gallery35nyc

We invite you to take a virtual tour of striking art specially made within the limits of
BLACK AND WHITE.

BLACK AND WHITE
February 9–April 19, 2020
Artists’ Reception: February 29  6-8pm
Closing Reception: April 4  6-8pm

To see in color is a delight for the eye but to see in BLACK AND WHITE is a delight for the soul.—Andri Cauldwell.

Using just Black and White, eleven Gallery35 artists have created work containing diverse subject matter and a wide variety of media!

All four of John Devaney’s drawings are portraits, one done in the chaos of Herald Square, another in the mirror, a third from a series of studies of doormen, and the last was our waiter at the Empire Diner. “I often have only seconds to capture a gesture, or multiple views, but that can be a gift to the energy of the piece. And, on occasion, as in Sufi Doorman,I take a figure and give them a new identity or role.” Ingrid Sletten, whose work progresses from an inner place to the paper, is presenting a study for portraiture. “I am looking intently into my own soul in this pencil drawing self-portrait.” 

(l-r) Ellen Mandebaum, Martinique; John Devaney, Jeremy at Empire Diner; Juanita Gilmore, Empire State Bldg at Night

Virginia Asman’s digitally manipulated photographic series The Painted Man I. II. III shows an artist from South Africa and Santa Fe painting himself in performance.  Another dramatic photograph is Juanita Gilmore’s Empire State Bldg at Night which joins her Bud Vase rendered with lamy pen. 

(l-r) Pat Gericke, Cabana Peppers Caught in the Shadows; Marsha Peruo, Heavenly City; Virginia Asman, The Painted Man III; Ingrid Sletten, Study for Self Portrait

Pat Gericke has been exploring works in black and white, particularly charcoal. “…although its messy, I find it challenging and pushes me to concentrate and study values found in lights, darks, shadows, and  textures.”  Other artists working  in charcoal are Denisha Wright and Ellen Mandelbaum, who is also showing work in watercolor and stained glass.

Mandelbaum describes her small stained glass piece, Martinique, as “one of the best I ever made. Like my watercolor Chinese Mountains, I painted it on site. One of my favorite ways of working is to see something beautiful and try to “get it”—to capture it in paint. Here I was sitting on a rock and holding up a piece of glass and painting it with special metal oxides that could be brushed off and damaged. Somehow, I was able to get it home safely in the plane and then fire it at 1200 degrees to make it permanent and then lead it together to become stained glass.”

In describing her charcoal Heads Up, Wright explains, “I was aware of how much each of us were shamed physically for our archetype, juxtaposed with the measures others would go to acquire the same features that we’ve been taught to doubt ourselves with. This instilled my journey to seek acceptance from within as opposed to superficial validation.”

Rounding out the exhibit are acrylics by Cari Clare and Valerie Lynch, oil paintings by Susan Harris-Demmet and Marsha Peruo’s monoprints. 

SMALLworks
November 24–February 9
Artists’ Reception and Sale: Dec 7  6-8 pm
Closing Reception: Jan 25  6-8pm

Our SMALLworks exhibit features affordable art no larger than 12” in any dimension—perfect for our NYC spaces!

(l-r) Patricia Garbarini, Rouge; Denise Fryburg, Shells and Apple; Marsha Peruo, Flowers

Patricia Garbarini loves working close up in nature to create abstract designs. Rouge is a petal from a gorgeous rose in New York Botanical Garden.  

Bev Thompson’s Four Strings Standing arouses the viewer’s curiosity unable to recognize the medium used – looking more like a cubist painting than a photo. 

Reena Kondo is exhibiting a series of collages of aura photographs.

(l-r) Bev Thompson, Four Strings Sanding; John Devaney, Drummer

Exhibiting Artists:
Bev Thompson, Cari Clare, Denise Fryburg, Jil Novenski, Jody Leight, John Devaney, Marsha Peruo, Pat Gericke, Patricia Garbarini, Reena Kondo, Teresa Hommel,
Valerie Lynch

Ingrid Sletten and Susan Harris-Demmet share insights into their work in this compelling video shot at their opening reception in October.

The exhibit was well received and worth a first—or second—look at the Closing Reception on November 23rd, 6-8 pm. 

Click here to watch the video.

SOUL SPEAKING: October 20–November 24, 2019
OPENING RECEPTION: October 26th, 6–8 pm
LIVE ARTISTS’ TALK: November 23rd, 1–2:30 pm
CLOSING SHOW AND RECEPTION: November 23d, 6–8 pm

SOUL SPEAKING features the works of Susan Harris-Demmet and Ingrid Sletten in a two-person show. This powerful and thought-provoking show brings together 21 major works that explore the workings of the “all knowing unconscious mind.” Each artist uses different visuals to portray what the soul communicates. 

