FROM
BONDAGE TO LIBERATION
paintings by MAGDA MRAZ
ARTIST
RECEPTION
Sunday, October 8, 3 to 5 PM
Exhibition:
September 12 - October 13, 2017
Curated by Johnes Ruta
Lyric
Hall
827 Whalley Avenue, New Haven CT 06515 • 203-389-8885
Magda Mraz "Carnival of Human Liberation"
Triptych, dry pastels, 58"h x 35"w each
The work
of Magda Mraz has been a spiritual quest into the meaning
of existence and the nature of consciousness.
The transient reality of our lives is brought to focus by
the figures in motion, who sometimes try to escape or transcend
the limitations of their physical boundaries.
The artists'
search for both, the greater freedom and greater stability,
has been underscored by her youth spent under
the totalitarian regime of former Czechoslovakia. Many of
her artworks reflect a profound search for liberation.The
artist
explores her themes in the rich and deeply hued textures of
the mysterious tall paintings, which dramatize her
early feeling of imprisonment, often leading to a forceful
breakthrough of the spirit from it's material confines.
The group
of several triptychs with the theme of carnival explores the
truth revealing, purifying and revitalizing purpose
of such ancient gatherings. The cycles suggest the possibility
of a renewal through the conquest of our negative
qualities or outworn structures, inspiring the compassion
for all of the struggling creation.
The theme
of the gradual transformation in the interest of ever greater
perfection is further expanded in the group of
seven large paintings with geometric underpinning, thematically
based on the theme of the Egyptian creation story:
"The
idea of a cosmic geometry underlying all creation in the universe
is a stabilizing factor in my work. Each painting is based
onthe geometric pattern and symbolism of the numbers one to
seven, representing the universal sequence of human development.
Reassured by the coherent geometry of the cosmos, we feel
free to leave the outgrown structures of our previous existence
in search of a greater understanding and complexity."
The latest
paintings on a smaller scale could be seen as the prayers
for our success in eliminating our fears of the encounters
with the creative forces of the universe, located both within
and without ourselves.
Magda
Mraz holds an M.F.A. from the Queens College of the City University
of New York, as well as Doctor of Ministry degree from the
Wisdom University in San Francisco, California. She has painted,
exhibited and taught art both in the USA and Europe, and lives
in New Haven, CT.
Left: Magda Mraz "Dyad: Osiris and Set" oil on canvas,
58"h x 35"w
Right: Magda Mraz "Heptad: The Virgo" oil on canvas,
58"h x 35"w
*****************************************************************************
Curated by Johnes Ruta, http://AzothGallery.com/
203-387-4933 azothgallery@comcast.net
Lyric
Hall
827 Whalley Avenue, New Haven CT 06515 • 203-389-8885
Invisible
Structures in Art Art works by
Joanna Stuart, Maralyn Adlin, Adger Cowans
Artists'
Reception: Saturday, September 9th, 2017, 4:00 to 6:30 PM. Curated
by: Johnes Ruta
Artist Statement:
"All of my art
begins with photography and imagination. I store my photographic
images in my "computer's studio,"
where I organize them, for example by subject or shape. My process
begins with slicing these images onto my palette
of raw materials from which I create an entirely new visual
and emotional experience. I transform and combine fragments
of
selected photographic images to create an abstract collage or
a collage of an imaginary scene. My body of work also
includes general and artistic photography.
"My art has been exhibited in CT, MA and NYC, and resides
in homes in Denmark, England, Iceland, Israel,
Portugal, as well as the U.S."
Joanna
Stuart "ISLAND VILLAGE" archival pigment print 22"
x 12
Maralyn
Adlin
Maralyn
Adlin "Giant Acorn on Books" oil on canvas 15"
x 24”
"We
live in a world that is constructed or built by specific laws
of nature. These forms exist in the natural world
and are reflected backto us through all the arts. There may
be many ways to express the structures that underpin what
we see and hear even our DNAis made in this manner. It is
who we are and how we are made.
"The
structure which defines the works are not always visible on
the surface but they are there underneath as
a scaffold to hold up a mirror of who we are and what we know
to be true.
"As
a painter I use objects or figures in interiors or landscape
settings to express abstract realities which are less about
literal representation or narrative. My story lies in paint
and placement. I am interested in intersections, vortices,
and patterns that happen when objects collide or stand apart
to create a distinct tension in the negative areas. The goal
is to unify the composition with form and color relationships
that make a place of peace and calm or turn tension into stasis.
