Figurative Art Expo 2012
September 1, 2012 - December 15, 2012
There’s a meeting and separating of worlds in this one image that creates poetry. I find myself drawn back to it through Harris’s flawless timing. He’s created a world of mood; precarious, shifting and alive!
— Juror: Patricia Schappler
George Ayers, Marie Bergstedt, Carla Carlson, AM Clark,
Nate Gaefcke, Jayne Gaskins, Jose M. Gomez-Ros,
Don Haggerty, Dan Harris, Jamie Henderson, Drew Hoffman,
Terence Kneale, Lyubov Momot, Shahir Mowlaei, Wendy Moyer, Kaz Ooka, Lynne Margulies Osgood, Laura Pritchard,
Caleb Reed, Jeanne Sisson, Joanna Smielowska, Joan Sowada, Martha Wade, Marsha Wells, Katie Williams
When I first saw George Ayer’s piece Michele, I was taken by how he painted the fabric in particular the lace. The lace almost appears to glow while being see through on this working class female who seems to come directly from the age of Rembrandt. The leather chair put a twist into this painting and creates a dialogue between the contemporary and the Dutch style paintings. Like many of the Dutch portrait painters solo figures would often be set on dark almost black backgrounds where the figure pops forward.
from light to dark, you are fully aware of George's attention to every fine detail of Michele’s garment and her stone cold expression. While, behind her hard exterior you are confronted
by a person who is breaking inside. This comes from her closed off body language and some
of the tight features in her face. This piece has a sad feeling but is masterfully painted.
— Juror: Kenneth Browne
In Tracy the figure is presented to the viewer in a compelling and firm pose. One of the most interesting qualities of this piece is the grand use of contrasts. Her figure is largely posed towards the left as if she is leaving the room though she is stopped, possibly in mid action, while her eyes glance back to the right at someone or something hidden unto the viewer. The overall feeling of the work given by the use of the mezzotint is a perfect contrast to figure, it balances beautifully the hardness of the pose with the gentle softness of the medium. The mezzotint creates an almost satin-like sensation in the image and makes one desire to reach out and try to touch it.
— Juror: Terra Chapman
Learning to Fly
This piece reminds me of the loss of our childhood imagination and determination.
At first glance my adult mind sees the child succumbing to the forces of gravity after jumping from the stool. However on second glance, I see the child staying aloft-flying with the help of the angel-tree and feathers.
If we put aside our comfortable and rational beliefs, embrace our childlike wonder, maybe we too can
Learn to Fly.
— Gallery Director, Julie Weismann