Posts in Gallery
Sacred Geometry: Interview with Phyllis Gorsen and Paula Cahill
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Phyllis Gorsen

I have created a series of multi-canvased paintings that describe how we are all connected together by having elements of everyday life in common. I use symbols in both visual and written language as depictions of these commonalities highlighting the connections created by their universality despite varying perceptions. I use a combination of abstraction and representation in the work.These paintings explore connection in two ways: larger multi-canvased compositions that are broad symbolic illustrations of elements of common human experiences, and smaller “couples” paintings that represent two universal elements symbolically paired together in written language. These works are more specific in nature. 
My paintings are intended to move the eye using energetic patterns, movement and vibrancy. My hope is that viewer is captivated by the visual allure of the surface to allow for a slow unveiling of the meaning of the work – which is that we all connected by sharing many of these human experiences.

-Phyllis Gorsen

Tell me about your creative journey so far. 

I have been painting most of my life, primarily figures.  What I loved most about figurative work is that many times it contains the thing that is most basic to all of us. Race, gender identity, religion, etc. inform our experiences and perspectives and thus there are multitudes of viewpoints stemming from that. But, even with these differences, there are overarching similarities that we are share. That is the place that I want to put the emphasis on. As an artist, my work has always been about connection. I try to portray the human aspects that are intrinsic to all people regardless of our differences.  

When I went back to school and got my MFA in 2014 from the Pennsylvania Academy of Fine Art, I studied the figurative painters that I loved so much, mainly the Bay Area Figurative Painters like David Park and Richard Diebenkorn. It was then that I started to concentrate on figurative work that captures the patterns of everyday life, but I never made my work autobiographical. I was always much more interested in those spaces that are common to everyone. And although the figure was a catalyst for my work, between the use of color, collage, and pattern, there has always been a strong abstract component. After I graduated, I started to play around in the studio thinking more about the literal interpretation of patterns of everyday life. That’s when I took the turn into geometric abstract work.

As I delved deeper into the abstract elements, both in subject matter and execution, I began portraying components of everyday life in symbolic terms. I created paintings mimetic of the human experience without the use of figures. Most people don’t realize that my paintings contain symbols, I think mostly because I try not to make them too obvious. I prefer a slow unveiling of the meaning behind the work. I do fuse abstraction and representation within many of my paintings as long as I feel they describe the various facets of our commonalities. Some of these elements are recognizable and others are symbolic interpretations of components such as language, technology, nature, culture, etc. Often, I use lines to bridge these symbols together, illustrating how they connect us together. Linguistically, I am exploring the use of symbolism through my titles. These play a critical role in telling the story of each piece and drive the composition of some paintings. All of my work has a high degree of vibrancy and vibration that is a constant within my practice.

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What inspired you to create the work you are including in the exhibition at James Oliver Gallery?


My works in the show contain pieces that are more complex and have various visual components and meanings, as well as paintings that are more distilled and simplified. In addition to the complex paintings that are attached to multiple canvases, I wanted to include paintings that were separate but related. So I have works that are both interconnected such as “Essence and Pursuit” and outwardly connected such as “Of a Circular Nature…”- which are a set of four paintings? It was an exciting exploration in the idea of connection to depict it internally and externally. All of the work is painted on circular canvases or within circular spaces. The circle to me is beautiful in that there are no defined edges. They feel like complete bodies to me and allow me to investigate the idea of connection in a more fluid way.


What are some ongoing themes or ideas you have been exploring within your paintings?

As I mentioned before, I focus on how the commonality of shared patterns connects people together by using symbolism- both abstract and representational. I personally feel that the most powerful works are the ones that combine visceral sensory experiences with fundamental content underneath. I like making the surfaces of my paintings beautiful with the hope that the viewer is enticed enough to uncover the underlying message of human connection. In “Interweave”, the idea was to illustrate that regardless of our differences, people are internally woven together creating a society. In “Interlink #1-12”, the 12 separate canvases each represents a microcosm of a society that is linked to ones surrounding it. In “Essence and Pursuit”, there are eight canvases representing elements of humanity. From the top left panel going across and down, they are: Connection, Essence (red rings emanating outward), diverse populations of people moving together and apart (top middle), Vegetation, Geography, Technology (bottom middle), Knowledge, and Cities.