Symbolism is currently playing a larger role in my work as
I move slowly away from pure formalism and shift where one
can piece together an additional story.
Maralyn
Adlin "Tulips and Backlight" oil on canvas 22"
x 28”
" I am a native New Yorker and a resident
of Connecticut for the past 16 years. In my high school years
I attended Saturday classes at the Art Student’s League
in NYC and attended Pratt Institute School of Fine Art where
I majored in painting. Many years later I attended C.W. Post
College in Brookville, NY where I received a degree in art
therapy. I have exhibited my paintings in NY and CT and currently
teach drawing and painting in Southbury, CT. I am associated
with City Lights Gallery in Bridgeport, CT.
Adger
Cowans
Adger
Cowans "Bridgeport" acrylics on canvas 18"h x
30"w
Adger
Cowans, now 81, is a fine arts photographer and abstract expressionist
painter who has experimented with a myriad
of mediums over his artistic career. Renowned in the world
of photography and fine art, his works have been shown
by The Metropolitan Museum of Art, International Museum of
Photography, Museum of Modern Art, The Studio Museum
of Harlem, The Cleveland Museum of Art, Harvard Fine Art Museum,
Detroit Art Institute, James E. Lewis Museum
and numerous other art institutions.
Adger
Cowans "Geometry of Light" acrylics on canvas 20"h
x 28"w
Circle in a Square Mandala Collages
by Alan Bisbort
Exhibition
April 4 to 30, 2017
Artists'
Reception & Talk: Saturday, April 22nd, 2:00 to 4:00 PM.
Curated by: Johnes Ruta
Hagaman
Memorial East Haven Library
227 Main Street, East Haven, CT 06512
Alan Bisbort "THE
NATURAL WORLD" photo collage 12" x 12"
Alan Bisbort
"THE AGE OF TREES" photo collage 12" x 12"
Alan
Bisbort
Alan
Bisbort is a collage artist whose work has appeared in group
and solo shows and in print and online publications.
His collages have beem featured for years in the Hartford
Advocate (along with his writing on art, culture and politics),
American Libraries, and Bartcop. He has taught a class in
collage making at Artsplace in Cheshire, Conn.
Alan
is an editor and the author of several books, including Beatniks:
Guide to an American Subculture, also White
Rabbit & Other Delights: East Totem West, A Hippie Company,
1967-1969, and monographs on the artists Charles
Bragg and Barry Kite and the photographer Edward Curtis. He
teaches two classes for OLLI at UConn-Waterbury: “Paper
Bullets: Propaganda in American History” and “Give
Peace a Chance: A History of the Antiwar Movement” and
is currently working on a book about American propagandistic
art.
As a
cultural activist, Alan was a personal friend of the renown
wood-carving sculptor and innovative print-maker William
Kent (1919-2012), a promoter of Kent's work and once-maligned
reputation, and is now a Trustee of the William Kent Charitable
Foundation.
"The
mandala is a sacred symbol in Hinduism and Buddhism, representing
the universe or the cosmos," writes Mr. Bisbort.
"The word “mandala” is derived from the Sanskrit
word for “circle.” While I feel trepidation about
adapting something
sacred to my own artistic purposes, I can find no other geometrical
form than this “circle in a square” that speaks
so eloquently without the need of thousands of words of explanation.
First, the circular center of the mandala is pleasing to
the human eye and comforting to the brain. Second, the square
border beyond the circle is just as important, enclosing and
protecting the delicate inner egg filled with imagery waiting
to be hatched.
"Collage
making, with or without the mandala, contains an element of
wish-fulfillment. That is, the artist is reworking pieces
of reality into how he or she would like them to be or how
he or she thinks they really should be seen. People are drawn
to collage perhaps because that is the way we all really look
at the world, taking pieces from here and there and trying
to make coherent connections as we wander from place to place.
The mandala, combined with collage, comes closest to fulfilling
my own deepest wishes. Each of the collages in “Circle
In A Square” is a separate planet in my imaginary solar
system. When I am making mandala collages, I feel as if I
am traveling through outer space, hoping to discover a new
world that will have me."
