“Outside the Box” March 2017

“Outside the box”, Group Art Exhibition

Opening March 11th, 6-8pm

Curator: Joella March

“Outside The Box” brings together a group of artists who employ unexpected and compelling approaches to both traditional and contemporary media. Themes range from formal to conceptual and imagery from realistic to surreal. Artworks on display utilize a wide variety of materials including: sound-light-wood-glass-movement-foam-bones-found objects-metal-food-paint-thread-participation-toys-scrap materials-books-repurposed objects-tableaux-fabric-porcelain-etc….

Artists: Stephen Anderson, Dave Brokaw, Debra Broz, Philip Campbell, YaYa Chou, Jeffrey Frisch, Jeff Gilette, Laurie Hassold, Melanie Kehoss, Michelle Kingdom, Daniel Lam, Dan Levin, Joella March, Gary Raymond, Steve Roberts, Fred Rose, Susan Sironi, Bethany Taylor.

Where: BLEICHER/GORMAN (bG) Gallery Bergamot Station – Space G8A, 2525 Michigan Avenue, Santa Monica 90404

Phone: +1 (310) 906 4211

Hours: 10-6pm Tues-Sat or by appointment.

Website: bGartGalleries.com

Press Contact: Om Bleicher, om@bgartdealings.com, (310) 237 6423.

Press Packet/Images: Please contact gallery

 

Sea of Art 2017

Sea of Art 2017 Exhibit will be joined with the Water and Sky 2017 Exhibit

Opening Reception: February 18th 6-8pm

Both shows will run until early March

Exhibit of free-hanging sculpture that will be installed throughout the gallery to give the impression of objects floating through the sea. The walls surrounding will be painted in blue abstract works. Part curatorial, part installation this exhibit brings together artists’ works from a wide variety of genres and mediums, grouping them into an ocean of art.

Artists:

Joel Armstrong, K.i.m.Artist, Asha Barnes, Stacey Chinn, Joana Fischer, Steven Fujimoto, Linda Illumanardi, David Isakson, Faina Kumpan, Carly Landry, L.Kelly Lyles, Jeff Morrical, James Mountford, Pamela Mower-Conner, Arthur J Schwartz, Linda Smith, Carol Sneed, Marie-Liesse Sorman, Karin Swildens, Tamara Tolkin

Closing Reception: March, 4th 6-8 pm

Elements

Cloudy skies, rainy days, and wavy waters.

Come see how artists bring water and sky to life in Water and Sky at bG Gallery February 11, 2017 

Paquet Carol: Rising PigmentPrint, 40×67
Hamad Serge: Temporal Peception, 30×45
Schiff Stephen: Clouds 5078, 15.75×15.75
Fong-Chi Lien: Elemental Horizontal, 30×18

Huss Harden at the L.A. Art Show 2017

Looking at Rain of Light and Lunar Energy photographed by Huss Harden, Harden wants the viewer to feel as though they are looking at a timeless, captured moment in time. His photography manifests itself in one of two ways: the structured and the unstructured. In his structured work nothing is left to chance, however his unstructured work– in which Harden’s photography relies on being in the right place at the right time– creates elegant, dramatic images as seen in Lunar Energy. Rain of Light and Lunar Energy are connected through composition, and both images make it clear that Huss finds himself attracted to scenes with stories and dramatic effect rather than the pretty postcard landscapes so commonly photographed.

Marjorie and Bob Moskowitz at the L.A. Art Show 2017

Aleppo and Middle Road Sunset, two collaborative pieces by Marjorie and Bob Moskowitz successfully transport the viewer to where the photo takes place. Marjorie, a landscape painter, and Bob, a figurative painter influenced by Caravaggio, work together in a way that allows two distinct styles to mesh harmoniously. While the pair collaborates on their pieces and plan new work at the same time, they have made a point to not paint simultaneously, giving their work two signature looks that work as one. Their pieces come from photographs they have taken from around the world and the photographs these two particular works were based off of were taken during a trip the two took to Syria.

