from Minimal to Complex
Debra Bilow photography
Maureen McNeil fiber art
John Fraser and Nicholas Luchenbill
Exhibition Dates: May 11 to June 9, 2019
Reception for Artists: Saturday, May 11, 5-7 pm
Debra Bilow, Paper Studies, Material Studies
Maureen McNeil, Fiber Art – Wall Hangings
Selected through our Portfolio Showcase International Call for Entries,
the gallery will also feature two portfolios
John Fraser, Material Witness
Nicholas Luchenbill, Iraq Revisited
About the Artists
Debra Bilow, Paper Studies, Material Studies
Landscapes and still life compositions have constituted Debra Bilow’s recent work. Both genres are grounded in formality and restraint and exhibit her minimalist leanings.
The images presented in this show are from three of Bilow’s still life series. The Material Study series, in stark black and white, is a study of manipulated forms of common household goods. The other two series, in a barely-there color scheme, focus exclusively on the shapes of different types of paper. While the Material Study and Paper Studies are opposites in tonality and presence, the commonality is the use of simple materials coaxed into sculptural objects.
Bio: Debra Bilow’s photographs have been exhibited across the east coast of the US including group shows at University Art Museum, Albany, Sidney Mishkin Gallery, NY and The Hyde Collection, Glens Falls. Her images have been published in The Photo Review and the Light Journal and acquired by private collectors. She will be the featured artist in a solo show at the Katonah Museums Artists Association, Spot Gallery in May.
Debra grew up at the edge of rural life in Upstate New York. She holds a Master’s Degree in Urban Planning from Rutgers University and subsequently pursued a career in real estate. She lives and works in Brooklyn and South Salem, New York.
Maureen McNeil, Fabric Constructions – Wall Hangings
Fabric artist Maureen McNeil creates hand-sewn, often large tapestry-like art, layering opaque and transparent materials of various textures to tell abstract visual stories. Through her unique fabric constructions, McNeil works the dance between light, substance, the eye and the brain. While she has made fabric art since early childhood, for the past fifteen years, she has been adding to the depth as well as the expanse of her constructions.
By cutting, pinning, marking, layering and hand-sewing fabrics, metallics, plastics and other sources of color, pattern and texture, her visual stories capture the fleeting sensory experiences kindled by light infusing the material world. Complicated by historical, economic and gender-political views, her constructions live both within and outside conventions of an art and craft that go back millennia.
McNeil’s inspirations often coalesce into series, such as the Hudson River wending its way, an exploration of torsos, deep space and inner portraiture. Her prompts can be surprising. Sunlight reflecting off skyscraper windows onto her downtown apartment walls connects her to the emotions, timelessness, and perceptual fascinations of childhood. Long lost religious experiences of Latin chants, stained glass, marble folds, golden vestments and black habits somehow found expression in stitching, lines crisscrossing broad sweeps, small white dots penetrating saturated colors and undulating darkness. All of this as her constructions move toward abstraction.
Bio: Maureen McNeil is an artist, writer and nonprofit consultant. She first exhibited her fabric constructions in a San Francisco arts fair in 1982. In 2011, Maureen exhibited her Torso Series at the Seattle Sunny Arms. Today, her art is in private collections in New York, New Jersey, California, Michigan, and Washington.
Her latest book is Dear Red, the Lost Diary of Marilyn Monroe.
Originally from Seattle, she currently lives in New York City and makes art at her studio in Claverack, New York. She teaches a popular course in Creative Writing at the Hudson Area Library.
John Fraser, Material Witness
John Fraser is an artist who works within a number of disciplines. His lens-based work is discrete and addresses the world in the most direct way. Fraser’s photographs stem from a minimalist aesthetic. He is in pursuit of subjects that have a timeless clarity and order.
With an economy of means, he produces photographs that possess a formal rigor while being suggestive. They are simultaneously factual records and abstract construction. The reductive compositions he finds in the built world are equally concerned with the problems of photographic vision, and the perception of concrete reality.
Bio John Fraser works within the disciplines of Drawing, Painting, Sculpture, and Photography. He is currently represented by galleries in Chicago, IL, Nashville, TN, Fort Worth, TX, Munich, Germany, Berkeley, CA, and San Diego, CA. His work in all media is held in public collections throughout the United States, Europe and Canada, and in private collections in the US, Europe, Brazil and Japan. It has been featured in one-person and group exhibitions throughout the United States and in Canada, Europe and Japan.
Fraser has been awarded fellowships and grants from Arts Midwest / National Endowment for the Arts, and The Illinois Arts Council. He has been an Artist in Residence at YADDO in Saratoga Springs, NY, at Illinois State University, twice at The Robert M. MacNamara Foundation in Westport Island, Maine, at The Bemis Center for Contemporary Arts in Omaha, Nebraska, and at the Hafnarfjordur Center of Culture and Fine Art, near Reykjavik, Iceland.
