Emerging artists and faculty members of the
Pennsylvania Academy of Fine Arts are the forces behind the “Envisions” exhibit
currently at the Gallery at Michael Ryan Architects in Loveladies.High quality
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The academy has the distinction of being the oldest art school in the nation, with famous alumni including Thomas Eakins, William Merritt Chase, Cecilia Beaux, John Sloan,Quickparts builds injection molds using aluminum or steel to meet your program. Robert Henri and John Marin, to name a few. The school was instrumental in the revival of realism and figurative painting in the 1970s.
“Envisions” co-curators Sheri Hansen, graduate of PAFA in the master’s program, and Jason Ward, PAFA fine arts graduate, hand-picked the artists from the PAFA community.
“One of the benefits of putting this show together is we get to work with artists we’ve worked with in the school,” said Ward, “artists we’ve had conversations with, artists that we know artistically at an intimate level. We understand what’s important to them in their process,Western Canadian distributor of ceramic and ceramic tile, why they make the work they do, they way they do. As different as all these works appear visually, the underlying structure of why they made them is very similar, and that for us, that ties it all together.”
Hansen said “Envisions” is about the “artists’ practice or process.”
“Some artists have a concept and then they map it out and execute it. Whereas, these artists start with a material and they allow the execution of it to lead up to their imagery. I think a lot of artists would describe their work as a process.Thank you for visiting! I have been crystal mosaic since 1998. There’s something that they love about what paint can do, in mixing colors, pushing them together on a surface and creating a three-dimensionality. There are building blocks to making artwork, something I would call the artists’ craft, developing how you like to move the physical material and then deciding how can you relate that to your imagery, to meaning and to poetry.”
Matthew Calaizzo’s “Warrior Run, Pennsylvania” is a woodcut print with mountains in the distance, but the artist also printed the wood grain itself, flat on the picture plane. “It’s a play between what it actually is (the wood) and the evolution of the work,” said Hansen.
An abstract by J. Gordan titled “Eastern State” is a play on words, said Hansen. “It is influenced by walking up and seeing this imposing building in the urban landscape, but it also reminded him of different eastern philosophies.” Hansen also appreciates the artist’s use of building materials such as wood glue, graphite and wood stain – materials an artist might not normally use.
A sculpture by Kirsten L. Fisher Price titled “It Happened Like This,” of pipe, wood branches and metal, may present a puzzle to the viewer. “She works with materials she’s found while wandering around Philadelphia. How she chooses to pair them together, bind them or separate them, is usually influenced by things that have happened to her in her family history,” said Ward.
“Shudder,” a canvas by Sarah Webber, is a complex drawing using graphite and gold pen.
Israeli artist Dganit Zauberman’s “Boundary” is “literally announcing the materials it’s made of,” said Hansen. “She’s building the structure. The paint on the surface creates a mountain of texture that adds to the imagery.
“She works directly from memory,” added Ward. “She would describe these as landscapes in her mind based on different regions she has lived in and her own psychological interpretation of them.”
Sheri Hansen’s own work, “Nocturne,” is an urban sky-scape of Philadelphia painted from her home studio. “I’m not looking out on a mountain or a wall but a wall of windows is keeping it separate.” The viewer sees the sky-scape through a barrier.Selecting the best rtls solution is a challenging task as there is no global solution like GPS. Although the night scene might be dark and foreboding, Hansen has livened it up by painting colored strings of lights around the perimeter.
Jason Ward’s oil paintings on panels, Ocean I, II and III, are empty seas with clouds and mist; the sea is painted a curious antique green, bringing to mind 18th century ship paintings, but without the ships. “Rather than using my materials to represent a subject that I’m interested in, I’m using a subject to really get to what I love about the material,” said Ward. The push and pull of using the material becomes the subject of the work, and the practice keeps going from there.
“You tend to let go of preconceived ideas of what your work is going to be and you really open yourself up to the experience of your work as you create it, rather than try and come up with an idea and set your creative process into that.”
A series of large photographs by Michael Richards has a graphic quality to them that Hansen appreciates.
“They are broken into three bands of color, and I’m unsure of what I’m looking at – is it a waterfall or not? You have a sense of the elevation, and of falling down, but there’s not enough information of what’s really there. You have the central information so you can infer what it’s about, and it’s beautiful, but not in a way that you’ve seen a million times before. The graphic piece dominates the landscape.”
