Tempus Projects: Artificial Paradise

Tempus Projects presents ‘Artificial Paradise’, new work by Jenal Dolson in Project Space.

February 11 – March 10, 2017
Opening Reception, Saturday February 11 (7-9PM)
Tempus Projects, Tampa, FL

Jenal Dolson is the third artist in residence to spend one month in the Tempus Projects residency program, and to have an exhibition housed in the Project Space for one month following her residency. Dolson’s paintings are loosely based on a framework of landscape with notions of place, time, memory – a metonymy based in abstraction. Referencing themes of memory and sentiment of object/place, she abstracts perspective in a way that puts aerial views together with horizon lines and still make reference to the foreground, middle, and background as well as interlacing the systems of classifying maps in a choroplethic /geologic way.

Jenal Dolson
Jenal Dolson

Jenal Dolson graduated from the University of Waterloo with an Honors B.A specializing in Painting. She has been living and working in Toronto for the past 7 years. She is a recipient of the Ontario Arts Council Emerging Artist Award, Toronto Arts Council Visual Artist Project Grant, and the Ontario Arts Council Exhibition Assistance Grant. She has exhibited in Canada and the U.S.A.

The event is sponsored in part by The Gobioff Foundation, The Arts Council of Hillsborough County, Stanton Storer Embrace the Arts Foundation, Knox Family Foundation, and Mermaid Tavern. Please join us for an afterparty at the Mermaid Tavern directly following the reception at 9 pm.

Facebook Event Page: https://www.facebook.com/events/947115965424576/


Tempus Projects
4636 N Florida Ave. Tampa, FL 33603
www.tempus-projects.com
tempusprojects.art@gmail.com
813.340.9056

SARTQ: RED

Sarasota visual art collective with new exhibit around the theme of the color red. Palmetto Art Center, February 10 – March 9, 2017

February 10 – March 9, 2017
Palmetto Art Center
Opening Reception Friday, February 10 6-9pm

SARTQ: RED exhibition, will fill the beautiful Palmetto Art Center with glowing color. Whether scarlet, crimson, maroon, vermilion, berry, ruby, rose, burgundy, carmine, brick, or cerise – red is both satisfying and exciting. The strong feelings suggested by the color red – passionate love, blood and anger – are always stimulating!

“A thimble full of red is redder than a bucketful.” – Henri Matisse

The 10 artists in the exhibition celebrate the many ways to see the color red. “Red can boost your energy, it exudes confidence and is life-affirming. In addition, this exhibition gives all art lovers something different to do with their sweethearts for their Valentine’s celebration,” says SARTQ co-founder Tim Jaeger.

The artwork in this group show includes printmaking, collage, drawing, video installation, sculpture and painting. In addition, FREE red silk screened prints will be made for the public right before their eyes while meeting the members of SARTQ. Attendees may bring their own clothing items such as t-shirts, pants, scarfs etc., though any item that can lie flat under the screen and will accept ink can be printed on.

SARTQ: RED exhibition is open to the public with no admission fee. Cash bar and live music by Hunter Brown will be provided. Following the opening reception, the Palmetto Art Center gallery will be open Saturday, February 11th from 11AM – 1PM. Also, Mondays, Tuesdays and Thursdays, Noon – 2PM, and by appointment.

The 10 participating SARTQ artists include Jeffery Cornwell, Elena De La Ville, Zachary Gilliland, Tim Jaeger, Cassia Kite, Jenny Medved, Laine Nixon, Javier Rodriguez, Steven Strenk, and Jill Taffet

For more information:
941.518.2109
sartq.org
info@sartq.org

The Palmetto Art Center is located at:
907 5th Street West, Palmetto, Florida, 34221.
Right next door to Grower’s Hardware Store

Ringling Underground: March 5, 2015

Attendees of the March Ringling Underground will encounter three contemporary artists: Emily Elliott, Dustin Juengel, and Zach Gilliland. Artist Liaison Natalya Swanson spoke to each of them about their artwork and process:

 

Zach Gilliland: 

4thsculpture.elementsfompreviousinstal
Zach Gilliland

 

“I am constantly tinkering in the studio, trying new things, making new forms, honing my skills and dreaming up the impossible.  When I have an idea, I try it.  Not all approaches work, but I attempt everything and eventually the dots begin to connect.  The key, for me, is to simply be working.  As Picasso said, “inspiration exists but it has to find you working”.

I search for the simple and the organic as a jumping off point.  Then I find the subtle complexities that give the piece depth.  Once a project begins to take shape I send it to the moon and back, building it up and ripping it back apart.   This process is extremely important for me to filter out unnecessary information.
My work appears simple at first glance, but upon further inspection questions begin to arise.  Thats where, I feel, the magic lies.  My ultimate goal is to pull the viewer in from a distance, keep them looking up close and then leave them wondering when they turn away.”