Alan Bisbort
"SURVEY VOYAGE" photo collage 12" x 12"
Alan Bisbort
"CRAZY COMIX" photo collage 12" x 12"
Sarah Warda
"Telaviv Nocturne" acrylic on canvas 18"
x 20"
Sarah
Warda
Sarah Warda
is a Connecticut artist. She studied with Harvey Dinnerstein
at the Art Students League in NYC, and in workshops with Aaron
Shikler. She is a graduate of the Lyme Academy of Fine Arts,
where she studied with Deane G. Keller, Peter Zallinger, and
Dan Gheno. She has also traveled extensively through France,
Italy, and Spain, independently studying Master Works.
"My
art is an expression of both my observations and an emotional
spiritual response to the world around me," writes Ms.
Warda. "When I paint, be it the human form or landscape,
I am always striving to capture the “inner” life of
my subject.Although my technique is deeply rooted in the traditional
classical style as was my formal education, my approach to the
subject begins on a very visceral level always seeking that
which one cannot merely observe with the eye, but what lies
beneath.
"Art,
unlike today’s snapshot lifestyle, requires the viewer
to take pause for more than 10 seconds. My goal is to draw the
viewer in and perhaps evoke an emotional response.
"I
hope that you the viewer stop for a while, to feel what I have
shown you and draw something for yourself. As a classically
trained artist my work has evolved to deal not only in in what
one can see, but in the unseen force around us. I am equally
interested in both the nature and “super” nature of
my subject.
"It
is important for me to capture more than the correct principle
effects of light, shade, and color. I am concerned how these
can be interpreted using intuition, emotion, and expression.
If I had to find a term that would best characterize my work,
I would say that I am a realistic expressionist." ~ Sara
Warda
Sarah Warda
"Harkness" oil on canvas 16" x 20"
Sarah Warda
"Twilight" oil on canvas 18" x 32"
Sarah Warda's
artwork most recently was in the 2016 Mayor Erin Stewart &
New Britain Commission on the Arts exhibition, and many other
exhibitions in recent years in Eastern Connecticut. She has
won scholarships for painting from Carlton C.Wiggins, Robert
M. Lynch, C.D. Batchelor, Wardlaw, and a 2001 Grant from the
Urban Arts Initiative in partnership with the Connecticut Commission
on the Arts. Her artwork is in many private and corporate collections.
Juan
Andreu Lattore
Juan
Luis Andreu holds a 2004 Ph. D. in Fine Arts from the University
of Valencia, School of Fine Arts. Spain, where his thesis was
"Integration and sculptural conception in the North American
Architecture.Analysis of a plastic conjunction.” He also
studied computer graphics, and earlier New Techniques in Bronze
Casting Sculpture at Johnson Atelier of Princeton NJ, the University
of Connecticut and the bronze foundry of Eduardo Capa in Arganda
del Duero, Madrid, Spain, and Architectural Design, in the 1980s.
Since Y2K, he has held simultaneous positions as Assistant Professor
of Fine Arts at Quinnipiac University and Housatonic Community
College, and as Master of Restoration and Professor of Carving
at the New England Carousel Museum in Bristol.
Juan-Andreu
"HARBOUR" 20" X 16" acrylic
on canvas
Juan-Andreu
"NECM BACK RAMP" 24" x 20" acrylic
on canvas
Juan
writes: "I am presently exploring the form of my paintings,
and feeling connected to it in a consistent dialogue with light
and volume.I have my own aesthetic norms and I walk my own path.
I work in the impressionist manner in combination with my creative
and learning processes, searching my expressive language from
a variety of subjects ranging from landscapes to the human figure.
I use often sculpture as support and inspiration. My painting
themes are usually architectural constructions that illustrate
the landscape by complementing each other. I deal with the complexities
and the characteristics of the subjects that are an appealing
part of the plastic language that relates form and environment.
My goal is to give meaning to that integration."
Juan Andreu
"TREE" 23" x 28" acrylic on
canvas
Curated
by Johnes Ruta, http://AzothGallery.com/
203-387-4933 azothgallery@comcast.net
for Lyric Hall 203-389-8885.