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What can visitors expect from this exhibition?  

Sacred Geometry describes the patterns found in nature from the most minuscule particles to the greater cosmos. We obviously took on the title of the show “Sacred Geometry” with some poetic license. The idea behind the show was to exhibit work that had geometric abstract elements that also incorporated the meaning behind it.

When you walk into Hot-Bed Gallery, the viewer is immersed in a room of vibrant pattern and color. It really is visually exciting due to the interplay of color and movement from our work. I was really happy to be exhibiting with Paula Cahill because I am an admirer of her work and I felt that our paintings would fit well together. Hopefully, the audience will be seduced by the luminous surfaces to want to know more about the paintings.

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Paula Cahill

Is it possible to pinpoint when straight and curved lines were invented? The contours of ancient rock paintings give us organic lines and line is evident in the motifs of early Greek vessels and Egyptian Funerary art. Renaissance artists were lauded for their invention of perspective, a system contrived of straight lines that extend to infinity. Modernists isolated and formalized gestural line as subject. I strive to extend this conversation by painstakingly mixing and repeatedly laying down up to 100 gradients of color in my attempts to contemporize line.

- Paula Cahill

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Tell me about your creative journey so far. 

I studied figurative painting for many years before transitioning to complex abstract paintings. While in Graduate School, one of my critics looked at my figurative work and told me that if I wanted to paint flesh better, I should paint a fish. So, I did. When he came back, he said: "That's a pretty good fish, you should paint another one." Apparently, my other critics also thought that I should paint fish and they told me so. I never figured out if they thought I painted great fish or lousy flesh, but I kept painting fish. Pretty soon, I became interested in the way fish were moving in my aquarium and I began tracking their movements with line. I used those lines to make my first linear abstract paintings.

Being an abstract painter was like being a kid in a candy store for me. I wanted to experiment and try every type of abstract painting. I experimented for about six years. When I decided to get serious about showing my work, I asked friends for advice. They basically told me that I was a gallerist's nightmare! I needed to settle down to create a cohesive body of work. That's when I returned to the lines and I’ve been developing this body of work for almost two years. I’m glad that I made this commitment because the work has become more precise and complex. I’ve moved beyond fish and have used a variety of catalysts for the paintings. Art historical reference, movement, music, geometry, and memories have all been sources for my paintings.

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What inspired you to create the work you are including in the exhibition at James Oliver Gallery?

To me line is everything! Line is everywhere and it has been with us forever. I often wonder if we can pinpoint when straight and curved lines were invented. The contours of ancient rock paintings give us organic lines and line is evident in the motifs of early Greek vessels and Egyptian Funerary art.Renaissance artists were lauded for their invention of perspective, a system contrived of straight lines that extend to infinity. Modernists isolated and formalized gestural line as a subject. I strive to extend this conversation by painstakingly mixing and repeatedly laying down up to 100 gradients of color in my attempts to contemporize line.

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What can visitors expect from this exhibition?  

My new 2019 paintings will be exhibited for the first time in Sacred Geometry at Hot Bed. Geometry and historical reference are heavily weighted in this work. I think that viewers will be surprised to see some color shifts and compositional changes.

Paradigm Gallery at Art on Paper 2019

For their fourth showing at Art on Paper, Paradigm Gallery will be presenting artwork by Alex Eckman-Lawn, Drew Leshko, Evan Hecox, Hyland Mather, and Seth Clark. The artists have all created their artwork using their own unique methods, but will be coming together for a fair display not to miss. Click on the artist names below to see their collections. The newest pieces by each artist will be added to their linked collection pages on Friday, March 8th. Email sara@paradigm-gallery.com if you would like to see a preview of the collections prior to that date.

