Gary Aagaard

"My work is the product of my environment over the last three decades. Generally, I've had a positive experience yet tend to be irked by frequent political and religious hypocrisy, general apathy and dogma of any stripe that leads to social and spiritual tunnel vision."

FOX Muse - Oil on canvas 18 x 24 x 1.5 in.

“As a fledgling illustrator in Brooklyn during the 1980s, I took on any project thrown my way. I refer to that time as my “snack or famine days”. Eventually, I zeroed in on editorial work and soon scored assignments at publications like The New York Times, Los Angeles Times and The Village Voice (primarily covers). Since the early 2000’s, I’ve concentrated on gallery work with an editorial, satirical slant; essentially larger oil paintings with conceptual content reminiscent of my illustration years.

Lampooning politicians, pundits or spiritual leaders who specialize in alternative facts, manufactured outrage, false equivalents, convoluted conspiracy theories and tunnel-visioned tribalism (whew!) is my form of protest and provides a satisfying outlet (i.e., it minimizes shouting at the TV, reduces those pesky nightmares and eliminates my quest to prove Jeff Sessions is actually an interloper from The Shire). Of course, visually addressing the daily insanity of politics, punditry or social upheaval requires an occasional break, which is when I paint relatively non-confrontational pieces.”

Being Jare (w/apologies to Chauncey Gardiner) - Oil on canvas 20 x 16 x 1.5 in.
Ma Nature Revisited - Oil on canvas 30.5 x 22 in.
She's A Concept, More or Less  - Oil on canvas 36 x 24 x 1.5 in.
Blinded by Delight Redux - Oil on canvas 30 x 20 in.

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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Fay Wood

“I’m inspired by the materials I work with (usually found objects); the touch, feel and intensity of them. The pleasure of working with a beautiful piece of wood, the visual impact of applied color, and the textures of fabrics; how I can imagine the ways to use them is intensely moving.”

Bird in Flight - Collage 20 x 20 in.

“Art using found objects has attracted me since 1965, when I was living in the San Francisco Bay Area, and saw large sculptures by local artists made from detritus on the Bay shore. They were fantastic, noisy, beautiful works with great humor and form - I never have forgotten them. As an art student at Massachusetts College of Art in Boston, Mass. I began studying painting, but later, when I was attending a life drawing group, a sculptor encouraged me to carve directly in wood. This began what has become a deep love for sculpture and, later found object assemblage.

In 1992, when I finally had a permanent studio in the Hudson Valley of New York State, I began combining found objects with the cherry wood carvings I had been doing and continue to do so; adding found rag paper, wire, and paint to the mix.

I have also continued to paint, draw, and create tapestries and, recently I have completed an 18 piece portfolio of collages. I have an extensive exhibition history, including The Proskauer prize from the National Sculpture Society, exhibitions at Brookgreen Gardens, S. Carolina, Biennale Dell Arte Contemporanea, Florence, Italy, where I have been invited again in 2019, as well as many solo, group and invitational exhibitions in the USA. I will also be a featured artist with Artrepreneur, a website assisting artists to further their careers, in a film on PBS worldwide in April 2019.”

Reunion - Found object sculpture 44 x 42 x 44 in.
Mantis - Found object sculpture 60 x 16 x 18 in.
I Thought I Stood - Collage 28 x 21.5 in.
Goddess of Light Work - Found object sculpture 62 x 23 x 47 in.

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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Catherine Pickop

"The process of my art making is a way to express my personal response to the world around me with a distinct technique and style. It is a profound self-communication and a visual representation of my mind."

Reconcile #1 - Mineral pigment and coffee residue rubbed on scored watercolor paper 113 x 165 cm

Repetition, stillness, and rhythm are essential elements in Catherine Pickop’s work. She is particularly interested in how art can help to express internal emotions and rationalize inner thoughts. She began using coffee residue as a material in her art-making, exploring feelings consciously and subconsciously as a method of self-discovery. Her works become a visual reflection of her mind, the process of her art-making describes how she sees the world, reconstructed on paper in minimal abstract form.

After exploring different media through her early stage, she is now more focused on drawings with natural mineral pigment and coffee residue. She created her own method and gesture of rubbing natural mineral pigment on paper which is a direct and intimate way of painting. Each painting evolves from a combination of carefully planned structure and the immediate sensation of application and removal of pigment. The carefully calibrated neutral tones create complex spatial compositions which invite the audience to appreciate movement and subtle variations of color.

Catherine Pickop lives and works in Hong Kong.

