up the emotions evoked by both Parascandola’s and Hausler’s works is the following, by English art critic Clive Bell in his essay, Art:
“There must be some one quality without which a work of art cannot exist; possessing which, in the least degree, no work is altogether worthless. What is this quality? What quality is shared by all objects that provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at Chartres, Mexican sculpture, a Persian bowl, Chinese carpets, Giotto's frescoes at Padua, and the masterpieces of Poussin, Piero della Francesca, and Cezanne? Only one answer seems possible - significant form. In each, lines and colors combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions.”
For more information on Laurel Hausler:
Website: http://www.laurelhausler.com
DCist Article: http://dcist.com/2007/12/03/attainable_art.php
Happy holidays from all of us at NKG! See you all next year!
Sorry for the pause between entries, as time simply ran out these past two weeks for me to do the weekly blog. As the holiday season and 2007 draw to a close, I wanted to focus your attention on two talented local artists in our gallery. Both photographer Mark Parascondola and mixed media artist Laurel Hausler are featured in this year’s Attainable Art show, going on until December 30th. Please stop by and see the show if you haven’t done so already, and feel free to contact us about our reduced holiday hours.
One of my favorite mediums in art is digital photography, a craft that Mark Parascandola has mastered well. Featured earlier this year in NKG’s “Double Vision” photography show, Parascandola has received wide acclaim in the Washington DC area for his ability to digitally enhance images taken in a traditional manner, transforming them into eye-catching, contemporary works. His portfolio includes works from his travels to Spain, South America, Eastern Europe, the American Southwest and of course, Washington, DC. Creative travel photography is not Parascandola’s only forte, as he also works as an epidemiologist for the federal government, and has published numerous articles on public health policy. Talk about the ability to moonlight well!
As we know, there is a persistent debate about whether photography should be regarded as a legitimate art form (as much of the important work is done by a machine). Many people question what makes photography art? My best answer would be that the image (think of it as a painting) must possess some sort of aesthetic quality in order for it to be beautiful. What is it about a particular image that grabs your attention more than its counterparts? Is it the use of color? Texture? Subject matter? What gives the photo its mood, and how does it make you feel?
Despite the fact that photography is often synonymous with truth (“the camera never lies”), Parascandola’s digitally altered images seem to deliver a greater truth than what is deemed “reality.” With digital cameras rapidly replacing old-fashioned film cameras, it seems that anybody can manipulate a photograph and call it a work of art. But, what makes Parascandola stand out from the average Joe on the street with the same camera? Composition and quality. The saturated, background colors of Parascandola’s photos help balance out the sharp contrast in the foreground. (see Iglesia Salinas Gate, pigment print, 2007). His choice of subject matter, from the rustic desert churches of Almeria, Spain to the typography found on signs in Washington DC (see Lincoln Theatre, pigment print, 2007), seeks to capture the essence of the moment and make a lasting impression. Like many other great artists, Parascandola sees beauty in the mundane, reinvents truth and invites his viewers to do likewise.
For more information on Mark Parascandola:
Official website: http://www.markparascandola.com
Blog: http://parascandola.blogspot.com/
Flickr: http://www.flickr.com/photos/parascandola
Local mixed-media artist Laurel Hausler is no stranger to the DC art scene. With multiple appearances in venues such as the DC Fringe Festival and Arlington Arts Center, as well as features in the Examiner and the DCist, this young, self-taught artist has taken the nation’s capital by storm. Her eclectic yet symbolic subject matter, sometimes compared to that of Frida Kahlo and Joseph Cornell, is a redeeming breath of fresh air in a [conservative], Washington DC art scene that pushes its limits by favoring representational figures and post-war abstraction. Each piece Hausler creates is like a scene out of a theatrical production.