Harris-Demmet works in watercolor, oil and pencil to give voice to images that heal and transform both her and she hopes the viewer. Implied in her work is the presence of bodies with their references to generations past and present. Harris-Demmet states, “The subject matter of my paintings and drawings is of pre-birth, birth and the events that follow in abstract and fantastical visuals.” 

Susan Harris-Demmet—Tipping Point, Landscape

Sletten’s body of work emanates from her regular practice of contemplative prayer. Using acrylic, gouache, watercolor and charcoal on gessoed paper she translates snatches of interior spiritual energy in a collaborative process she calls the ‘footprints of God’.  Sletten says, of her works, “I seek to show the human spirit as palpable, almost mineral-like energy within and around the human form.”  

Ingrid Sletten—Energy Shape, Eyes

Both Susan and Ingrid have been active members of the Gallery35 collective for several years and are part of New York’s emerging contemporary spiritual artists. 

Harris-Demmet holds a bachelor’s of fine art from NYU. Presently, she works out of Gallery 35 and is continually searching beneath the surface. Her most recent exhibit was the Blue Show at Gallery 35. 

Sletten earned a bachelor’s /Summa Cum Laude in the history of art from the University of Missouri. She holds a master’s degree in Christian Spirituality from Fordham University and is a certified spiritual director. Sletten is a frequent exhibitor at Manhattan’s Gallery 35. She is also the founder and director of Seeing God, an art and meditation ministry. Her most recent major exhibit was Spirit’s Flight (2018) at the Gallery of The Church of St. Mary the Virgin in Manhattan. 

Top l-r: Pastor Isaac Scott, Jil Novenski, Pat Gericke; Bottom l-r: Maureen Chen, Michael Davis, Rick Perez

The artists showing work in We Bend, Not Break have each interpreted the theme of perseverance in unique ways. This video provides a peek into the creative process of six of our artists.

Click Here to view the video, We Bend, Not Break: Artist Interviews

September 8–October 20, 2019
Artists’ Reception: September 21, 6-8 pm
Closing Reception: October 19, 6-8pm

America’s history has been faced with 400 years of perseverance starting with the Jamestown Settlement. Taking people from their homelands and placing them in shackles for the sake of sowing land is an old story but continues in other forms of bondage. We hope this exhibit will enlighten our visitors to the plight of African-Americans and other historically and currently marginalized groups. 

Nine Gallery35 and four guest artists are showing works which dramatically depict both the struggles and triumphs of oppressed peoples in a variety of media and styles: Cari Clare, Denisha Wright, Pastor Isaac Scott, Jil Novenski, Jody Leight, Kevin H. Maxwell, Maureen Chen, Michael Davis, Pat Gericke, Rick Perez, Thadine Wormly-Herndon, Valerie Lynch, Virginia Asman. 

l-r Michael Davis, Sharecropper Family; Rick Perez, Man in a Hoodie, Woman in a Head Wrap

Michael Davis’ oil on canvas, Sharecropper Family circa 1870, was painted from a reproduction of a daguerrotype or other early photographic process. Sharecropping was a form of agriculture that began mainly after the Civil War as an alternative to land grants of 40 acres and a mule in which a landowner allowed a tenant to use the land in return for a share of the crops produced on their portion of land. It was widespread in the South but fell out of favor in the  mid-20th Century when mechanized farming became the dominant form of agriculture.

Head coverings are prominent in two thought-provoking paintings by Rick Perez—Man in a Hoodie and Woman in a Head Wrap. The hoodie has become an emotionally-charged article of clothing from its still strong association with the wrongful shooting of Trayvon Martin. This portrait of a white man wearing one resonates with some of the many contradictions that characterize our attitudes towards race in this country. A head wrap accentuates the sense of dignity of a proud woman. She looks ahead decisively and purposefully and with a sense of fearlessness in being able to confront the obstacles put in her path.

l-r Maureen Chen, Learning to Read; Virginia Asman, Fabric of Progress

Learning to Read by Maureen Chen is a calligraphic rendering of two quotations from the autobiography of the leading abolitionist and author Frederick Douglass. As a slave, Douglass overheard his master warning his wife against teaching Douglass to read, which made him more determined to learn on his own.” 

Virginia Asman is showing two digital collages—Fabric of Progress featuring heroes of the civil rights movement and The Struggle Continues, incorporating slogans that have inspired various groups as they seek full participation.

This exhibit is also being presented as part of the arts festival of The Community Service Society of New York (CSS)’s 2019 conference, Full Participation is a Human Right—Moving Beyond Punishment, at Community Church, October 17-19.