On Saturday, May 26th, a group of five artists will open the season with a medley of exhibitions for the Main Galleries, Sculpture Garden and Carriage House. In celebration, the gallery will have solo shows (sculpture and painting). The works will be on display through June 17th with a reception for the artists on Saturday, May 26th from 6:00 until 8:00 p.m.
Diver, 2018, oil on canvas, 20 x 16 inches
" of paintings that I will be showing at John Davis Gallery, I will be focusing on the summer Olympics from 2016. I have been working on this series for the past two years, and this will be the first time I will be able to exhibit the series in its totality.
I wanted to paint the Olympics because of the courage of the human mind. To me, an athlete is almost like a supreme being. Not because they are athletes, but because they show me how powerful the human mind can be when you set a task when you have to be disciplined to achieve a goal. I find this extremely inspiring, so these paintings become metaphors of experience, falling, running, losing, winning. In these figures, I have painted these acts of the Olympians. I see such a metaphor of how I want to live and see, to be in the moment as a living craftsman and always try to make the image that speaks to me and the path that I am on.”
Clintel Steed, 2018
Sculpture Garden & Ground Floor Carriage House
"Legends of Montecastello," 2012, glazed terracotta,16 x 9.75 x 7 inches
"This group of ceramic pieces was not intended to be…
Indeed, they were merely the tests - to try some new glazes, intended for a large ceramic outdoor sculpture - a commission, from some time ago.
Dealing with glazes was something entirely new to me. Always admiring colors of Italian, Japanese, Chinese ceramic, I considered them, nevertheless, decorative…
I remember the breathtaking feeling in the front of a kiln when the door opens, and you are the first one to see the works..!
Sometimes I got some beautiful results, but in general - it was a bunch of failures… Nothing even close, to what I would expect… Total disappointment… Some of the works slowly grew on me, but overall it was a failure…
On the other hand, I feel - I’m attracted to ‘’failure’’ - my favorite quote is Beckett’s: “ Try again… Fail again… Fail better…”
It took me some time to see how beautiful those “failures” were…!
Isn’t that something? What do you make out of it?..”
Leonid Lerman, 2018
Carriage House. Second Floor
Predator Country: Wilderness paintings from Montana and Southern California
Climbers Rocks revisited, 2017, oil/board, 20 x 24 inches
“The high Mojave desert of Southern California is wilderness home to the cougar as is Joshua Tree national park with its huge boulders sculpted by wind, sun, and water. Culp’s dynamic painting “Climbers Rocks revisited, “ asks for footholds up the nearly vertical face of these massive granite outcroppings as they tower over the dry scrub vegetation below. The work injects a poetic imperative into painted wilderness experience and reminds us of our unique, and now fragile, the heritage of the public land.”
Jane Culp, 2018
Carriage House, Third Floor
Alannah In Mori Dress, 2017, oil on canvas, 70 x 36 inches
"The process of painting my subject directly from observation in natural light has always been essential to my work, and a jumping off point for exploring intimacy and poetic visual relationships found both in observable reality and the abstract relationships within the painting. In my most recent paintings, I have been working from memory as well, slowing down, and focusing more on allowing visual metaphors to emerge over time. In painting the specific, I am painting the universal.
Alix studied painting at Bennington College and received her MFA from Indiana University. She has shown her work in New York, Connecticut, and Italy. She lives and works in New York City and Taghkanic NY with her two daughters."
"Working directly from observation but clearly suffused with a classical sensibility, Bailey manages both to channel and to contrast with the wholly invented, steely automata of her father, William Bailey. They share a cool stillness, but distinct in the younger artist is a tender voluptuousness of flesh tones and a creamy, painterly touch that conspire to imply a sense of presentness. The unforced credibility of a sitter inhabiting her own gravity, meanwhile, and the feeling of total compatibility between fullness and ease speak to the empathy of one woman regarding another."
Carriage House, Fourth Floor
White Light, 2017, oil on linen, 84 x 48 inches
“My motifs are found, not created. They involve an interaction between abstraction and perception, centered on the urgency of a fleeting observation of a moment of light. These observations are of nature, which in our time seems itself to be fleeting."
Margaret Grimes, 2018