| 07.20.2017 - 08.16.2017 |
Artists: Mike Weber
ABOUT THE ARTIST Mike Weber was born in February of 1975 in St. Louis, Missouri. He has degrees in Visual Communications and Computer Animation-Multimedia from The Art Institute International. He has exhibited at diverse international galleries and is a Spotlight Feature by The National Endowment for the Arts. Weber was selected by the Smithsonian Institution's Art Curators as a nominee for the Smithsonian Artist Research Fellowship Program. Moreover, his artwork has appeared on the cover of Architectural Digest, in US Weekly, New York Post, New York Times Style Magazine, Washington Post Magazine, National Endowment for the Arts Magazine, POPLife, Modern Luxury, Home & Design, Spaces Magazine and Photographize Magazine. Weber's work has also appeared on HGTV and Bravo TV. He currently resides in Los Angeles, California. SYNCHRONICITY Synchronicity is the orchestration of the balance of life on our planet as it takes place in nature. Nature is balanced. Nature is energy in life and restoration. We need only look at the animals of our planet, which live in harmony, to see how this is manifested. They should serve as an example to us of how to live in harmony as well with a plan of what we do. Synchronicity in nature is seen in the beating hearts of earth's animals. By observing nature, we should be able to see what it provides and replicate this. Animals have an innate urge to be in sync and in alignment with the emotional context of their surroundings. The beasts of our planet have many reasons for being and they are different from our reasons for being. They are tremendous balances of energy because they are pure, positive energy. They are in pure connection to their source. We call that their instinct and we are amazed at their ability to migrate, move about and interact. They are connected to nature and are operating from a broader perspective. Their alignment and synchronization are mysterious forces that fall outside the scope of science. Animals can affiliate with others and collectivize their emotional energies so as to increase their chances of survival and reproduction. As you watch them in the wild, you notice that they are a predominant source of food for one another and will continue to devour one another. When you take the trauma of death out of the equation, of which the animals have none, then you understand that they joyously surrender to one another. They are the best teachers on the planet. The wild animal subjects have been over-hunted for the lust of exotic skins, tusks and organs or mere sport. Numerous species of animals have been wiped out primarily by humans. Extinction brings up interesting evolutionary considerations. In the end, extinction will be the ultimate fate of all species- but how long it will take to get there will depend heavily on humanity's future courses of action. Weber's art is about the craft and process of layering materials. The colors, textures and patterns are inspired by his memories of decaying homesteads, making visible a new culture, formed by a consciousness abandoned for centuries. Each piece connects a global audience with a combination of photographic and painted images, sealed behind a heavy and modern coating of glossy or matte resin. Using tremendously enriched materials and surfaces, Weber creates a combination of things that look perfect and ruined at the same time, juxtaposed to create rhythm, harmony, and coherence.
| 08.11.2017 - 09.19.2017 |
Artists: Gordon McConnell
Creating paintings inspired by western movies and by Remington and Russell, he is a native of the West, having been born and raised in rural Colorado. He studied art at Baylor University in Waco, Texas; at the California Institute of the Arts in Valencia, and at the University of Colorado, Boulder where he earned a Master's Degree in 1979. For two decades he worked as curator at the Yellowstone Art Museum in Billings, Montana, before leaving in 1999 to begin work as a full-time painter and independent curator. His work is in the collections of the Buffalo Bill Historical Center in Cody, Wyoming; the Art Museum of Missoula; and the Yellowstone Art Museum; the Federal Reserve Bank in Helena, Montana; and the Deaconness Medical Center in Billings, Montana.
| 08.17.2017 - 09.13.2017 |
Artists: Robert McCauley
Artist's Statement: "In Bear I Trust: Sometimes I feel as if I'm a class photographer at an elementary school, trying to get a host of subjects to be still while I fit them all in the viewfinder. As a painter, the task is equally difficult to arrange my images within the rectangle, trying to avoid an obvious composition, but rather, to compose in the manner in which nature composes. Which is to say no composition. It simply is. As a human exercising what little political power I might have, I struggle to campaign for nature and to remind all humans of our responsibilities as stewards of this planet. Art being transcendent, the images must rise above the banal, the vulgar, and the horrific. Graphic depiction of the plight of wildlife is an experience with which we are all too familiar. We turn away when news reports of abused animals flash on the screen. Instead, I choose to present a moment that does not immediately conjure a doomed future, but rather a moment when nature is in limbo, with a future still to be determined. It's a somewhat playful and ethereal moment, ironically rooted in the physical, malleable act of painting. Without that joyful element chock full o' oil paint and brush invention, I'd have to find a different form for my voice. To paint every day is pure optimism. As Marshall Mcluhan's mantra tells us, "the medium is the message". I am a fictionalized history revisionist. I gather together my animals and compress them into the rectangle as if they're all on the Raft of the Medusa, adrift, with one common concern: survival. As would happen on any lifeboat, the inhabitants are a mixed lot indeed. Animals from different climate zones are found side by side. Not so fictitious now that global warming is blurring the distinct zones. Predator and prey ignore previous tensions and stare out at the viewer, as if to ask, "Well?" And a storm brews on the horizon. Read the signs. We are down at eye level with the animals because there is no hierarchy. Snails and polar bears. We're all in this together. Read the signs. In many of the paintings, I have used an overlay of the painted word. I've painted them not solid, but as outlines as if a narrator's voice has been dubbed over the image. Wordsmithing and painting are of equal delight. If words are painted in paint, are they words or paintings? I trust the word "bear" as I trust the image of "bear". This is my voice.
| 08.25.2017 - 09.21.2017 |
Artists: Chris Maynard
Artist Chris Maynard's medium is feathers. His subject, birds. Using a tiny scalpel as his primary tool, Maynard carves birds out of feathers, then mounts his creations in shadowboxes, so that the carved feathers and feather birds cast shadows across the canvas just as real birds cast shadows across the landscape when they fly. His exquisite and imaginative compositions not only illustrate his background in science, and his ingenious technique, which he developed himself over many years, but show his aesthetic fascination with the "art" birds create--feathers. To Maynard, each feather is a small bit of perfection. (He uses only shed or discard feathers). Maynard believes that they mark nature's pinnacle of achievement: the intersection of function and beauty. They make flight possible, insulate against water, sun and wind; and their colors and patterns help them hide and attract mates. Maynard's colorful and playful creations highlight the beauty of feathers and celebrate the birds from which they came. "Each feather, though dead and discarded, keeps something of the bird's essence," Maynard says. "Since I work mostly with shed feathers, some of the birds that grew them are likely still living." Maynard is a member of Society of Animal Artists and Artists for Conservation.