Heavily influenced by the limits imposed in Catholic school and a general love of history, Hausler has developed her signature style by combining collage, found objects, drawing and painting. Many of her pieces move me, but the strongest of her standout declarations is perhaps the 15x14’’ piece entitled Apothecary (Leeches). This shadowbox composition depicts a scrawly, outlined drawing of a woman perched on the counter of an old pharmacy, surrounded by a background covered with pharmaceutical ads and apothecary bottles. The dominant color is a dark, crimson red curtain covering the screen, as well as white (for the dress) and blonde (for the woman’s hair) painted over plexi-glass. A tone of melancholy perpetuates the scene, which helps us recognize the painful truth of this woman’s life. Standing before this piece, one cannot help but feel stirred inside, knowing that we ought to suffer alongside this woman, feeling her anguish and eventually helping her break free.
Like many of the artists NKG represents, Laurel Hauler pours her innermost secrets into innocent-looking tableaux in order to better understand the frightening unknowns in life. No matter what she creates, Hausler always has the ability to pull her viewers into a world of brutal reality – realizing that life is far from perfect, but that confronting the ghosts from one’s past is the first step to liberation and comprehension.
A great quote to sum up the emotions evoked by both Parascandola’s and Hausler’s works is the following, by English art critic Clive Bell in his essay, Art:
“There must be some one quality without which a work of art cannot exist; possessing which, in the least degree, no work is altogether worthless. What is this quality? What quality is shared by all objects that provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at Chartres, Mexican sculpture, a Persian bowl, Chinese carpets, Giotto's frescoes at Padua, and the masterpieces of Poussin, Piero della Francesca, and Cezanne? Only one answer seems possible - significant form. In each, lines and colors combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions.”
For more information on Laurel Hausler:
Website: http://www.laurelhausler.com
DCist Article: http://dcist.com/2007/12/03/attainable_art.php
Happy holidays from all of us at NKG! See you all next year!
Friday, December 07, 2007
Gallery Event Pictures!
Thanks for coming out to support our two events last weekend! Check out pictures from both the NEST Event and Holiday Open House here.
Set Name: NKG Gallery Events + Openings
Click on 'view slideshow' at the top right hand corner of the set.
Enjoy!
Friday, November 30, 2007
Holiday Open House TOMORROW!
Deck the WALLS with attainable art...
Just a reminder that NKG's Holiday Open House happens tomorrow afternoon, December 1, 2007 from 4-7pm. Come celebrate the holiday season with us! The Third Annual Attainable Art Show features a variety of artwork under $1500 available for purchase, from both local and international artists. Holiday goodies and drinks will be served. See you all tomorrow!
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Nevin Kelly Gallery
1517 U Street, NW
Washington, DC 20009
T: 202.232.3464
F: 202.232.3465
E: info@nevinkellygallery.com
METRO: Dupont Circle (red line) and U Street/Cardozzo (green line).
Wednesday, November 21, 2007
Artist Feature 5: Joan Belmar
Pictured Above: (left) Duplex and Concentric Green, 2007, mixed media on plywood, 21 x 25 in and (right) Duplex I, 2007, mixed media on plywood, 21 x 25 inThis week's Artist Feature (posted earlier than usual, due to the Thanksgiving Holiday), takes a closer look at Chilean-born, Washington DC based collage artist Joan (pronounced "zhoh-AHN") Belmar. Belmar’s work might be unfamiliar to some NKG visitors, as he does not yet have a page on our website, but his work is certainly not to be overlooked. He started out with paintings, but in recent years has moved towards abstract collage. Though one might see echoes of OP Art and minimalist qualities in his body of work, Belmar's mixed media collages are one-of-a-kind. They are a reflection of the inner workings of his spirit, and do not imitate the work of anyone else: he is his own person, with a unique voice.
Belmar places strips of colored mylar placed under the glass of a plywood frame, fashioned into curvilinear lines of various shapes and sizes; some slightly more representational than others. There are usually no more than 4 hues represented simultaneously. The compositions resemble the 3-dimensional depictions of the human body sometimes found in modern science textbooks. His use of modern materials, such as plastic, acetate, mylar and glass, creates optical illusions. Viewing these works allows one's curiosity to leap out, to question the purpose of his art and to be able to reach in and physically feel the materials in order to fully grasp the concept of each collage. There is also a deep sense of nostalgia connected to Belmar's collages that urge the viewers to take a deeper look at their own lives in light of his art. The somewhat uncomfortable, tingly sensation never dies, giving the works an air of mystery.