Recent
Exhibition
February
Whimsy Art works by
Ellen Papciak-Rose and Al Coyote Weiner
Hagaman Memorial
East Haven Library
227 Main Street, East Haven, CT 06512 Directions
Al
Coyote Weiner "Panache" acrylic on canvas 18"
x 28"
Ellen
Papciak-Rose "Dog Fight" mixed-media 18"
x 24"
Al
Coyote Weiner - Cul de Trap
acrylic on canvas, 18” x 32
Al Coyote Weiner
-- artist statement
Actor,
singer, writer, professor, and artist, Al Coyote Weiner
has made his mark in the art and entertainment world
for over thirty years. His journey has spanned the east
coast from New York to Florida, and then all the way
to England.He took a run at acting in the 60’s,
where he landed several minor acting roles, and more
importantly, learned how to creatively find ways to
support himself in the process. He was even able to
secure a place with Lee Strasberg,a prominent acting
coach, for lessons and advice.
Coyote
also took time during this extended period to go to
Coconut Grove, FL where he wrote and published his
poetry, and then returned to the University of Bridgeport
for courses in literature and writing.
Next,
he decided to further his studies in Western Europe
after seriously considering a Fulbright Scholarship
offer for studies in India or Africa. Ultimately,
he earned his MACW in Creative Writing from Antioch
International University, in Oxford and London, England.
Following these studies, he established a long list
of creative writing credits including copywriting,
songwriting, promotional literature, and freelance
articles. In addition, he has authored a one-act play
accepted for production at the National Theater of
Australia, and has written an original full-length
screenplay.
Coyote
has discovered his passion and voice as a performer.
He has an eclectic resume of performance experience
all the way from community theatres to voice-over
artist, to the Yale Drama School as a playwright.
He has formerly served as an adjunct professor in
film studies.
Starting
in 2003, Coyote has embraced painting with a resolute
focus, taking courses, showing his works,and joining
organizations. Al Coyote Weiner has made the decision
to be a life-long student of art.To date, oyote has
had 17 one-man shows, participated in joint exhibitions,
and been accepted for numerous juried shows.
~
Al Coyote Weiner, 2017
Al
Coyote Weiner - Caravan
acrylic on canvas, 18” x 32
Ellen
Papciak-Rose "Doggie TV Dinner"
mixed-media 24" x 18"
Ellem Papciak-Rose
-- artist statement
Ellen
Papciak-Rose is a print-maker and mixed-media artist,
originally from Meriden, now living on a small farm
in Bethany. But for decades, she served in the U.S.
Peace Corps in Botswana, Africa.
Also working in South Africa, she later became a printmaking
technician for the Internationally renown artist William
Kentridge. Ellen is presently an arts activist and a
member of The Grove arts activist enclave in New Haven.
~
Ellen Papciak-Rose, 2016
Ellen
Papciak-Rose "True Love: My Beating Heart"
mixed-media 20" x 18"
Al
Coyote Weiner "Daddy Long Legs"
acrylic on canvas 18" x 28"
Recent
Exhibition
WINTER
SOLSTICE
Art works by
Connie Brown, Rosemary Cotnoir, Suzan Scott
Artists' Reception:
Saturday, December 28th, 5:30 to 7:30 PM.
Curated by: Johnes Ruta
Hagaman Memorial
East Haven Library
227 Main Street, East Haven, CT 06512
Connie
Brown - Lather
acrylic on linen, 30” x 30”
Connie Brown
-- artist statement
After
focusing on sculpting for years then painting landscapes,
I have become addicted to the puzzle of creating abstract
imagery. Inspired by nature, my approach to painting
is process oriented. Photographs I have taken are seed
for the organic forms, lyrical lines, rhythms, patterns
and colors that emerge in my current body of work.Recently,
I have been further exploring distinct areas of a previous
painting; this detailed composition is what propels
me into my next abstraction.
I
paint on linen in acrylic, various mediums, acrylic
flow, pastes and water. I use large and small brushes,
palette knives, squeegees, rags and my fingers.
Layers
of large sweeping gestures generate dominant forms.
I continuously refine and edit- adding and eliminating
through means of rubbing, dripping, drawing, developing
the surface and creating patterns
with mark making. Often densely painted areas coincide
with translucent washed over forms, creating space and
structure.
I
paint abstractly because of the unpredictability of
the process; thoughtfully considered, deliberate choices
unearth new and unexpected adventures.
~
Connie Brown, 2016
Connie
Brown - Plunge
acrylic on linen, 30” x 30”
Connie
Brown -Ebb
acrylic on linen, 30” x 30”
Suzan Scott
-- artist statement
'...as
a painter, my language is line and color and shape.
they are my tools. they are my voice. made visible...'
~ sas, may 2016
'...the question is never: what am i looking at?