Paradigm Gallery | Booth 105 | Featured Artists
Alex Eckman-Lawn
Drew Leshko
Evan Hecox
Hyland Mather
Seth Clark

Fair Dates/Hours/Location
March 7 - 10, 2019 | 299 South Street - Pier 36, Downtown Manhattan

OPENING NIGHT
Art on Paper Preview
Thursday, March 7, 2019 • 6:00pm to 10:00pm

PUBLIC FAIR HOURS
Friday, March 8 • 11:00am to 7:00pm
Saturday, March 9 • 11:00am to 7:00pm
Sunday, March 10 • 12:00pm to 6:00pm 

Petites Luxures
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NEW YORK CITY - Hashimoto Contemporary is pleased to present Petites Luxures in Big Apple, a solo exhibition by French illustrator Petites Luxures. Petites Luxures in Big Apple will be the artists inaugural solo exhibition at Hashimoto Contemporary, in which he explores themes of sexuality and intimacy through his signature minimalist style.

Through the use of minimal mark making focusing on the simplicity of fluid lines, Petites Luxure’s work delves into the intimacy of human relationships and love. French phrases and humorous witticism’s act as clues
to the often seemingly unfinished scenes, leaving the viewer to imagine the rest of the story. From a pair of hands unbuckling a belt to innumerable hands intertwined and entangled across bodies, the images culminate in a delicate and playful portrayal of desire and lust.

For Petites Luxures in the Big Apple, the artist will be exhibiting over 25 new ink on paper drawings, and will be exhibiting mixed media sculptural works and installations for the first time ever.

About the exhibition, Petites Luxures states, “Whatever the medium is, the purpose is always to play with the viewer’s eye, to make the spectator search for the rest of the story and to create playful and interactive erotic scenes.”

Please join us Saturday, January 5 from 6pm - 8pm for the opening reception of Petites Luxures In Big Apple. The artist will be in attendance. A limited edition archival pigment print of L’Éventail is scheduled to be released in conjunction with the exhibition and will be available in person at the opening.

This exhibition will be on view through Saturday, January 26, 2019. For more information, additional images, or exclusive content, please email us at nyc@hashimotocontemporary.com

Max Cole 'Crosswinds" at Larry Becker Contemporary Art
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If you find yourself in Philadelphia before the end of the year, we highly suggest stopping by Larry Becker Contemporary Art to see their current exhibition. To be honest, it wasn’t yet on my radar when I decided to go gallery hopping on a Saturday in November. I happened to begin chatting with an artist sitting a co-op space nearby and he urged me to go over and take a look. ‘Crosswinds’ presents paintings and works on paper by American artist Max Cole. I won’t give away too much here since the owners are more than happy to tell you about this incredible artist and her work - so go see some great art and say hi to their adorable gallery cat!

Max Cole
’Crosswinds’
On view Nov 10 - Dec 29, 2018

You can follow the gallery on Facebook & Instagram.

Max Cole’s paintings suggest an approach to infinity through the use of vertical repetitive lines, a record of intense focus that is said to contain energy as embedded content. The artist describes this process, which she has worked in for over 50 years, as meditative. Though sometimes compared to the work of Agnes Martin, the similarities between the practices are superficial. “There is no other way to produce the work except for a depth of engagement requiring the abandonment of self," Cole has explained, "and this process opens the door to infinity enabling reach outside the physical. For me art must transcend the material.” Born in 1937 in Hodgeman County, KS, she received her BFA from Fort Hays State University in Kansas and her MFA from the University of Arizona in Tucson. Influenced by the Suprematist works of Kazimir Malevich during the late 1950s, she began producing paintings which reflected on time with simple forms. The artist lives and works in California. Today, Cole’s works are held the collections of the Metropolitan Museum of Art and The Museum of Modern Art in New York, and the Los Angeles County Museum of Art, among others.

Artist biography adapted from Artnet.