Nicholas Luchenbill, Iraq Re-Visited
Nicholas Luchenbill examines aspects of anxiety and memory. The images he constructs are based upon his perceptions of what happens when traumatic memories are created and stored in the brain. In his experience, memories are consolidated, stacked and stored on top of one another which results in lost and fragmented information and formatted in a skewed sense of time. In this series, he use images from his first deployment to Iraq, that are autobiographical, complicating them through strategies of overlapping, interruption and fragmentation to reflect the sense of anxiety that is the by-product of being placed in a war zone.
Bio Nicholas Luchenbill is a Texas-based photographer and visual artist. After high school Nicholas joined the United States Army where he served ten years active duty, with three combat tours in Iraq. Nicholas uses his photographic practice to understand his own wounds from war trauma, and also to speak to other Veterans that are suffering from PTSD, with a primary focus on the mental health issues surrounding the Veteran Community.
Painterly and Abstract Landscapes in B/W and limited palette
Carla Shapiro & Ruth Wetzel
Painterly Landscapes: Linda Cassidy & Elisa Keogh
Reception for Artists: Saturday, April 6, 5-7 pm
Exhibition Dates: April 6 to May 5, 2019
The curators, Carla Shapiro and Ruth Wetzel, have selected artists that offer views of Landscape that are both painterly and abstracted. Each compositions’ tensions come alive through limited palettes. These painterly visions remove observation from the common place. Each piece exalts different types of landscape beauty.
Photographs • Lindsey Shaw Bardsley • Nicholas Bell • Niki Berg • Thomas Fleckenstein • Tom Hatlestad • Carmelita Iezzi • Vanessa Marsh • Wayne Montecalvo • David Nadel • Mirja Paljakka • Meryl Salzinger • Andy Todd • Tim Trompeter –Videos – • Matt Frieburghaus • Deborah Mesa-Pelly • Carla Shapiro • Ruth Wetzel
Selected through our Portfolio Showcase Call for Entries, the gallery will also feature two portfolios by Elisa Keogh and Linda Cassidy
Elisa Keogh: Moving
Artist Statement: Shooting from a moving car window I sought to capture the evocative and everchanging winter landscape. I loved the abstracted softness that came from the motion of the car along with a slow shutter, creating imagery akin to flowing charcoal drawings. This series provides a variety of work that is both literal and nuanced.
Bio Born in England and raised in Belfast, Northern Ireland during the height of political unrest, Keogh was drawn to the raw, underground street art that focused strongly on content and it ignited her passion to make art that carries a message.
At 19, Keogh arrived in the United States and took her first photography class. She immediately knew that she had tapped into a piece of herself that would be important to her future.
Subsequently, Elisa enjoyed a successful career as an art director/graphic designer in NYC where she collaborated with many creative photographers. During this time her interest in photography was reignited, and she began to exhibit her own work.
Since 2005, Keogh has been an exhibiting artist as well as a digital photography teacher and artist-in-residence in Norwalk Public Schools. Elisa currently maintains her studio at Firing Circuits in Norwalk, CT.
Linda Cassidy: Light and Matter
Artist Statement: Things are often not what they seem to be, and through my current work I encourage the viewer to suspend assumption and invite the unanticipated.
Much as the natural world, defined by its randomness, can appear intentional and concrete, my work taps into a pulsation, expressed visually by compositional rhythm, that transforms those most ethereal of objects, photon streams, into palpable moments of inhabited being.
Arising suddenly and with its own agenda, these images require both viewer and artist to embrace not knowing. Through that embrace we can discover something altogether unexpected yet deeply longed for.
Light and Matter is about memory and time.
I’ve been reading TS Eliot’s poem “Four Quartets” and these images are commingled with Eliot’s poem, which is partly about the loss of land and origin. These pieces speak to a nostalgia which is similar in intent but different in source: we’re now threatened with the wide scale loss of all land, so every small pocket of beautiful landscape becomes increasingly precious. And yet we remember when nature and beauty seemed endlessly synonymous, thus the tension between what we hope for and what we know: the source of all nostalgia.
Bio: Linda Cassidy is an artist who currently lives and works on the East End of Long Island. A painter since her years at Bard College, her work is represented in private collections throughout the world.
Deeply influenced by the abstract expressionists and color-field painters of the 1950’s and 60’s, her current photographic work probes the boundaries between traditional art of the 3-dimensional physical world and the virtual realites of digital art.
Photographs that behave like paintings, paintings that become transformed into layered photos, light streams that transpose into perceived matter, fractalization of common forms; all are part of her present inquiry.