One current work, strongly influenced by Anish Kapoor's sculpture at the Hirshhorn of a bisected egg painted blue, tests our eyes and our ability to perceive the things around us. His constant exploration of circles (specifically with mandalas) helps us realize the importance of constantly accessing deeper into the levels consciousness. The idea reminds us that life is not perfect, and that we as humans are all in this together. Belmar creates worlds in his art where some things are clear, others translucent and others ambiguous. His interpretation is that these differences in clarity make life's journey more interesting.
Prior to moving to the United States in 1999, Belmar lived and experienced what he calls "multiple lives" in both Spain and his native Chile. His response to the events of his life are reflected in his artwork, which he describes using words such as "alienation" and "disconnectedness". Through his daring concentric collages, Belmar succeeds not only in examining critical social structures, but in reflecting the psychology of those who struggle within them, including, himself. His work reads like an autobiography, making himself completely vulnerable to the masses and allowing us to respond in light of our own life experiences. This is what the circle of life is all about.
*******
Three of Joan Belmar's works (including the two pictured in this entry) will be on display AND for sale at our Third Annual Attainable Art show. Please join us for our open house on December 1, 2007 from 4-7pm. Till next week, I hope you ALL have a happy Thanksgiving holiday!
Thursday, November 15, 2007
Artist Feature 4: Sondra Arkin
Pictured Above: Orange Tide, triptych, 2006, encaustic on dibond, each panel 32 x 32 in.
For over 25 years, Sondra Arkin has transformed whatever space was available to her at that given point in time (spare bedroom, dining room or basement) into a haven for creative expression. Although art-making was always in her blood throughout the course of her life, it wasn't until 2001 that Sondra took a risk and quit her day job in marketing to pursue art full-time. This huge leap of faith resulted in a myriad of awards, features in newspapers such as The Washington Post, participation in both group/solo shows all over the mid-Atlantic region and most recently, working as a project curator on behalf of the DC Commission on the Arts & Humanities on the new City Hall Art Collection @t the John A. Wilson Building downtown. Sondra's colorful, abstract, mixed media canvases, which rival those of Mark Rothko, and imaginative box-construction works have been widely received by local and national audiences alike. She is also a frequent exhibitor at our gallery and will be featured in the Third Annual Attainable Art Show, opening November 24th.
What strikes me the most about Sondra Arkin's work is her ability to create art that is both purposeful and powerful. No matter the size, material used or color combinations (only warm or cool colors, a combination of the two, a more monochromatic palate), Sondra's work never ceases to create a lasting impression for all who come into contact with it. It is not abstract for the sake of being non-representational, but abstract to evoke every little emotion that is hiding behind our imperfect, human façade. There is a distinct type of [positive] energy in her work that forces the viewer to pause, observe and think beyond what is physically represented on the canvas. Furthermore, Sondra's free style of painting caters to just about anyone: the hip, young art school student to children learning their colors for the first time, spiritual soul-seekers and even to those in the professional world who value high aesthetics.
In recent years, Sondra Arkin's unique encaustic (otherwise known as "hot wax painting", which uses heated beeswax to which colored pigments are added -- dates back to 100-300 AD) technique has led the artist to break free from the picture plane approach and make paintings that take on a more sculptural feel. Now, her compositions are not only conceptual and vibrant, but also boast a soft, playfulness of colors that echoes a dichotomy of the combination of diverse materials. She also extends her experimentation of focusing simply on individual work with the inclusion of diptypchs, triptypchs and polytptychs, thereby proding the viewers to look at these pieces as a whole and enhance the conversations further.
Those who attended the Color: Field Tests show back in April/May of this year may remember Sondra's involvement to help promote the citywide Color Field Remix -- a movement from the 1960s that emerged after Abstract Expressionism and is widely characterized by abstract canvases painted with large areas of solid colors. Her entire oeuvre, be it a mixed media collage/box of found objects or a spiritual landscape of vibrant layers of warm colors, has the power to communicate a positive message to the masses: that life, as we know it, is comprised of layers, both good and bad. We as humans will experience both highs and lows in this journey called life, but these feelings are necessary as we stretch, evolve and grow.