Jaime Brett Treadwell at Pentimenti Gallery

The paintings on view in shift alt delete point to a slight detour from previous directions. Experimentation with new ideas, specifically architectural and mechanical drawing methods, combined with my persistent 1980’s childhood influences, including MTV graphics, digital synthesizers, and Miami Vice, has resulted in a deeper complexity of interwoven parts. I chose the exhibition title shift alt delete after recognizing the correlation between keyboard functions and the shifting realities present throughout this body of work. The shift key is designed to shift from one version to another, such as lower case to upper case. Alt, short for alternate, is designed as a modifier key to adjust or alter change. This ability to change or manipulate reality parallels my recent investigations regarding visual deceptions and spatial ambiguity through line, shape, color, and space. Similar to the key functions, elements in my painting often serve multiple roles. For example, a thin line may operate as the edge of a shape and also contribute to a repeating pattern of lines, later to return as a single line that cuts through another form or shape. These moments of co-existence throughout the painting disrupt the viewer’s perception of truth, often bending reality. Similar to pressing the shift, alt or delete key, these paintings can quickly switch identities back and forth, as they suggest alternate realities or a fictional universe.

www.jaimetreadwell.com


Pentimenti Gallery 

Nov. 10th – Dec. 20th

Philadelphia, PA 

DEADRINGER exhibition by Michael Reeder

Hashimoto Contemporary is pleased to present DEADRINGER, a solo exhibition by Michael Reeder. DEADRINGER will be Reeder’s inaugural solo exhibition at Hashimoto Contemporary, in which he will be exhibiting new works that explore themes of self-identity and ego.

Through the use of bold saturated color and graphic geometric patterns blended with figurative elements, Reeder’s work delves into the concept of self, and the innate human desire to be an authentic entity. Skulls and hands are prevalent in the artists work, calling attention to both internal and external physical elements that connect us all as humans. As we strive for uniqueness, we are bound together through our humanity, highlighting the fact that we are ultimately the same.

About the exhibition, Reeder states, “I wanted to focus on how similar we as humans are regardless of our external differences and how desperately we attempt to stand apart in society. We are all composed of distinct experiences, backgrounds, cultures, fashion styles, careers, etc., yet it is all individually mashed up into a dead ringer, almost carbon copied vessel - the human body. This concept is the underlying premise of DEADRINGER.”

Please join us Saturday, December 1 from 6pm - 8pm for the opening reception of DEADRINGER. The artist will be in attendance. As an added bonus, the first 100 attendees of the exhibition will receive a free print.

This exhibition will be on view through Saturday, December 22. For more information, additional images, or exclusive content, please email us at nyc@hashimotocontemporary.com

Michael Reeder was born in Dallas, Texas in 1982, where he grew up influenced by the local skate and street culture. Drawing and painting in traditional mediums from a young age, Reeder found himself drawn to the underground, unseen, yet very public form of painting graffiti. He later moved to New York City where he received his Bachelor of Fine Arts degree in painting from the School of Visual Arts. Post-college, Michael took a job with Eyecon Studios in Dallas, Texas and learned to paint large-scale, traditional murals. These experiences fused with his early graffiti influence formed and grew into his portraiture work today. His work has been exhibited both nationally and internationally, along with numerous printed publications such as New American Paintings, Le Petit Voyeur and HiFructose Magazine. Reeder currently lives and works in Los Angeles, CA.

Laura Berger : Sentient at Hashimoto Contemporary

Hashimoto Contemporary is pleased to present Sentient - the inaugural solo exhibition by Chicago-based artist Laura Berger. Utilizing her signature glyphic style, she explores connectivity and community in her new body of work.

Concise female figures commune, dance and support one another in Berger’s acrylic on panel paintings. Each character is at once an individual totem and an integral piece of a larger composition upholding the communities created within each of Berger’s paintings.

Shadowy echos of figures mirror their more vivid counterparts, evoking a sense of history and unity as in Next Life, pictured above. These ghostly apparitions seem to lend their support and serve as a reminder of past generations.

