I hope to see you there!!
~Jennifer
FOR IMMEDIATE RELEASE
Veronica Kessenich, Director
veronica@faygoldgallery.com; 404.233.3843
Terri Hallman
Jennifer J L Jones
Anthony Liggins
Ferdinand Rosa
"I feel more like a tunnel, a channel, a conduit passing through a variety of thoughts and emotions through the world itself which I transform and which metamorphosis me in turn"
- Anselm Kiefer
WHAT: Four Artists to Watch
WHO: Terri Hallman, Jennifer J L Jones, Anthony Liggins, Ferdinand Rosa
WHEN: February 13 - March 28
Opening Reception: Friday, February 13 from 7 to 9 pm
WHERE: Fay Gold Gallery, 764 Miami Circle
Atlanta, GA – The question that curators, collectors, critics and art dealer ponder is: How do you predict which artists of our time will be well-known 100 years from now? Who will be embraced by the museums in the next century?
In selecting Terri Hallman, Jennifer J L Jones, Anthony Liggins, and Ferdinand Rosa we looked for accessibility, humor, and influence on other artists, conceptual breakthrough and spirituality. Their art is rich and full of surprises and they have explored a wide variety of media. Hopefully, their new intellectual weight will attribute to the longevity of their work.
TERRI HALLMAN
Hallman's primitive abstract faces at first seem simple, but on closer observation, her laborious technique creates unusual layers of depth. Her colors are super-saturated and the surfaces have a textural quality. Hallman begins by laying out dry pigments on paper. She sprays clear acrylic then using tape, she masks off areas. She repeats this process several times while applying pressure with her hands. No brushes are used. She scrapes or tears away selected areas, revealing layers of color underneath. The next step is to apply oil paint washes on the surface. The work is in constant transformation until it "reaches maturity". This procedure lessens the color field ground while highlighting the importance of the faces or figures. Her work combines strange anthropomorphic creatures and comic version of personages from master paintings. With their bright colors and mildly cynical figuration, the painting engages is a delicate balancing act which is overcome by exquisite tension and delight.
JENNIFER J L JONES
Through her intuitive painting process, Atlanta artist Jennifer Jones wants people to understand her work within their own way own thinking, their own history. In a way, each viewer "finished" her painting with their own vision. She wants them to see something within them that she has never thought of herself.
Jones has reduced natural forms to iconic, silhouetted shapes in compositions that make landscapes the occasion for an extremely refined treatment of materials and painting surface. She investigates relations of dimension, proportion and shape. Her use of high gloss varnish as well as her meticulous stylization of branches and leaves slacken the tension between image and abstraction. Her compositions appear to be strongly influenced by Japanese prints. Her reason to paint is to "transform" something that possesses her. An apparition becomes asymmetry. She draws on the mysterious sources of inspiration and inventiveness to define her individuality in this world.
ANTHONY LIGGINS
Anthony Liggins nominally monochromatic paintings are full of quiet dappled light. Interwoven with hatch marks, Liggins paintings are grid-based compositions staccato frenzies of colorful under painting overlaid with fragments as the result of a long series of controlled steps. He slowly builds up opaque but luminous areas of color. He creates a fluttering sensation with his irregular dots pressed on canvas and wood. He adds chopsticks wrapped in multicolor thread into fabric stitching which seem to knit together on the paintings surface. The patterned marks summon up aspects of Japanese textile design such as those used in children's kimonos. It suggests a more unified composition closer to an activated surface of chromatic variety.
FERDINAND ROSA
Atlanta artist Ferdinand Rosa's new work dealing with allegorical abstraction is a sincere and humble submission to a spiritual experience he had in the Southwest. In moving away from representation, Rosa offers us a means of solace and uplift. His work is exemplary of freedom and spontaneity. It is influenced by American Indian culture and southwestern sunsets. He gives a new perspective to space and fills his canvases with symbols of a cultural moment in time. This new body of work has become a lot more complicated than it used to be. Composed of fuzzy passages of tomato and brick red, creams and dark green earth tones, the paintings are reminiscent of early American Indian tapestries. Rosa's airy allover painting is woven from the canvas's edges to the center or intrudes from the corners. In many works, nature's elements - sky, mountains, sun, light and reflection - are cast as abstract patches of vivid color.
Veronica Kessenich
Fay Gold Gallery
764 Miami Circle
Atlanta GA 30324
404.233.3843 o
404.365.8633 f
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