Ultimately, Sondra hopes that what surfaces out of these layers of influence is something of value and beauty. By encouraging her viewers to take an introspective approach while confronted with her artwork, Sondra desires that a tangible layer will then be added to our respective lives, which will hopefully enrich it all the more.
Friday, November 09, 2007
Sneak Peek!
Are you ready for the crazy season of holiday shopping... errr, ummm, I mean.... gallery hopping? How about some: Jingle Bell Rock? Well, look no further as NKG is here to assist you with your never-ending list of gifts to buy this holiday season. Opening November 24, 2007... NKG welcomes the Third Annual Attainable Art Show: Works Under $1500. Just in time for the holidays, works by various artists such as Sondra Arkin, Lukasz Huculak, Mark Parascandola, Joan Belmar, Mary Chiaramonte, Ellyn Weiss and Ming Yi Sung Zaleski (and many more!) will be exhibited and sold. Finally, affordable art that make the PERFECT holiday gifts.
Please join us:
Holiday Open House| Saturday December 1st | 4 to 7pm
More details to come... so stay tuned!
Artist Feature 3: Michal Zaborowski
:: LAST CALL ::
Michal Zaborowski's H2O show closes this Sunday, November 11th! That means you still have time to come down and see it. We are open until 8pm both tomorrow and closing day, so please stop in and peruse if you haven't already done so (or, if you want to come again). This show was definitely a crowd-pleaser, on many levels. Thank you for your continued support.
:: CRIT WITH A TWIST ::
Since the Zaborowski show is drawing to a close, I thought it would be interesting to open the mic. up to our visitors and share what their various instinctive responses to the exhibition were. These responses were recorded during the course of this exhibition, and a diverse demographic of age and gender was attempted. As suspected, some constructive criticism was given despite the popularity of Zaborowski's works, but all in all, people felt that he is an amazing figure painter and definitely a post-modern Impressionist! Let's see what our fellow Washingtonians had to say:
[ N O T E :: responses were paraphrased for this blog entry]
"Seeing representative painting in this gallery is SO refreshing. The last few years, all NKG had were abstract artists - which I love - but not as much as the old stuff. It reminds me that there is good contemporary art out there."
Female, Local Neighbor, 60s
"I identify with the girl wearing the turquoise earring. She casually dries herself after a bath, with no shame of her nudity at all. It's better than Pierre Bonnard's figures that are so confusing and the colors kind of get lost when mixed together. At least this one is well-defined. I think this is a good reminder for us Americans who are too paranoid about our physical imperfections to even consider such a thing. Women of all shapes and sizes are gorgeous, and this painting echoes that very well."
Female, Washington DC resident, 40s
"These women are so well-dressed, even the woman delivering the water. What is it about our modern American culture that makes people dress so sloppy? There is definitely a European quality in these works - that you never find in America. It's absolutely delightful."
Male, Local Neighbor, 70s
"This show is not so good; actually, its quite boring. I mean, Zaborowski is a great painter, but I think these paintings are too academic. They remind me of the figures we had to copy during those gruesome years in art school. These paintings look like figures painted to perfection. I would like to see him go outside of his comfort zone and do something more abstract. His strongest painting, however, is Fishermen."
Bulgarian Artist, Female, Washington DC resident, 30s
"I can't stand the lack of a good and defined background in these works. It's like they are purposely mushed all together. He needs to make it more 3-dimensional. I preferred the work/background Zaborowski had in his 'Before and After the Dinner Party' exhibition."
Couple, Washington DC residents, 50s
**********
Please feel free to add your own responses to these various comments given by our fellow visitors. Join me next week for proper Artist Feature on one of NKG's favorite artists. Buon weekend!
Michal Zaborowski's H2O show closes this Sunday, November 11th! That means you still have time to come down and see it. We are open until 8pm both tomorrow and closing day, so please stop in and peruse if you haven't already done so (or, if you want to come again). This show was definitely a crowd-pleaser, on many levels. Thank you for your continued support.
