We will return in October with Refuge, curated by Jackie Shatz
Kandinsky from "Concerning the Spiritual In Art":
"This all- important spark of inner life today is at present only a spark. Our minds, which are even now only just awakening after years of materialism... are infected with the despair of unbelief, of lack of purpose and ideal. The nightmare of materialism… holds the awakening soul in it's grip...The spiritual life to which art belongs and of which she is one of the mightiest elements, is a complicated but definite and easily definable movement forwards and upwards. This movement is the movement of experience. It may take different forms, but it holds at bottom to the same inner thought and purpose.”
The artists in this exhibit are aware of this and each address it through their own sensibility. Each of these artists do this thru the visceral and concrete directness of their work. There is here a remarkable individuality and vitality of expression with a consistent underlying feeling of the intangible. The paintings/collages in this show create a portal, a way of entering a spiritual, psychological, philosophical or aesthetic space - a space without boundaries. A portal to a way of understanding and experiencing another reality, a non-traditional, untethered space: a refuge.The sculptures in the exhibit activate the space around them, creating a force field, in which it is possible to access other realities. Formally there is a shared ambiguity, as artists ride the edge between “reality” and abstraction.
In their words:
Angelica Bergamini: “ My works…are meditations on the search for balance between the inner and outer world, and on the perception of impermanence; a reflection on the universality of the human experience, and on the necessity for a radical reverence for life. Interested in what is beyond the conscious mind, inspired by the process of individuation described by Carl Jung, I try to articulate a study of my inner world…while exploring the relationship between personal and collective unconscious.
Gordon Fearey: “…the painting is an ecosystem with its own laws and gifts - like weather, gravity, plants, hot sun and erosion. I enter cautiously and try to leave no trace. When I improvise, time seems to stop. Whether it’s too much darkness, not enough complexity, too much allusion, not enough history, too much geometry, not enough singularity - when I’m improvising, I’m part of the ecosystem…I aspire to a poem without words”
Meg Hitchcock: “ I am interested in the possibility of transcendence through the repetition of words and phrases. By typing a word countless times and applying it to a grid, I create a matrix wherein the original meaning drops away, and the word transcends its former signification. I choose words that derive from religious belief systems, as their potent…associations are deeply ingrained in the psyche…The loaded word becomes a proxy for a deeper psychological experience.”
Elisa Jensen: “ My recent work draws on ancient Irish and Norse poetry and sagas and art. Unraveling the mysteries of this ancient worldview has helped me to understand better the world around me and has spurred me to develop my own artistic imagery. My paintings of birds, figures, trees and symbols all connect back directly to ancient spiritual beliefs and reveal something deep that has been lost in our contemporary experience which is so much about what exists on the surface and illusion.”
Celeste Morton: “ I come to painting from a film background - my work is the result of storytelling, and the lack of completion from stories that may never be fully told. These voyeuristic scenes convey intimacy and spectatorship, while maintaining a sense of emptiness. Using human and animal figures, as well as haunting interiors and landscapes, I translate these stories thru the use of gestural mark making and layers of thick paint.”
Meer Musa: “ Meer's creativity comes from a spiritual space. Through his meditation practice he explores his subconscious mind. The drawings and paintings manifests as a result of his practice. In the Human Spirit paintings, Meer created a combination of people and nature to express his understanding of the interconnections between the two—the philosophy that all things coexist and we are all one. He believes all conscious beings are interconnected directly or indirectly. His interpretation of interconnection is expressed in his paintings. For these pieces he used a variety of paint mediums and mixed media. “
Dorothy Robinson: “ My landscape paintings explore a terrain of conflicting realities that collide on canvas to mingle and eventually merge. I use oil paints from powdered pigments - many of which are derived from rocks and earth. Broad strokes and gestural language accommodate memory… I am committed to the idea of painting as an intuitive, open-ended process of exploration.Single point perspective doesn’t work here…Plans and intentions disappear, while other impulses assert themselves - echoes of larger invisible forces constantly at work in the world.”
Jackie Shatz: “ This group of sculptures represents the transition from clearly recognizable human figures to figures in the process of transforming into less specific types of beings. We are the walking representatives of trees; we are the accumulation of the evolution of other life forms. These sculptures are part of a continuing series of reimagining symbols from the past about forces of history and nature. The meanings are hidden like the meanings in dreams. “
Richard Sigmund: “ My work tries to take something common and make it important. I believe as an artist it is my responsibility to keep the creative processalive… I had always considered the idea of healing. As an artist it is my intention that my work be felt deeply. I use street imagery as a point of departure. I am trying to view our life with an elevated light, to appreciate what we have without the constant desire for more. I believe this could possibly bring relief. This work today is my journey and in it I have found a sense of freedom. “
Kurt Steger: “ In this series ( Staffs)… I hearken to the primitive aspect of ourselves that connects through archetype, metaphor, and the unconscious. Symbolic of the powerful elder, warrior, lover and magician, they are a reminder of those aspects of ourselves that reside deep in the recesses of human nature. To hear the call of our ancestors is to reconnect with ritual, rites of passage, and our ageless relationship with the elemental forces of the planet…It is paramount to rediscover the deep wisdom we hold in our psyches that we may use to face the inevitable transitions ahead armed with grace, peace and love.”
Joyce Yamada: “I am working on paintings dealing with trees.. I thought of the phenomenon of “ Nurse Logs “ , whereby fallen trees serve as a nursery for the growth of new trees. The image I’ve been working on is a nurse log as a boat, carrying humans and animals on a dark, stormy ocean. Trees are linked physically, but I like to think spiritually as well, since I think that the spirit and body are inseparable. I have an image in mind of a painting of humans and animals in both life and death, interconnected with primordial trees.”