Rhythm - Mineral pigment and coffee residue rubbed on pencil drew watercolor paper 76 x 56 cm
Last Night I Dreamt of Macondo - Mineral pigment and coffee residue rubbed on scored watercolor paper 56 x 76 cm
The Counterpart - Mineral pigment and coffee residue rubbed on scored watercolor paper 38 x 28.5 cm
Eccentric - Mineral pigment and coffee residue rubbed on pencil drew watercolor paper 56 x 76 cm

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Anne Jeffery

"I photograph the diminutive landscapes of wild and garden flowers, leaves and grasses, and the birds, bugs, and butterflies that dwell within. My montages merge these photographs with clouds, streams, waterfalls, bubbles, and splashes of color. I intertwine multiple layers into a final composition."

Winsome - Photomontage 28 x 28 in.

"Growing up in California, under the spell of such luminaries of photography as Ansel Adams, Imogen Cunningham, and Edward Weston, I was entranced with the photographic process.  After receiving a sensible college degree, I went on to study photography at Brooks Institute of Photography. I left Brooks to begin a career with the Federal Government documenting wildfires for the Bureau of Land Management. During my Federal career, I worked as a photographer, a public relations specialist and National Deputy Director for BLM’s Office of Fire and Aviation. Over the years my work has evolved from documentary photographs into creating fine art multi-layered digital photomontages. 

My photomontages may be composed of up to 70 different layers.  A layer may be an original digital photograph, a digital creation such as flare, fog, stars, shadows, color splashes or a layer may modify another layer by adjusting exposure, hue, saturation, color, and/or texture.

I have studied under some of the masters of photography including workshops with Al Weber, Philip Hyde, Maggie Taylor, and Ysabel LeMay. In addition, I had the great honor of being selected to work as an assistant to Ansel Adams at one of his Yosemite Workshops. 

I was a finalist in the Julia M. Cameron Award for Women Photographers - Alternative Processes 2016 and had my work exhibited at Berlin Foto Biennale - 4th Biennial of Fine Art & Documentary Photography. My work is currently being exhibited at Friedman Memorial Airport, St Luke's Medical Center, 7Fuego Restaurant and Bellevue Public Library.”

Mordor - Photomontage 28 x 28 in.
Blossoms - Photomontage 28 x 28 in.
Bouquet - Photomontage 28 x 28 in.
Florescence - Photomontage 28 x 28 in.

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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Aleksandr Shablyko

"I explore other worlds that sometimes manifest themselves in our world and influence it. My paintings are artifacts from expeditions to parallel dimensions. The works are united by a common concept, the interweaving of storylines and a geographical map."

Approach to the Core of Matter - Oil on MDF 50,5 x 51 cm

“Belarusian artist, Aleksandr Shablyko creates sublimely intricate tableaus which draw the viewer into complex parallel universes of mythical and transcendental aura. Brushstroke by brushstroke these painstakingly builts paths which invite us into the otherworldly and feast in a buoyancy of color and texture. A cohesive body of work,   Shablyko’s paintings are very recognizable and unique.”

- Myrina Tunberg Georgiou (Circle Foundation Curator)

Evening Twinkle - Acrylic on MDF 52 x 42 cm
Dragon Road - Acrylic on canvas 45 x 60 cm
Under the Diamond-Shaped Moon - Oil on MDF 88 x 56,5 cm
The Ark and the Axis of World - Oil on MDF 50 x 80 cm

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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Satomi Sugimoto

"I have always been attracted to forms and lines since I was a child. I see motifs of life reflected in my work including organic forms, elemental forces, body parts of humans, insects and animals. My art-making is a spiritual process; a search for the essence of objects."

My Name Is New Day, 2017 - Oil and glue on stone powder clay 14.5 x 16 x 13.5 in. / 36.5 x 41 x 34 cm

Satomi Sugimoto was born in Fukuoka, Japan, in 1982 and currently lives and works in Tokyo. She received her BFA from School of Visual Arts in New York. As a sculptor, she creates intimate-scale forms which are very raw, primitive, and organic with a very sensitive use of painting. She sees her art-making is a spiritual process; a search for the essence of objects and a process of purification where a single element is explored, honed and expressed.

Bird, 2018 - Oil, glue, and steel wire on stone powder clay 13.4 x 16.1 x 6.1 in. / 34 x 41 x 15.5 cm
Dancer, 2018 - Oil, glue, and steel wire on stone powder clay 19.3 x 23.6 x 8.6 in. / 49 x 60 x 22 cm
Ballerina, 2017 - Oil, glue, and steel wire on stone powder clay 14.5 x 20 x 10.5 in. / 37 x 51 x 26 cm
Moonlight , 2017 - Oil and glue on stone powder clay 18 x 6 x 10 in. / 46 x 15 x 25.5 cm

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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