Venue: Hallberg Center for the Arts
Nature engulfs this exhibit with Shelley Caldwell's plant inspired artwork, Daphnae Koops wood and glass exploration of nature and the intricately detailed work of butterflies and dragonflies by David Spohn.
Opening Virutally and artist invite only on September 24, 2020 at the Hallberg Center for the Arts and then on display to the public September 25 through October 17, 2020 during regular gallery hours.
Thanks to the COVID-19 pandemic, there will be a limit of 15 people inside the gallery at any given time, social distancing and masks are required.
Growing up in Chicago in a family of writers, editors and educators, my art early on gravitated toward books. In college I discovered the art of etching, a process of drawing, printing and making editions. Since then, my life’s work has taken me from the Midwest to California and finally to Minnesota, with most of this time spent designing, illustrating and writing books, and working at the art of printmaking in my home studio. I also worked for thirty-one years as the art director for Hazelden Publishing, retiring early in 2013. During this span I also wrote and illustrated several children’s books of my own, and illustrated many others for Hazelden and other publishers. Artist Statement My goal as an artist is to communicate the healing power in the beauty of our natural world by creating art that helps people connect with this world in whatever environment they live.
This connection is available to all of us when we learn to focus on the world as it is under our feet, right in front of our eyes.
An affinity for nature rooted in memories and values serves as the point of departure for my work. The prominence of embellishment, pattern, and repetition found in ordinary objects also plays a strong hand in influencing the work’s aesthetic qualities. Ideas stem from a specific image or item from personal experience, which is then stylized through the application of pattern and repetition to increase recognition. As with nature, dualities within the work result from a combination of styles and processes; spontaneous mark-making alongside precise control, muted tones in conversation with bright colors of various saturations, and graphic shapes among an abundance of natural references.
From natural laws to mundane items, many factors of human existence are casually overlooked despite the control they exert; I am driven to make apparent that which is disregarded. Through a combined practice of mixed media drawing and installation, these themes converge.
I am a painter whose inspiration lies in the materials I work with. I paint on carved wood panels, often adding small objects and elements of assemblage to their surfaces. I use recycled and rough-milled woods that carry the dirt and scars of their history with them. I use glass that comes from shattered windshields and bus shelters, and brings along its own story. In some of my pieces I also include bits of rust, pebbles, twigs, stones; those things that form the detritus of our world.
I title my work with fragments of poetry; bits of phrases that in and of themselves make little sense, but which are such a part of our literary history that they carry their own resonance. These phrases suggest the themes underlying the simple visuals of the painting. My interest in used or abused materials is central to my work. It is an expression both of the life and beauty that exists in the ordinary, and of notions of reclamation and rebirth. Combined and embellished with the rich texture of paint and the sparkle of shattered glass, destruction and decay is transformed into beauty and triumph.
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