The new paintings created for Sentient are energized with more vivid and fiery tones, eliciting a sense of power and energy. Berger’s minimalist paintings are imbued with a deep reverence for community and togetherness paired with a perceptive sensitivity that emanates hope.

Please join us for Sentient, opening Saturday, December 1st with an evening reception from 6pm-9pm, where the artist will be in attendance.

This exhibition is on view December 2 through 24. For more information, additional images, or exclusive content, please email us at sf@hashimotocontemporary.com

Alex Eckman-Lawn and Seth Clark at Paradigm Gallery

Two upcoming solo shows by Pennsylvania-based artists, Alex Eckman-Lawn and Seth Clark, opening this Friday, October 26 at Paradigm Gallery.

Fragmentation by collage artist, Seth Clark, feature new multimedia works. Fragmentation is a continuation of the artist's ongoing exploration of abandoned, deteriorating architecture; however, this featured series is less representational than his previous works. Derived most notably from found paper and wood, Clark's ambitious, intricate and delicately-worked mixed media collages aim to represent the fragmented and complex nature of architecture in decline, what he refers to as the beauty of decay.

Recessive by visual artist Alex Eckman-Lawn is the artist's first solo show with the gallery. Eckman-Lawn's latest multi-layered, hand-cut paper collages continue the artist's ongoing exploration of his anxieties and fears, recurrent themes of interest particularly focused upon the body and the weight of family history. His collages, at once precise and sure-handed, have a sulfurous glow, a magical aura seemingly rising dark and ominous from the hinterland of his mind.

About Paradigm Gallery

Paradigm Gallery + Studio® exhibits contemporary artwork from around the world with a focus on Philadelphia-based artists. Established February 2010, the gallery began as a project between co-founders and curators, Jason Chen and Sara McCorriston, as a space in which to create artwork, to exhibit the work of their peers, and to invite the members of the community to create and collect in a welcoming gallery setting. To this day the gallery still aims to welcome all collectors, from first time to lifelong, and continues to support accessible work that welcomes a wide audience.

The Courage to Enjoy It: Podcast Interview with Andrew Salgado
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On this episode of Art and Cocktails, Kat interviews contemporary artist Andrew Salgado about the inspiration behind his recent exhibition at Angell Gallery, his approach to painting, bringing pleasure back to art-making, the importance of rest for artists and much more.

Andrew Salgado is a leading young figurative painter with over a dozen sold-out international exhibitions, including London, New York, Zagreb, Miami, Cape Town, and Basel. In 2017, Salgado was the youngest artist to ever receive a survey-exhibition at The Canadian High Commission in London, accompanied by a 300-page monograph, both of which were entitled TEN

“The large scale, gestural paintings of Andrew Salgado explore concepts relating to the destruction and reconstruction of identity – a process that he views as re-considering the conventions of figurative painting through a pursuit toward abstraction. Salgado questions the nature of identity and even the act of painting itself as something monstrous, allegorical, or symbolic. Incorporating Classical archetypes alongside a wildly inventive approach to his chosen media, Salgado’s work defies categorization. Recent works include collage, mixed-media, and even hand-dyed and hand-stitched linen and canvas. ”I am interested in how my paintings operate independently from their literal figurative foundation, and how they might deconstruct through colour choices, reduction of forms, and triumph of materiality to become something altogether otherworldly.”

