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.”
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.
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.