:: CRIT WITH A TWIST ::
Since the Zaborowski show is drawing to a close, I thought it would be interesting to open the mic. up to our visitors and share what their various instinctive responses to the exhibition were. These responses were recorded during the course of this exhibition, and a diverse demographic of age and gender was attempted. As suspected, some constructive criticism was given despite the popularity of Zaborowski's works, but all in all, people felt that he is an amazing figure painter and definitely a post-modern Impressionist! Let's see what our fellow Washingtonians had to say:
[ N O T E :: responses were paraphrased for this blog entry]
"Seeing representative painting in this gallery is SO refreshing. The last few years, all NKG had were abstract artists - which I love - but not as much as the old stuff. It reminds me that there is good contemporary art out there."
Female, Local Neighbor, 60s
"I identify with the girl wearing the turquoise earring. She casually dries herself after a bath, with no shame of her nudity at all. It's better than Pierre Bonnard's figures that are so confusing and the colors kind of get lost when mixed together. At least this one is well-defined. I think this is a good reminder for us Americans who are too paranoid about our physical imperfections to even consider such a thing. Women of all shapes and sizes are gorgeous, and this painting echoes that very well."
Female, Washington DC resident, 40s
"These women are so well-dressed, even the woman delivering the water. What is it about our modern American culture that makes people dress so sloppy? There is definitely a European quality in these works - that you never find in America. It's absolutely delightful."
Male, Local Neighbor, 70s
"This show is not so good; actually, its quite boring. I mean, Zaborowski is a great painter, but I think these paintings are too academic. They remind me of the figures we had to copy during those gruesome years in art school. These paintings look like figures painted to perfection. I would like to see him go outside of his comfort zone and do something more abstract. His strongest painting, however, is Fishermen."
Bulgarian Artist, Female, Washington DC resident, 30s
"I can't stand the lack of a good and defined background in these works. It's like they are purposely mushed all together. He needs to make it more 3-dimensional. I preferred the work/background Zaborowski had in his 'Before and After the Dinner Party' exhibition."
Couple, Washington DC residents, 50s
**********
Please feel free to add your own responses to these various comments given by our fellow visitors. Join me next week for proper Artist Feature on one of NKG's favorite artists. Buon weekend!
Friday, November 02, 2007
Artist Feature 2: Michal Zaborowski
Welcome back! Join us this week as we look at yet another one of Zaborowski's well-loved pieces, Morning Fishing, currently on view through Nov. 11th in our H20 exhibition. Please stop by if you haven't already done so. As always, comments are welcome and greatly appreciated.
Morning Fishing, Oil on Canvas, 36'' x 63'', 2007
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Morning Fishing, Oil on Canvas, 36'' x 63'', 2007********
"Sadness flies on the wings of the morning and out of the heart of darkness comes the light."
-- Jean Giraudoux
This painting resembles a [candid] photograph that might have been taken looking down from the docks, right before the break of dawn. It boasts a simplified, naturalistic color palate and an overall, flat and asymmetrical composition. A boy, no older than the age of 13, stands barefoot on the edge of his boat and peers down into the cool, crystalline waters - looking for the first signs of the day's catch. The outside temperature is without a doubt warm, as indicated by the boy's attire. In one hand, he holds an empty glass jar of what appears to be bait. A fishing line is firmly grasped by his other hand, prepared for anything that might come his way. The look on his face is a quizzical one, as there is no sign of life in the waters at all. The positioning of his foot, the left one further on the edge than the right, indicates that something is about to happen, perhaps a foreshadowing of events to come?
Zaborowski's subdued palate and simplistic composition invites us to take a deeper look at this painting, rather than skimming it over as yet another "pretty picture" that sells for more than the normal asking price of works NKG offers. Although the subject matter is safe and it is obvious that the artist is classically trained (and excelled in this training), it is all too easy to miss the air of mystery that lingers in every one of his paintings. Unlike some of his other works, water is ever present and dominates a large portion of the canvas. The overall composition is cropped, and one can only surmise who/what might have been in the two boats on the upper right-hand side. The shadows are strong, and the positioning of the boy is also very alluring. What could his next action possibly be? To keep peering over the still, early morning waters, to take the plunge and jump into his catches' terrain OR possibly, (as the quote above suggests) to let the sadness that is weighing him down dissipate into the first breath of morning...
