Edward Thorp Gallery is pleased to announce a group exhibit, Turn of Thought, comprising of new works by 6 contemporary painters.
“Turn of phrase” is an expression that describes a statement that has been worded in a distinctive or particularly memorable or artful manner. Then, a “turn of thought” is an expression that describes the ability to depict an equally interesting or memorable situation, seemingly created out of turn.
This ability to think differently, unconventionally, and ultimately forming a new perspective is a distinctive aspect of all the works included in this show.
Farrell Brickhouse crafts compositions that are brimming with narrative implications. They engage the viewer through an intimacy of scale combined with an apparently endless depth of perception. The unorthodox melding of materials used in his work produces moments that reveal something unexpected about human existence.
Patrick Dunfey’s richly saturated palette invites viewers into a world that seems familiar and comforting, while also being eerie and somewhat foreboding. His uses of basic forms borders on the sculptural, and are most reminiscent of antiquity. Enigmatic and menacing, Dunfey's images separate themselves from the obviousness of mere illustration and into the mystical.
Paintings on printed vinyl are David Humphrey’s way to integrate photos taken on a smart phone that are then adulterated with acrylic paint. Images of garbage or construction debris become associative springboards for Humphrey’s animating imagination. Erased and mutated, the images of the printed photos are made into new records, awakening stories lying dormant in the detritus of urban space.
Elisa Jensen’s vision absorbs the new dialogues with the old. Inspired by the layered history of ancient mythic symbols, her images emerge from a painterly realm of scratches and smears mirror our deep-seated relationship to the world of our past. Her emblematic dark landscapes are filled with an inner light.
Instinctive in their conception, and uncompromisingly contemporary in their results, Herbert Reichert states his objective is to connect with his viewers on a pre-conscious level — to create images that reach into the more fundamental parts of our shared humanity. There is no cultural specificity in his faintly stained apparitions on wood panels; they are vessels of a collective sentiment, never able to fully comprehend the entirety of his mysterious creations.
Judith Simonian’s mercurial compositions incorporate images selected from a variety of sources, including sketches from direct observation, and found material such as vacation brochures and magazines. An intuitive method that combines gestural paint handling, masking, and collage, resulting in rich and vibrant surfaces. Her work removes the distinctions between the internal and external realms creating a radiant but fractured world.