-- the question is: what do I see?’ ~ sas, july
2016
“I
have created a way of art making that combines my interests
in art, nature, and science. Nature informs my work
and directs my eye; the effects of light, color and
atmospherics feature prominently in my work. New visual
information constantly presents itself to me. Close
observation and awareness of the moment play a big part
in my art practice.
The work begins outdoors with color sketches and drawings.
Elements of light, color and shape draw my eye, as do
patterns and relationships between objects. With each
sketch, I search for just the right degree of abstraction,
seeking to remove the obvious and allow me a more open
interpretation.
When I move into the studio I often produce a number
of small studies, working with a variety of media and
a range of scales, in an effort to more fully develop
what I’ve seen and experienced. I rely heavily
on visual memory and intuition to create work
that is not time or site specific but evocative, specific,
only to itself.”
~
Suzan Scott, July 2016
Suzan
Scott - The Early Hours No.2 acrylic on canvas, 12” x 12”
Rosemary
Cotnoir -Big Moon
oil on linen, 20” x 20”
Rosemary Cotnoir
-- artist statement
The
subjects I paint vary, but I am attracted to bare trees.
It is not a particular type of tree but more about the
patterns and twisted shapes they form that interest
me.
I
sketch elements to find the most pleasing composition
while making notes about color and light. Then I rely
on memory and intuition to complete a painting. Sometimes
I apply paint directly
to the canvas without having any particular direction
other than color and imagination. When I begin this
way, for me, the results are visually exciting.
Currently
I am experimenting with patterns. Pattern is an underlying
structure that organizes surfaces in a consistent
regular manner. The forms I work with are derived
from nature and classical motifs such as flow, branching,
spirals, lines, dots and symbols. These are repeated
intuitively so that they come together to be viewed
in a pleasurable way as a whole.
~ Rosemary Cotnoir, 2016
Rosemary
Cotnoir -Tree with Lichen
oil on linen, 20” x 16”
Rosemary
Cotnoir - Something is Happening in the
Woods oil on linen, 16” x 20”
Suzan
Scott - Atmosphere Sunrise No.7.2 acrylic on canvas, 12” x 12”
Suzan
Scott - Atmosphere Sunrise No.1 acrylic on canvas, 12” x 12”
Suzan
Scott - Atmosphere Sunrise No.7.2 acrylic on canvas, 12” x 12”
Artist
Reception: Saturday, November 11, 5:00 to 7:00 PM. Curated
by: Johnes Ruta Lyric Hall
827 Whalley Avenue
New Haven, CT 06515
November 4 - December 11, 2016
"Over
the last ten years, since immigrating to the USA," writes Mounira
Stott, "my work has been influenced more and more by my fascination
with the modern city - its textures, rhythms and ever changing patterns
–particularly New York City. Ms. Stott came to the U.S. from
Russia, where she received her B.F.A. from the Moscow College of Artistic
Professions in 1992. She also studied and worked in the field of electronics
and computers, previously receiving her M.S. in Automation and Remote
Control Electronics from the Moscow Radio Technology Institute in 1981.
and her B.S. in Computers, Instruments and Devices from the Rasplatin
College of Radio-Technology in 1975.
"Initially I captured
a more representational view of New York, focusing on the play of colors
and planes within a clear representation of the scene at hand. More
recently however I try to separate my representation of the texture
and the rhythm of the city from my representation of its reality, to
draw the viewer into an appreciation and a sense of those rhythms without
losing his or her connection to their source – the reality of the
city. By using a variety of unusual perspectives that surprise the viewer,
he at first loses the city’s reality and sees only the ‘essence’
of its vitality in the light, color and planes of the painting. This
essence reaches directly to his emotions rather than his mind. However,
as the mind has a few minutes to digest what it sees it suddenly penetrates
the surprising perspective and realizes that this is an urban landscape
– and thus makes the connection.
"One might view the works therefore as almost completely abstracted
and at the same time as almost completely representational. In some
cases the works capture a very narrow segment of the city-- a part of
a single structure for example, and in others, such as the aerial Urban
Exploration series the city’s grand overall patterns and textures."