Whatever the case may be, it is evident that Zaborowski has once again excelled in the rendering of a simple subject which, in turn, can also be sublimely beautiful. In a world where we are bombarded by images thanks to the digital revolution, it is comforting to have a painting such as Morning Fishing remind us of the simple things in life; perhaps, even rejoice in the mystery of living as mortal beings! As French Symbolist painter Émile Bernard so vividly puts it:
“Everything that is superfluous in a spectacle is covering it with reality and occupying our eyes instead of our mind. You have to simplify the spectacle in order to make some sense of it. You have, in a way, to draw its plan.”
Less is indeed, exceedingly MORE.
-- Jean Giraudoux
This painting resembles a [candid] photograph that might have been taken looking down from the docks, right before the break of dawn. It boasts a simplified, naturalistic color palate and an overall, flat and asymmetrical composition. A boy, no older than the age of 13, stands barefoot on the edge of his boat and peers down into the cool, crystalline waters - looking for the first signs of the day's catch. The outside temperature is without a doubt warm, as indicated by the boy's attire. In one hand, he holds an empty glass jar of what appears to be bait. A fishing line is firmly grasped by his other hand, prepared for anything that might come his way. The look on his face is a quizzical one, as there is no sign of life in the waters at all. The positioning of his foot, the left one further on the edge than the right, indicates that something is about to happen, perhaps a foreshadowing of events to come?
Zaborowski's subdued palate and simplistic composition invites us to take a deeper look at this painting, rather than skimming it over as yet another "pretty picture" that sells for more than the normal asking price of works NKG offers. Although the subject matter is safe and it is obvious that the artist is classically trained (and excelled in this training), it is all too easy to miss the air of mystery that lingers in every one of his paintings. Unlike some of his other works, water is ever present and dominates a large portion of the canvas. The overall composition is cropped, and one can only surmise who/what might have been in the two boats on the upper right-hand side. The shadows are strong, and the positioning of the boy is also very alluring. What could his next action possibly be? To keep peering over the still, early morning waters, to take the plunge and jump into his catches' terrain OR possibly, (as the quote above suggests) to let the sadness that is weighing him down dissipate into the first breath of morning...
Whatever the case may be, it is evident that Zaborowski has once again excelled in the rendering of a simple subject which, in turn, can also be sublimely beautiful. In a world where we are bombarded by images thanks to the digital revolution, it is comforting to have a painting such as Morning Fishing remind us of the simple things in life; perhaps, even rejoice in the mystery of living as mortal beings! As French Symbolist painter Émile Bernard so vividly puts it:
“Everything that is superfluous in a spectacle is covering it with reality and occupying our eyes instead of our mind. You have to simplify the spectacle in order to make some sense of it. You have, in a way, to draw its plan.”
Less is indeed, exceedingly MORE.
Thursday, November 01, 2007
SOLD!
Michal Zaborowski's front cover painting, After the Race [oil on canvas, 59''x32'', 2007] has been sold! Congratulations to the lucky buyers! But don't worry, there are still 11 Zaborowski paintings left to be sold from now until the end of the show. Spread the word...
Thursday, October 25, 2007
Artist Feature 1: Michal Zaborowski
Welcome to the Artist Feature section of the Nevin Kelly Gallery blog. Join me every week as I muse on one of our gallery's artists (either Polish or local/emerging), introducing their work(s) to this blog's dedicated readers here in Washington DC and beyond. Should you have any feedback, please leave a comment under the specific entry and I will get definitely get back to you. Please note that from now until November 11th, the closing date of the H20 exhibition, I will be blogging solely about Zaborowski's various paintings.