- Beers London

Andrew’s new exhibition at Angell Gallery, Toronto:

BLUE RAINBOW

ANDREW SALGADO

October 4–27, 2018

Ambera Wellmann Exhibition Opening at Projet Pangée

Artist: Ambera Wellmann

Exhibition title: (Wo)man and Beast in the Round of Their Need 

Opening: Thursday, October 11, 2018, 5:30 pm - 8:30 pm

Exhibition: October 11 to November 17, 2018             

Ambera Wellmann is a Canadian artist working in painting, assemblage, photography and video. Wellmann graduated from the Nova Scotia College of Art and Design (2011) and earned her MFA from the University of Guelph, Ontario (2016). She is the recipient of the Joseph Plaskett award (2016) and the recipient of the RBC Canadian Painting Award (2017). Her works have been exhibited at the Power Plant, Toronto, the Museum of Contemporary Canadian Art, and the National Gallery of Canada. She currently lives and works in Berlin. Wellmann gratefully acknowledges the support from the Canada Council of the Arts. In this recent series of paintings, Wellmann continues her investigation of porcelain as a bodily substitute and a vehicle for perversion, manipulating the sensuality of painted surfaces to blur the distinctions between material and flesh. Wellmann’s paintings hybridize a range of canonical motifs, transposing the grandiosity of historical figuration into intimately realized, darkly humorous works.

projetpangee.com

Feminist Ceramics: Podcast Interview with Jen Dwyer

On this episode of Art and Cocktails, Kat interviews Jen and learns about her creative journey, the inspiration behind her latest ceramics and her upcoming exhibition in NYC. Kat and Jen chat about overcoming creative fear, taking risks and self care. 

Jen Dwyer is a ceramicist artist who makes socially engaged ceramic sculptures and functional art objects. 

Upcoming Exhibitions: 

Not For Your Bunny, Lucas Lucas Gallery, opening Oct 18 6-9pm (On view through Nov 18, 2018). Co-curated by Stacie Lucas and Nathalie Levey.

Femme, Juxtapoz at the new brick and mortar gallery and bookstore in Jersey City (March 1st, 2019)

www.jen-dwyer.com

 

The Obscured Landscape Exhibition by Christopher Burk

My newest exhibition, The Obscured Landscape, plays upon the imagery of the “obscured” that occurs within the urban landscape. The exhibition continues my interest in the nocturne, with carefully composed pieces that focus on the camouflage that occurs within the exterior environments. The featured obstructions have at times been intentionally created by the hand of man, while at other moments, they have been created by nature. The level of obstruction ranges from a slight hindrance to complete obliteration - a short privacy fence separates one home from the next while towering foliage creates a complete barrier to a barren parking lot. While elements of human activity exist, such as a light shining from a window or a trash can on the corner, the paintings absolve themselves from actually depicting people. Instead, the work records and reflects upon the transformation of the urban environment by people through their action with or against the natural environment.

- Christopher Burk

Exhibition Information:

Brandt-Roberts Galleries

642 N High St, Columbus, Ohio 43215

October 5 - 31, 2018

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Opening Reception, October 5th 5:30 PM – 8 PM






Glamour Shots by Scott Scheidly

Spoke NYC is pleased to present Glamour Shots, a solo exhibition by Orlando, Florida-based artist Scott Scheidly. Glamour Shots will be Scheidly’s inaugural solo exhibition at Spoke NYC, where he will be exhibiting his ongoing “pink series” in which he depicts notorious politicians and celebrities dressed in hues of pinks and purples. Scheidly’s work presents an analysis of power, corruption, celebrity and masculinity. Through his exploration of color theory and identity, the artist touches upon themes of perception and societal norms through a satirical lens.

Popularized in the 1990s, glamour shots (photography) is known for it’s depiction of a composed image of it’s subject in a still position, often times intended for private and personal enjoyment. For Glamour Shots, Scheidly draws inspiration from this campy genre, draping figures in pearls, satin gloves and feather boas. The subjects playfully yet seductively look back at the viewer, hands cheekily grazing their face.

Consisting of 15 vibrantly painted satirical portraits, Scheidly’s humorous yet critical work challenges the viewer to consider the dichotomies of the feminine vs. masculine, and to question what is considered socially acceptable. By adorning controversial and pop culture figures in swathes of pinks and purples, Scheidly re-contextualizes them, challenging ideas of propaganda, power, strength and the machismo. Intricately detailed and shockingly pink frames complete each portrait.