Dustin Juengel:

Juengel, 2014 04 01 (abstract 01) 57-x57-
Dustin Juengel

 

“Painting offers a space to engage with different interests and negotiate experiences. I am not aware of an overarching agenda for my paintings, it’s too complex, I think it’s more of a search.

My recent works include grisaille oil paintings based on photographs. The limited palette allows me to focus on other aspects of technique, for example: modeling of form, economy of paint handling, and scale. The effects of light and the surrounding environment become more apparent on the gray surfaces, creating tension between the illusion of the depiction and the painting as an object in a specific location. I want the viewer to be able to enter into the painting and simultaneously become self-aware of standing in a place looking at this thing.”

Emily Elliott:

Emily Elliott
Emily Elliott

“My work is an exploration of emotional and psychological responses to human interaction and the desire for intimacy. I use the body as a metaphorical

battleground where the struggles of the mind take on a physical form. The figures are infected and transformed in reaction to their trauma. Each bump, scar, or mutation represents the fractured sense of self, torn between the desire to connect and need to protect oneself. I am interested in complicating those instincts, creating a dynamic energy between the push and pull of the psyche. This piece captures the moment before separation, where there is no clear victim or perpetrator. Instead they are both at once for and against each other.”

 

Painting Unplugged by Pamela Beck

I’m starting to think about paintings differently these days. And even the plain old paint itself seems different too.

by Pamela Beck

I’m starting to think about paintings differently these days. And even the plain old paint itself seems different too. I’m talking about the messy, drippy, oil on a canvas deal; the rich squeeze out of the tube that ruins the painter’s clothing in a good kind of way; the choice of several paint colors that have to be mixed or not, thinned or thickened, and spread on some kind of palette to be retrieved by a paintbrush being held in the hand of an artist who, by choice, is focused only on the painting and not incorporating some kind of dance/digital/music performance around it. I’m talking about painting unplugged.

Because it’s becoming more common to have artistic collaborations, and often ones that employ some kind of technology, it almost feels charming that the only things that might accompany a painting are some drawings or sketches. Nowadays, with the hint of multidisciplinary art lingering in the air, when I look at a single painting hanging simply by itself, what often comes to mind is an image of the painter working alone in a studio. In other words, an awareness of the very absence of collaborators has become part of my experience in viewing a painting.

Robert Motherwell
Elegy to the Spanish Republic, 70, 1961
Robert Motherwell (American, 1915–1991)
Oil on canvas
69 x 114 in. (175.3 x 289.6 cm)
Anonymous Gift, 1965 (65.247)
© Dedalus Foundation, Inc./Licensed by VAGA, New York, NY

It’s not that I’m not a fan of performance art, digital art, film/video art, installations, collage, drawing, photography, printmaking, sculpture, mixed media, land art and more; because I am- and a big fan at that, of all the above, individually and together. It’s just that suddenly people who primarily like to paint are beginning to seem like an endangered species to me.

In comparison to the deluge of multisensory art experiences I’ve been a part of recently, looking at paintings has taken on more of a contemplative, slow-down-and-notice-me quality than before. A painter’s choice to work mainly with paint on canvas now seems more deliberate given all the options at the ready. As a result, a painting that is done just like it’s been done for years, suddenly stands out for having remained the same.

From this perspective, paintings have begun to feel like a go-to refuge from the plugged in, ever-changing art world. Standing before them, it’s only you and that luscious paint, just like it’s always been. But unexpectedly, old school is starting to feel very new.


For more information on Pamela, visit http://srxq.blogspot.com

DFAC Prepares for BIGGEST Show of the Year

February 24 – April 13, 2012
An exhibition with over 300 works representing over 300 artists in painting, jewelry making, pastel, colored pencil, watermedia, 35mm & digital photography, clay, printmaking, mixed media, stone carving, enameling and more will be featured.

February 24 – April 13, 2012
Dunedin Fine Art Center

With over 300 works representing over 300 artists, S&M (Summa+Magna): DFAC Student / Member and Faculty Exhibitions represent the total and magnificent creative experience offered at the Dunedin Fine Art Center. Works in painting, jewelry making, pastel, colored pencil, watermedia, 35mm & digital photography, clay, printmaking, mixed media, stone carving, enameling and more will be featured.

DFAC
Arlene Richardson, A New Day, oil

“This is always such a tremendous exhibit,” says Catherine Bergmann who as Curator AND Director of Adult Education at DFAC has a deep involvement with the show. “Square footage wise this is certainly the biggest show we have! To see the breadth of talent represented in this exhibition is truly inspiring,” she concludes.

DFAC
Mary McDonell, One Red One Green, oil on panel

The opening reception for the BIG show is February 24th from 6-8pm. Admission is $5, DFAC Members admitted Free.

Exhibitions run through April 13, 2012. Admission is FREE

the Dunedin Fine Art Center – 1143 Michigan Blvd. – Dunedin, FL – 727.298.DFAC / www.dfac.org

DFAC
Dave Pauley, Spirit, orange translucent alabaster