John Szabo at the L.A. Art Show 2017

Reminiscent of a Jeff Koon’s piece, John Szabo’s Dew Drop is an organic series that clearly shows Szabo’s interactions with nature as an influence. While his work is a manifestation of his personal experiences, Szabo believes that any interpretation a viewer receives from looking at his work is more based on their personal experiences than his own. Dew Drop consists of three reflective, brightly-colored  monochromatic contemporary pieces that leave the viewer to interpret what exactly it represents. The series is peaceful yet bold and the reflective surface and round shape provides the viewer with an overwhelming desire to reach out and touch it. While Szabo’s sculptures are made multiple times in different colors and size, the original sculpture is made from clay and then turned into a mold for the monochromatic reproductions.

Susan Lizotte at the L.A. Art Show 2017

What we see and what we can’t see is a power struggle in the mind of Susan Lizotte, a big fan of Pascal Cotte’s work with Mona Lisa and Lady with an Ermine Cotte’s work allowed Lizotte to see DaVinci’s process line-by-line, something hasn’t been possible to see since the pieces were worked on in his studio. Susan Lizotte’s What You Can’t See is a refreshing, urban take on abstraction and while the fuzzy background of the piece creates feelings of depth, intentionally placed the oil paint markings provide a strong contrast and open the floor for communication between the viewer and the piece. Lizotte calls her painting process organic and a method of trial and error and she believes that the size of her pieces, especially What You Can’t See gives it an enormous presence.

Barbara Kolo at the L.A. Art Show 2017

photos by Eric Mihn Swenson

Barbara Kolo’s Generation was created by Kolo’s determination to create an image that feels familiar, but at the same time, entirely different than anything the viewer has seen before. With this in mind, Kolo’s use of paint as an object produces textural contrast unparalleled to the work done by her peers. Outside of being an artist, Kolo worked as an art director and she credits this job to being one of the reasons she is confident in her work as well as being the reason she has been able to run her studio in a professional manner. Her use of texture and contrast come through in all of her works, and while Generation shows Kolo’s mastery of paint– her work Hibiscus Series shows the same ability to create texture through charcoal on paper.

Michelle Kingdom at the L.A. Art Show 2017

Evocative is the word Michelle Kingdom would use to describe the emotionally charged and complex pieces she creates through embroidery. While she plans her work before she begins it, to Kingdom, the process is the best part as it leads to moments of experimentation and unexpected discovery that planning cannot. Kingdom studied traditional fine art in college and she began using embroidery as her medium as a refuge from the large, conceptual work that she felt the art scene was too focused on at that time. In all mediums, the work Kingdom tends to be drawn towards is personal, meaningful, and thoughtful; Kingdom reflects this in all of her work as her piece Indelible clearly demonstrates her desire to capture the interior aspects of the human experience through a creation of psychological landscapes.

Gregory Horndeski at the Los Angeles Art Show 2017

After viewing van Gogh’s work in Amsterdam in 1969, then theoretical physicist Gregory Horndeski picked up a paintbrush for the first time. While his work is clearly influenced by the famed painter, Horndeski’s work stands out from that of his peers due to his decision to put down the paintbrush and use a palette knife to create surrealist images with bold colors that can only be described as bridging the gap between the seen and unseen worlds. While many of his pieces contain musical notation, Horndeski himself cannot read music or what hear the depicted notes sound like he considers the notes themselves an interesting iconography and the musical notes he paints usual bear connection to the images they surround. Horndeski credits his highly energetic works to his use of fluid acrylic paints poured upon a horizontal canvas and then spread with palette knives so that the paint mixes on the canvas rather than on a palette. Horndeski does not do studies nor does he think about art history and where his work fits in within it– instead he stands in front of a blank canvas and the image as it should be painted appears to him.