Mounira Stott's artwork
is in many collections in the US and Russia, and has been shown in many
venues including the Amsterdam Whitney Gallery, on the Upper West Side,
NYC; the Blue Mountain Gallery, Chelsea, NYC; Ward-Nasse Gallery, SoHo,
NYC; and NoHo Gallery, NYC; as well as at the CARTUS Corporation in
Danbury, CT; and the Artwell Gallery in Torrington, CT, juried by Cynthia
Roznoy, Ph.D, curator of the Mattatuck Museum in Waterbury. In Russia,
her work was honored to be shown in the Artist's Guild Gallery, and
to be in the Office of the President, the State Museum, and in the Ministry
of Culture in Kazan, the Republic of Tatarstan.
**************************************************************
Curated by Johnes Ruta, http://AzothGallery.com/
Empire
State Building
oil on linen, 48” x 36”
Night
Towers
oil on linen, 48” x 36”
Manhattan
Mist
acrylic on canvas 24" x 32"
Reflection
III
acrylic on canvas, 18’’ x 18”
Urban
Exploration I
oil on linen, 48” x 36”
Urban
Exploration II
oil on linen, 48” x 36”
Urban
Exploration III
oil on linen, 48” x 36”
River
acrylic on canvas, 18’’ x 18”
Abstract
Realities
Art works by
Maralyn Adlin, Victoria Navin, Marjorie Gillette Wolfe,
and Henry L. Loomis (1943-2015).
As a painter
I use objects or figures in interiors or landscape settings
to express abstract realities which are less about literal
representation or narrative. My story lies in paint
and placement. I am interested in intersections, vortices,
and patterns that happen when objects collide or stand
apart to create a distinct tension in the negative areas.
The goal is to unify the composition with form and color
relationships that make a place of peace and calm or
turn tension into stasis. Symbolism is currently playing
a larger role in my work as I move slowly away from
pure formalism and shift where one can piece together
an additional story.
I am a native
New Yorker and a resident of Connecticut for the past
16 years. In my high school years I attended Saturday
classes at the Art Student’s League in NYC and
attended Pratt Institute School of Fine Art where I
majored in painting. Many years later I attended C.W.
Post College in Brookville, NY where I received a degree
in art therapy.
I have exhibited my paintings in NY and CT and currently
teach drawing and painting in Southbury, CT. I am associated
with City Lights Gallery in Bridgeport, CT.
Henry L. Loomis (1943-2015) "Hallock
Avenue Houses"
acrylic on canvas 30" x 42"
Henry L. Loomis (1943-2015) "Mother
and Octuplets"
acrylic on canvas 18" x 30"
HENRY
L. LOOMIS (1943-2015)
Henry Luther Loomis
began making art when he was 5 years old, carving duck decoys
and birds of wood. When he received his BFA at Yale Art School,
his teachers were many of the noted academic artists of the
century: Abstract painter Jack Tworkov was then head of the
department, and favored Loomis' work. Bernard Chaet, later
Art Department chair, was his instructor for landscape and
cityscape painting, and taught him the connective horizon
in the painting of the diptych pair. Lester Johnson taught
him portraiture. Al Held taught him the continuities of painting
in series, and Richard Lytle taught him the techniques of
printmaking. In later life, Mr. Loomis suffered from a psychological
malady which brought him into the world of Outsider Art.
He passed away in May, 2015, at the age of 72.
Marjorie
Gillette Wolfe has been a photographer for four decades
and was an art teacher for thirty-seven years. A New
Haven native, her work often centers on structures,
landscape, organic processes, and the environments in
which they occur.
"Most
striking in this thorough documentation of an artificial
environment is the boundary work that Wolfe does with
these membranes of vinyl and their fragile hold on the
space between inside and out. These are the heat treasuries,
made to counter weather and calendar in the service
of floral commerce. But plastic can go to ruin, too,
and its punctured surfaces through which the sky is
visible might well offer a means of escape for plant
convicts desperate for the risk of the world as it actually
is."
~ Stephen Vincent Kobasa
Victoria
Navin "Roofscape, Antigua, Guatemala" digital
photograph
Victoria
Navin "City of Wires, Guatemala" digital photograph
VICTORIA
NAVIN
I am a self-taught photographer, primarily interested
in landscape and natural phenomena. For inspiration, I
look to trees, rocks and boulders, bodies of water and
roofscapes. I am also interested in monumental architecture
as well as the smaller details that define a location
as unique, such as doors, windows, balconies and streetscapes.