Glass of Water, Oil on Canvas, 55'' x 32'', 2007
There is a lot that can be said about the presence of water in Zaborowski's romantic paintings that were selected for this exhibition. Sometimes it's subtle, other times overwhelming. In Glass of Water, Zaborowski's rendering of the human figure dominates the canvas so much that the presence of water, found in the cocktail glass and tightly grasped by the woman's right hand, is almost camouflaged into the soft, gray background. Instead, the focus is found on the woman's face, which seems to be the only element that is properly proportioned compared to the rest of the body. Her eyes stare out into space and meet yours if you stand at an angle, to the right of the painting.
Standing in the presence of this woman makes you wonder who she is, where she comes from and what she is currently engaged in at this very moment. Pictured from a sideways profile, with her legs propped up on a wooden stool, sitting in what appears to be a traditional armchair, one can surmise one of many things. Perhaps she just returned from an evening out on the town (cocktail party, dancing under the moonlight, romantic dinner?), evident by the elegant blue and white dress hanging off her body and the black stiletto pumps dangling off her feet. There is a garment of some sort draped on the back of the chaise, perhaps a quilted, fancy overcoat that provided warmth to her exhausted, far from perfect body on the way home. Her left arm is allowing her to stretch a bit while glancing to the other side of the room. She seems to be awaiting the arrival of someone or something - but who? The darker, square-like shade of muddy gray oil paint lends no blatant clue to this mystery: for all we know, she could be expecting her lover or simply the her maid to freshen her drink. Most importantly, she hides nothing.
Like Titan's Venus of Urbino, I believe Glass of Water was painted to exude the purposeful, sensual beauty of the female figure (but not in a provocative way). There is a blatant sense of honesty that is rendered in his painting and a simple narrative that is to be told. No matter where our curious imaginations may take us, it might be worth considering this woman as the "reclining nude" of the 21st century - who does not have perfect bodily proportions yet expects viewers to accept her as she is. She has no shame, and shows her fair yet strong legs off proudly. And as for the glass of water she is clutching in her right hand? It could serve as her weapon of defense for anyone who dares to mess with her honest, beautiful self.
Glass of Water, Oil on Canvas, 55'' x 32'', 2007
There is a lot that can be said about the presence of water in Zaborowski's romantic paintings that were selected for this exhibition. Sometimes it's subtle, other times overwhelming. In Glass of Water, Zaborowski's rendering of the human figure dominates the canvas so much that the presence of water, found in the cocktail glass and tightly grasped by the woman's right hand, is almost camouflaged into the soft, gray background. Instead, the focus is found on the woman's face, which seems to be the only element that is properly proportioned compared to the rest of the body. Her eyes stare out into space and meet yours if you stand at an angle, to the right of the painting.
Standing in the presence of this woman makes you wonder who she is, where she comes from and what she is currently engaged in at this very moment. Pictured from a sideways profile, with her legs propped up on a wooden stool, sitting in what appears to be a traditional armchair, one can surmise one of many things. Perhaps she just returned from an evening out on the town (cocktail party, dancing under the moonlight, romantic dinner?), evident by the elegant blue and white dress hanging off her body and the black stiletto pumps dangling off her feet. There is a garment of some sort draped on the back of the chaise, perhaps a quilted, fancy overcoat that provided warmth to her exhausted, far from perfect body on the way home. Her left arm is allowing her to stretch a bit while glancing to the other side of the room. She seems to be awaiting the arrival of someone or something - but who? The darker, square-like shade of muddy gray oil paint lends no blatant clue to this mystery: for all we know, she could be expecting her lover or simply the her maid to freshen her drink. Most importantly, she hides nothing.
Like Titan's Venus of Urbino, I believe Glass of Water was painted to exude the purposeful, sensual beauty of the female figure (but not in a provocative way). There is a blatant sense of honesty that is rendered in his painting and a simple narrative that is to be told. No matter where our curious imaginations may take us, it might be worth considering this woman as the "reclining nude" of the 21st century - who does not have perfect bodily proportions yet expects viewers to accept her as she is. She has no shame, and shows her fair yet strong legs off proudly. And as for the glass of water she is clutching in her right hand? It could serve as her weapon of defense for anyone who dares to mess with her honest, beautiful self.
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