Group Exhibition, January 2012
Paintings, Photographs and Word Art
by Lauren Scott, Terry Wise and Judson Brown
Hosmer Art Gallery
20 West Street, Northampton, MA 10160
January 4-30, 2011
Reception: Saturday, January 7, 2-4 PM
Judson Brown, a longtime writer, was given a digital camera for Christmas seven years ago. He was "a confirmed shutterbug from the first snapshot." Judson proceeds mostly on intuition, looking for that metaphysical moment when the elements of the composition both stand against and work with every other element.
"Recently I have been reading about the 'divine ratio,' also known as the 'divine proportion,' or 'Phi.' I have a hunch that what I am after is related to Phi, the equation for dynamic balance," Judson says. "I’m looking for a dissonance that I can harmonize by framing it. I want tension between the parts, composure of the whole."
The "super short poems" pasted between the pictures are examples of extreme verbal compression aimed at producing a strong visual or aural effect, so they are seeking a similar aesthetic as the photographs.
Terry Wise is a second career emerging artist, having trained early on in textile design and earning a BFA degree from Indiana University in 1976. During the period of her first full-time career, that of raising three very creative children and supporting her husband’s business, she continued her education and practice of liturgical design, graphic and surface design, printmaking, and eventually painting. Four years of consistent study in the studio of established painter Joan Griswold, along with workshop studies with several other established painters, provided the base of technical skill in oil painting for her current work. What distinguishes her work is the incorporation of all the many influences and ideas of past experimentation into an otherwise traditional practice of painting in oils. Layers of patterning, rich colors and textures are reminiscent of textiles, and years of studying the work of 20th century painters has influenced her perspective and composition. Consistent influences have been Richard Diebenkorn, Vuillard, Bonnard, Balthus, and many contemporary living artists. At the core of her work is the dedication to visual beauty.
The oil paintings exhibited in this show are drawn from recent work created in her studio in the Berkshires and in the countryside of Umbria in June 2011. The process of painting landscapes and still life paintings "al fresco" in Italy inspired a series of Berkshire backyard landscapes upon her return home. Works from the studio include figures and still life paintings and 2 collaborative works with the poet Tova Gardner of Bainbridge Island, WA.
Lauren Scott's she uses complex compositions, distorted perspectives, and intense color to show the psychological basis of the reality depicted in her paintings. "The tension between subject matter and the rhythm of colors and shapes are extremely vital to the piece. Images are simplified with the blocks of color to create a textured reality that is sympathetic to my sense and familiarity."
"My intent with this body of work covered scattered information through current events, documentaries on personal tribulations and national topics which enabled me to push the envelope of narrative. There are many occurrences that society takes behavioral cues or perceptions from and I am interested in transforming these avenues into complex imagery. My work procures a deconstruction of the figural relationships inquired within the canvas- the various moments captured in one piece intend on reclaiming the familiarity I have once experienced and wish to rejuvenate for the viewer."
by Lauren Scott, Terry Wise and Judson Brown
Hosmer Art Gallery
20 West Street, Northampton, MA 10160
January 4-30, 2011
Reception: Saturday, January 7, 2-4 PM
Judson Brown, a longtime writer, was given a digital camera for Christmas seven years ago. He was "a confirmed shutterbug from the first snapshot." Judson proceeds mostly on intuition, looking for that metaphysical moment when the elements of the composition both stand against and work with every other element.
"Recently I have been reading about the 'divine ratio,' also known as the 'divine proportion,' or 'Phi.' I have a hunch that what I am after is related to Phi, the equation for dynamic balance," Judson says. "I’m looking for a dissonance that I can harmonize by framing it. I want tension between the parts, composure of the whole."
The "super short poems" pasted between the pictures are examples of extreme verbal compression aimed at producing a strong visual or aural effect, so they are seeking a similar aesthetic as the photographs.
Terry Wise is a second career emerging artist, having trained early on in textile design and earning a BFA degree from Indiana University in 1976. During the period of her first full-time career, that of raising three very creative children and supporting her husband’s business, she continued her education and practice of liturgical design, graphic and surface design, printmaking, and eventually painting. Four years of consistent study in the studio of established painter Joan Griswold, along with workshop studies with several other established painters, provided the base of technical skill in oil painting for her current work. What distinguishes her work is the incorporation of all the many influences and ideas of past experimentation into an otherwise traditional practice of painting in oils. Layers of patterning, rich colors and textures are reminiscent of textiles, and years of studying the work of 20th century painters has influenced her perspective and composition. Consistent influences have been Richard Diebenkorn, Vuillard, Bonnard, Balthus, and many contemporary living artists. At the core of her work is the dedication to visual beauty.
The oil paintings exhibited in this show are drawn from recent work created in her studio in the Berkshires and in the countryside of Umbria in June 2011. The process of painting landscapes and still life paintings "al fresco" in Italy inspired a series of Berkshire backyard landscapes upon her return home. Works from the studio include figures and still life paintings and 2 collaborative works with the poet Tova Gardner of Bainbridge Island, WA.
Lauren Scott's she uses complex compositions, distorted perspectives, and intense color to show the psychological basis of the reality depicted in her paintings. "The tension between subject matter and the rhythm of colors and shapes are extremely vital to the piece. Images are simplified with the blocks of color to create a textured reality that is sympathetic to my sense and familiarity."
"My intent with this body of work covered scattered information through current events, documentaries on personal tribulations and national topics which enabled me to push the envelope of narrative. There are many occurrences that society takes behavioral cues or perceptions from and I am interested in transforming these avenues into complex imagery. My work procures a deconstruction of the figural relationships inquired within the canvas- the various moments captured in one piece intend on reclaiming the familiarity I have once experienced and wish to rejuvenate for the viewer."
Work by Four
Northfield Mount Hermon Faculty Show, 2011
The gallery in the Rhodes Art Center is filled with work by our own visual arts faculty. The faculty are all practicing artists and have much to share. Bill Roberts, Atta Kurzman, Lauren Scott, and Phil Calabria display their talents in photography, ceramics, and paintings. The show will run from December 3rd through January 26th.
The gallery in the Rhodes Art Center is filled with work by our own visual arts faculty. The faculty are all practicing artists and have much to share. Bill Roberts, Atta Kurzman, Lauren Scott, and Phil Calabria display their talents in photography, ceramics, and paintings. The show will run from December 3rd through January 26th.
Sunday, October 19, 2008
Two Visiting Artists Discuss Their Work in a Dual Exhibition
Students attended an artist talk and gallery opening by two young figurative painters on Friday evening. The surreal, boldly colored and loosely painted dreamscapes of Lauren Scott hung opposite to the more muted and realistic portraits of Tom Walton. Warner Gallery director and photography teacher Jen O’Neill explained that she had been struck by both the similarities and the contrasts between the two painters, and had been inspired to do a dual show so that each body of work would enhance and highlight aspects of the other.
The artists were equally intrigued by the juxtaposition, and commented on one another’s work. Viewers noticed that both painters experimented with bending space in their work, although Scott's distortions were more pronounced, and that both used uncommonly vibrant colors, though to different effect. Scott's crowded, hectic compositions were further activated by the stillness and silence of Walton’s portraits, which were rendered more statuesque and peaceful in turn.
The painters also discussed their different processes. Scott explained that she draws her imagery from mixed sources: from posed models to photographs, and arranges them into compositions according to her particular vision. “When I pick my imagery I want to induct the viewer into the scene. What I like about these paintings is that the scenes are so complicated that the viewer doesn’t know where to look first. I like that they raise questions about what’s going on in the space that you can’t necessarily answer” Walton has a much more personal mode of working, only painting people with whom he is intimate. He cited Lucien Freud, another artist who paints intimate acquaintances, as a major influence.
Both artists had advice for the students. “If you’re going to choose art you’ve got to do it because you love it,” said Walton. “If I was only interested in money, I would have chosen something else. I want to do what I love, but what I love is not always saleable.” Scott stressed the importance of being free to experiment and explore. “As an artist, it’s important to know that it’s OK to make work that is not great. You make it, you learn from it and you make something better because of it.”
http://www.standrews-de.org/ar Warner Gallery, St. Andrew's School|
Students attended an artist talk and gallery opening by two young figurative painters on Friday evening. The surreal, boldly colored and loosely painted dreamscapes of Lauren Scott hung opposite to the more muted and realistic portraits of Tom Walton. Warner Gallery director and photography teacher Jen O’Neill explained that she had been struck by both the similarities and the contrasts between the two painters, and had been inspired to do a dual show so that each body of work would enhance and highlight aspects of the other.
The artists were equally intrigued by the juxtaposition, and commented on one another’s work. Viewers noticed that both painters experimented with bending space in their work, although Scott's distortions were more pronounced, and that both used uncommonly vibrant colors, though to different effect. Scott's crowded, hectic compositions were further activated by the stillness and silence of Walton’s portraits, which were rendered more statuesque and peaceful in turn.
The painters also discussed their different processes. Scott explained that she draws her imagery from mixed sources: from posed models to photographs, and arranges them into compositions according to her particular vision. “When I pick my imagery I want to induct the viewer into the scene. What I like about these paintings is that the scenes are so complicated that the viewer doesn’t know where to look first. I like that they raise questions about what’s going on in the space that you can’t necessarily answer” Walton has a much more personal mode of working, only painting people with whom he is intimate. He cited Lucien Freud, another artist who paints intimate acquaintances, as a major influence.
Both artists had advice for the students. “If you’re going to choose art you’ve got to do it because you love it,” said Walton. “If I was only interested in money, I would have chosen something else. I want to do what I love, but what I love is not always saleable.” Scott stressed the importance of being free to experiment and explore. “As an artist, it’s important to know that it’s OK to make work that is not great. You make it, you learn from it and you make something better because of it.”
http://www.standrews-de.org/ar Warner Gallery, St. Andrew's School|