I am a retired
librarian who enjoys travel, and have recently visited
Portugal, Thailand, Laos, Panama and Guatemala, which
are the locations of my photography. My recent exhibits
include: ATLANTIC AND SOUTHWESTERN ROCKS, New Haven
Free Public Library, April 2015; WONDERS OF PORTUGAL,
April 2014 and TREES OF LIFE, Wallingford Public Library,
December 2013.
I am a graduate
of Albertus Magnus College, and hold Master's Degrees
from New York University, Georgetown University and
Pratt Institute. Currently a resident of New Haven,
CT, I have also lived in Brooklyn, Washington D.C.,
and Madrid.
Group
Exhibition
<>
Winter Metaphors
Art
works by
John Arabolos,
Anne Doris-Eisner, Oi Fortin,
Allan Greenier, Frieda Howling, and Jacklyn Massari.
Hagaman Memorial
East Haven Library
227 Main Street, East Haven, CT 06512 Directions
January 4th to January 31, 2016
Fawn Gillespie, Reference Librarian
Jacklyn
Massari "Rain Boat"
watercolor and acrylic on paper, 11" x 15"
Jacklyn
Massari "Church Hall"
in and watercolor on paper, 16" x 12"
Jacklyn
Massari "Horse on Fire"
acrylic on paper, 18" x 20"
John
Arabolos "Fabric of Life Series15 Matrix-1"
Digital Fractal photo on Aluminum, 42" x 42"
Oi
Fortin "Sacred Rite"
Monotpe on paper, 24" x 18"
Allan
Greenier "Abstract Field"
2-color aquatint, 15 1/2"
x 9"
Allan
Greenier "Garden"
silkscreen on Sekishu paper, 11" x 15"
Frieda
Howling"Outer Space"
acrylic on canvas, 36" x 24"
Anne
Doris-Eisner "Basic and Range"
acrylic on paper, 44" x 72"
Anne
Doris-Eisner "Water Lessons"
acrylic on paper, 23" x 25"
Nature is the
primary focus of my work,” says Frieda Howling ”
-- sometimes the awesome forces of nature, other times the tranquility
of nature.I see the environment as forms occupying space. My abstract
shapes draw their strength from the firm basis in the natural forms
of the landscapes. The artist has the privilege to translate nature's
forms into various moods which will affect the inner and spiritual
emotions of the viewer."
********************************************************
Painter Anne Doris-Eisner states, "Living with acute awareness
of the natural world has been a blessing. I have found inner strength
by observing the resilience and transformative beauty of the land
and all that grows from it as it moves through its life cycle. What
is struck down, crushed, cut and splintered may become irreversibly
changed, but yet still remains a part of this world."
********************************************************
Seeking a creative outlet, Oi Fortin discovered a new passion
-- Monotype. Oi loved the creative process of the monotype, the element
of surprise and instant gratification of each new piece. She has found
the printmaking studio to be a sanctuary, where she creates abstract
monotypes with complex, rich colors, soaring compositions and action,
that capture the imagination.
********************************************************
I am interested in the art of the soul. I believe in its ability to
facilitate healing. I have recently been able to learn about my self
and health by creating consciously unconscious works of art. It has
given me great insight into the state of my soul, and has brought
my conscious and subconscious into alignment. My life has drastically
changed in many different ways since I first began creating this way.
These works are part of a larger series, created by emotions. I continue
to work this way to release any negativity I am feeling. I enjoy being
a vector, and a facilitator to the work that is dying to be created,
and learning about my true self. ~ Jacklyn Massari
********************************************************
"Art for me has always been about the investigation of our natural
world and the way we perceive and relate to it, says John Arabolos,
Professor of Photography at the University of New Haven. “It
not only has to do with the process of conceiving ideas and creating,
but is also about the metaphysical act of experiencing and becoming.
As an artist, I want to bring the observer to the phenomenological
brink or edge where abstraction becomes subjective and identifiable.
The observer will then rely
upon their own subconscious ability to visually think and conceptually
assemble the given information
to see that invisible part of the form that the imagination transforms
and creates into an identifiable image."
********************************************************
"I am in love with the iterative nature of printmaking, the sensuous
nature and infinite
varieties of paper and ink. I like the dialectic between the technical
demands of realizing
a print and the free nature of initial image making. I am happiest
when a picture surprises
me on it’s way to a finished print." ~ Allan Greenier
Exhibition December 4, 2015 to January 7, 2016
Katherine
Blossom, CT Hospice Arts Director
Anne
Doris-Eisner "Water No.2"
acrylic on paper, 22" x 30"
Oi
Fortin "Ritual"
Monotype print, 24" x 18"
Noriam
Agudelo de Mejia "Perpetuity of the Human Generation"
oil on canvas, 24" x30"
John
Arabolos "Morpho Retenor HMPR--x1-1"
Hi-resolution Fractal digital photo, 36" x 36"
Evie
Lindemann "The Shaman"
Monotype print, 20" x 15"
Seeking
a creative outlet, Oi Fortin discovered a new passion -- Monotype.