The academy has the distinction of being the oldest art school in the nation, with famous alumni including Thomas Eakins, William Merritt Chase, Cecilia Beaux, John Sloan,Quickparts builds injection molds using aluminum or steel to meet your program. Robert Henri and John Marin, to name a few. The school was instrumental in the revival of realism and figurative painting in the 1970s.
“Envisions” co-curators Sheri Hansen, graduate of PAFA in the master’s program, and Jason Ward, PAFA fine arts graduate, hand-picked the artists from the PAFA community.
“One of the benefits of putting this show together is we get to work with artists we’ve worked with in the school,” said Ward, “artists we’ve had conversations with, artists that we know artistically at an intimate level. We understand what’s important to them in their process,Western Canadian distributor of ceramic and ceramic tile, why they make the work they do, they way they do. As different as all these works appear visually, the underlying structure of why they made them is very similar, and that for us, that ties it all together.”
Hansen said “Envisions” is about the “artists’ practice or process.”
“Some artists have a concept and then they map it out and execute it. Whereas, these artists start with a material and they allow the execution of it to lead up to their imagery. I think a lot of artists would describe their work as a process.Thank you for visiting! I have been crystal mosaic since 1998. There’s something that they love about what paint can do, in mixing colors, pushing them together on a surface and creating a three-dimensionality. There are building blocks to making artwork, something I would call the artists’ craft, developing how you like to move the physical material and then deciding how can you relate that to your imagery, to meaning and to poetry.”
Matthew Calaizzo’s “Warrior Run, Pennsylvania” is a woodcut print with mountains in the distance, but the artist also printed the wood grain itself, flat on the picture plane. “It’s a play between what it actually is (the wood) and the evolution of the work,” said Hansen.
An abstract by J. Gordan titled “Eastern State” is a play on words, said Hansen. “It is influenced by walking up and seeing this imposing building in the urban landscape, but it also reminded him of different eastern philosophies.” Hansen also appreciates the artist’s use of building materials such as wood glue, graphite and wood stain – materials an artist might not normally use.
A sculpture by Kirsten L. Fisher Price titled “It Happened Like This,” of pipe, wood branches and metal, may present a puzzle to the viewer. “She works with materials she’s found while wandering around Philadelphia. How she chooses to pair them together, bind them or separate them, is usually influenced by things that have happened to her in her family history,” said Ward.
“Shudder,” a canvas by Sarah Webber, is a complex drawing using graphite and gold pen.
Israeli artist Dganit Zauberman’s “Boundary” is “literally announcing the materials it’s made of,” said Hansen. “She’s building the structure. The paint on the surface creates a mountain of texture that adds to the imagery.
“She works directly from memory,” added Ward. “She would describe these as landscapes in her mind based on different regions she has lived in and her own psychological interpretation of them.”
Sheri Hansen’s own work, “Nocturne,” is an urban sky-scape of Philadelphia painted from her home studio. “I’m not looking out on a mountain or a wall but a wall of windows is keeping it separate.” The viewer sees the sky-scape through a barrier.Selecting the best rtls solution is a challenging task as there is no global solution like GPS. Although the night scene might be dark and foreboding, Hansen has livened it up by painting colored strings of lights around the perimeter.
Jason Ward’s oil paintings on panels, Ocean I, II and III, are empty seas with clouds and mist; the sea is painted a curious antique green, bringing to mind 18th century ship paintings, but without the ships. “Rather than using my materials to represent a subject that I’m interested in, I’m using a subject to really get to what I love about the material,” said Ward. The push and pull of using the material becomes the subject of the work, and the practice keeps going from there.
“You tend to let go of preconceived ideas of what your work is going to be and you really open yourself up to the experience of your work as you create it, rather than try and come up with an idea and set your creative process into that.”
A series of large photographs by Michael Richards has a graphic quality to them that Hansen appreciates.
“They are broken into three bands of color, and I’m unsure of what I’m looking at – is it a waterfall or not? You have a sense of the elevation, and of falling down, but there’s not enough information of what’s really there. You have the central information so you can infer what it’s about, and it’s beautiful, but not in a way that you’ve seen a million times before. The graphic piece dominates the landscape.”
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