First Friday Opening
June 7, 2013 from 6pm-9pm
Main Gallery Installation
Archie Scott Gobber Laura Berman
Debbie Barrett-Jones Heinrich Toh Bill Cave
Skyler Bieberly Steve Joy Joe Gregory
Preview Group Show
Highlighing Artists with Upcoming Solo Exhibitions
June 7 - July 27, 2013
Scott Archie Gobber
We are Sorry You are Dust. Please Forgive Us. no.1, 2013,
Egg Tempera, Organic Mixed Media on Nepalse and Fiber,
72" x 32" variable dimensions
We are Sorry You are Missed. Please Forgive Us. no. 2 (detail), 2013 Egg Tempera, Organic Mixed Media on Nepalse and Fiber, 74.5" x 34.5" variable dimensions
June 7 - July 27, 2013
BECOMING FREE memorializes the individuals who died as direct and
vestigial result of military actions in taken against Japan in August 1945.
Christel Highland’s practice utilizes ecological techniques centered on creating community dialogue. She oftentimes consults history, poetry, literature, and music prior to conceptualizing a show or piece. Christel lives and works in Kansas City’s Crossroads Arts District, and happily shares her studio and home with her two sons.
Portrait, 2012, Oil on Panel, 72" x 48" Installation: Lexicon, 2013, graphite on paper, 24" x 18" each
May 3 - June 29, 2013
Jared Flaming received his BFA from University of Oklahoma, Norman, and will receive his MFA at the University of Kansas, Lawrence, this Spring. In 2008 he collaborated with Icelandic and American artists in Reykjavik, Iceland for the exhibition Princes of Royal Blood at the Lost Horse Gallery.
Parergon is a solo exhibition by the artist Jared Flaming comprised of recent paintings and drawings. This series of work pulls from disparate sources and combines them into amalgamations that challenge the way in which an image is read.
A series of large-scale paintings suspend distinctly heterogeneous assortments of objects and text amid ambiguous white spaces that seem to oscillate between deep void and flat surface. The conflicting sense of space derived from collage-like overlapping of subject matter and the incongruent sense of scale adds to the confusion between the disparately sourced imagery. Art historical touchstones mingle with nondescript kitsch motifs in a reciprocal undermining of identities. Oversized wet paint strokes are deceptively rendered in a flat illusionistic manner that toys with perceptions of origins and authenticity. The result is a hall of mirrors where nothing seems definitive and precepts are suspect.
This body of work concerns itself with the ways in which meaning is inextricably the product of continuous mediation. The paintings begin to question the ideology of images through their formats as they protrude from the walls into the space of the viewer. The panels’ deep profiles insist on the objectivity of the painted images and conflict with the illusionistic space rendered on their surfaces. The white backdrops of the images spill over the sides of the surface, confounding the idea of an edge of the image.
The paintings are juxtaposed with a large installation of graphite drawings depicting paint strokes. Loaded with historical mythology and contemporary ideology these simulacra continue the line of questioning of the ways in which a medium prefigures the identity of images. They play with the lenses of authenticity and deception through which images are received.
Recently featured in
Angela Burson, Twins, 2011, needlework, 7” x 7 3/4”
The Opie Collection
Featuring Angela Burson
June 7 - June 29
Angela Burson Bio
Angela Burson is an artist working in a variety of media including, painting, drawing and needlework. She is an alumna of the Savannah College of Art and Design where she received her B.F.A. in Painting in 1991. She was born in Kansas City and grew up in the near by town of Liberty Missouri. Angela has been a working artist since 1992 and has exhibited her work in Georgia, Florida, Missouri, New York, North Carolina, and West Virginia. She lives in Savannah, Georgia with her husband, artist Gregory Eltringham, and their two children.
Angela Burson Statement
Color, pattern, memories and details
My current body of work links elements of color and pattern with random images to create a vague feeling of memory and narrative within the paintings. I use a straightforward, simple composition, which is constructed featuring details of people, various objects or possessions. The subjects come from a personal collection of source material consisting of family photographs, photos and reproductions of tin toys, portrait miniatures, remnants of doilies, pillowcases, and towels from my family’s closets. This personal inventory reoccurs in my paintings and needlework.
I simplify the ground into patterns or a solid color, which allows an ambiguous place for the subject to inhabit. The colors and patterns play an important role in invoking a specific mood and situate the objects in space. The colors chosen are inspired from old color photographs, vintage color schemes, and filtered through my personal aesthetic.