About the series, Scheidly states, “the paintings are about the perception of color so by painting people in hues of pinks and purples it makes you step outside the norm and look at the subjects in a different manner. ”

Glamour Shots

Solo exhibition by Scott Scheidly Opening Reception: October 6th, 6 - 8pm On view: October 6th  28th, 2018

For more information, or additional images, please email nyc@spoke-art.com.

"Blue Rainbow" Exhibition by Andrew Salgado at Angell Gallery

ANGELL GALLERY is pleased to present  Blue Rainbow, the first solo exhibition in Toronto by London, U.K.-based Canadian artist Andrew Salgado. Featuring a suite of new paintings by the internationally exhibited artist, the show runs from Thursday, Oct. 4 to Saturday, Oct. 27, with an opening reception with the artist on Thursday, Oct. 4 at 7:00 p.m.

Blue is associated with the sky and the sea - vast spaces often used as metaphors for freedom and inspiration, or signifiers of tranquility and calmness. Perhaps this is why Andrew Salgado chose this colour as part of the title of his exhibition Blue Rainbow. After years of making work in which the political was very personal, Salgado's new paintings find him unburdening. "My practice was being weighted down by my own history," he explains. "I have been vocal about LGBT issues, but I think I'm cooling down."

Salgado insists that his latest work isn't political; however, with the rise of right-wing attitudes in many parts of the world - and the anti-LGBT sentiments that often accompany them - producing positive representations of gay people can be read as a political act. Salgado, who has been the target of hate crimes, dealt directly with his experiences in earlier works such as Bloody Faggot (2011). That painting represented what he was going through physically and emotionally at the time. In 2017, when he mounted a solo exhibition at the Canadian High Commission in London - making him the youngest artist to do so - Bloody Faggot was a central work in the show.

Salgado has closed the door on that period of his life. Now, he wants his work to be about the sense of joy and discovery that he experiences while creating paintings, and he hopes that visitors to his shows feel the same when viewing them. "The process, the joy, the colours, the feelings I get ... I want those to be enough for me, and I want them to be enough for viewers," he says. "I've learned to stop talking about what my work means because what others bring to it is just as important as my intentions."

Salgado's figures throughout Blue Rainbow are situated within vibrant and textured environments that suggest the out-of-doors: quiet moments on azure beaches, walking through a garden or contemplating a cobalt sky at dusk. Serenity, freedom and expansiveness inform the paintings; they serve as meditative yet irreverent rejoinders to the socially and politically proscribed lives that people too often feel hemmed in by. "A line from the Bjork song Big Time Sensuality - 'it takes courage to enjoy it' - really hit me recently," says Salgado. "I've heard this song a million times, but suddenly I was like: Oh my god, that's so true. So, this show is me, learning to enjoy." 

- Bill Clarke




7th Exhibition Benefit 2018 Exhibition by Bridgette Mayer Gallery

The Bridgette Mayer Gallery in partnership with exhibition space host, Arts + Crafts Holdings, is pleased to organize its 7th Benefit Exhibition supporting Friends of the Rail Park, a nonprofit organization that is transforming unused highline railway tracks into vibrant public spaces in Philadelphia.

From September 7th to October 5th, the exhibition will be the largest yet in presenting paintings, photographs, collages, and mixed media from over 200 curated artists encompassing various styles and techniques. Artist’s works will be featured on either 10”x10” panels or 24”x24” panels.

This benefit will help kick start Phase II of Friends of the Rail Park three-phase plan to renovate train tracks into green space spanning multiple neighborhoods of Philadelphia. Each work will be sold for $500 for 10” x 10” panels or $2,000 for 24” x 24” panels done by esteemed and renowned artists. This exhibition is a wonderful opportunity for established collectors and new collectors to purchase high quality art at amazing prices - some of the artworks in the exhibition retail for $5,000 to $20,000. 25% of the proceeds will benefit The Rail Park.

Learn more and visit the show:

Preview of select works: