Joneile Emery – In Brush
Kelli MacConnell – In Line
Al Sieradski – In Stone
March 21 – May 3, 2014
Friday, March 21, 5:30 – 8pm
Artist Talk: begins at 6pm
First Friday Artwalk:
Friday, April 4th & May 2nd 5:30 – 8pm
Rhythm in Brush:
Art is a fascinating thing! A few marks on a paper, a few well placed lines and an image begins to emerge. As a child, my great uncle (who was a Disney artist) would entertain my sister and I for hours, sketching characters until one of us could recognize who he was drawing. From that time on I began to fantasize about being an artist.
My background has been primarily in illustration, with several published children’s books. Commercial art has consisted of sign painting and murals, with an emphasis in faux paint treatments.
I have worked primarily in acrylics, oils, and colored pencil but two years ago my life was ruined for normal by taking a watercolor class! I now paint almost exclusively in watercolor. I am currently a member of the Watercolor Society of Oregon, and my work is on display at the Pacific Rim Art Guild/gallery at 405 Hwy. 99N here in Eugene.
This Exhibit: Glo- neon meets watercolor
I have always been drawn to light. Anything that sparkles in the night or glints in the sun is fascinating to me. It was by impulse that I took my first photograph of a neon sign. The structure of the glass tubing, the patina of time, makes these iconic images of our culture a worthy subject. Some of these signs were no longer in working order. The light and shadow patterns are produced solely by the sun passing through the glass tubes.
All of these paintings are done in watercolor, watercolor pencil, and gouache. The seemingly untamed nature of watercolor is the perfect foil for the structure and order of these signs. My challenge was to present these images in startling perspectives that could cause the viewer to feel a bit off balance. A fine trick to perform with only Arches paper and colored water!
Rhythm in Line:
I want to take the viewer on a journey here, and there and back again, to the places that have brought me respite and peace: the wilderness of the Pacific Northwest. The name of the show: ‘Natural Relief.’ The dream-like interpretations of these vast PNW landscapes are meant to enchant the viewer, leaving them with a sense of curiosity, questioning whether or not these places really exist.
Captivated by the wilderness, my relationship with nature perpetually stimulates my imagination, facilitating the process of translating my natural surroundings into richly detailed prints. Printmaking, for me, is a vehicle to understanding our role in the natural world; Relating to civilization while remaining connected to what is wild. People ask, “Why a print, why not a painting?” Not only do I enjoy the act of using tools to shape something, but also it’s the surprise factor, a mystery that unfolds. There are a lot of unpredictables involved and the spontaneity of the process demands energy, improvisation, gesture, expressiveness and directness. My current body of work focuses on the Pacific Northwest Landscape. These prints are of the expansive and diverse environment that is Oregon. With the simple use of line, and contrast of black and white, I strive to create exhilarating compositions inspired by the natural world.
Rhythm in Stone:
Webster’s New World Dictionary has this alternative entry for rhythm: 2. in art, aesthetic relation of part to part and of parts to the whole. I propose an exhibit of a dozen or more of my contemporary stone sculptures to exemplify this sense of rhythm.
Artist’s Statement: I retired as Professor of Mathematics from the UO in the March 2000. Since then I have carved simple, yet essential, forms in stone, aiming to provide viewers a contemplative and calming experience. My intention is not to challenge, puzzle or educate, but rather to relax, refresh, and recharge the viewer.
From birth, we categorize patterns and shapes for survival and meaning. We become skillful at predicting entire forms from partial views; we are reassured when our expectations are confirmed, unsettled otherwise. We are also continually challenged to analyze new structures. Enjoyment of sculpture involves both of these aspects of shape recognition, I believe.
So I use smooth regions, with their inevitable contours, to reassure the viewer's gut, and assemble them creatively along shared edges so as to engage the viewer's head. By design, each smooth region evolves from any of its portions, and the complete form regulates their assembly along crisp shared edges. This is an artistic version of the holographic principle in eastern medicine and thought: the whole in every part and the parts organized by the whole.