Oi loved the creative process of the monotype, the element of surprise
and instant gratification of each new piece. She has found the printmaking
studio to be a sanctuary, where she creates abstract monotypes with
complex, rich colors, soaring compositions and action, that capture
the imagination.
* * * * * * * * * * * * * * * * * * * *
Painter Anne Doris-Eisner states, "Living with acute awareness
of the natural world has been a blessing. I have found inner strength
by observing the resilience and transformative beauty of the land and
all that grows from it as it moves through its life cycle. What is struck
down, crushed, cut and splintered may become irreversibly changed, but
yet still remains a part of this world."
* * * * * * * * * * * * * * * * * * * * Noriam Agudelo de Mejia's paintings show a development through
several stages of her personal artistic style. In earlier work, color
usage goes from gradations of muted colors within various tonal ranges
but evolves in later work into expressions of harmoniously contrasted
bright rhythmic values. The composition of the canvas field evolves
from topological layouts of similar figures into a deeply inspiring
and poignant telling of the story between two or three figures -- including
symbolized forms such as the white dove of an ascending soul. The artist,
originally from Columbia, SA, introduced a new movement in the art scene
of her country in 1980, called "Primitive Modernism."
* * * * * * * * * * * * * * * * * * * *
"Nature is the primary focus of my work,” says Frieda Howling
” -- sometimes the awesome forces of nature, other times the tranquility
of nature.I see the environment as forms occupying space. My abstract
shapes draw their strength from the firm basis in the natural forms
of the landscapes. The artist has the privilege to translate nature's
forms into various moods which will affect the inner and spiritual emotions
of the viewer."
* * * * * * * * * * * * * * * * * * * *
"California. India. Israel. Afghanistan. Connecticut. These are
all places that I have lived and that hold the people I have loved and
who have impacted me,” says Evie Lindemann. “My art
work emerges from these intersecting influences. Making art is an aspect
of my spiritual path. It opens me to attention toward my feelings, thoughts,
wishes, disappointments, griefs, hopes, and longing for the Divine.
Printmaking is the kind of medium that mirrors back elements of the
deep psyche, revealing mystery, astonishment, and love. "My work:
Associate Professor in the Master of Arts in Art Therapy Program at
Albertus Magnus College.I train students in clinical work, teach courses
on death and dying, and use Jungian therapeutic techniques such as mandalas
and the MARI for transformational processes. I also teach at Yale University's
Sherwin B. Nuland Summer Institute in Bioethics with a focus on
multicultural issues at the end of life."
* * * * * * * * * * * * * * * * * * * *
"Art for me has always been about the investigation
of our natural world and the way we perceive and relate to it, says
John Arabolos, Professor of Photography at the University of
New Haven. “It not only has to do with the process of conceiving
ideas and creating, but is also about the metaphysical act of experiencing
and becoming. As an artist, I want to bring the observer to the
phenomenological brink or edge where abstraction becomes subjective
and identifiable. The observer will then rely upon their own subconscious
ability to visually think and conceptually assemble the given information
to see that invisible part of the form that the imagination transforms
and creates into an identifiable image."
Group Exhibition
Nature's
Storms and Forms
Art
works by
Phil Falcone, Joseph K. Higgins, Michael Kozlowski,
Hilary Opperman, Mounira Stott, Cecilia Whittaker-Doe.
Artists'
Reception: Saturday, October 3rd, 2015 2:30 to 4:30 PM.
Curated by: Johnes Ruta azothgallery@comcast.net
Hagaman Memorial
East Haven Library
227 Main Street, East Haven, CT 06512 Directions
“Painting is a place to go – a place to inhabit. It’s
the way we see the world through art.
It welcomes interpretation. For instance, the depiction of the movement
of water
through a natural environment illustrates continual growth and change.
Perceived human and animalistic forms that evolve from the chaos suggest
our
intrinsic connection to a natural environment that is both threatening
and joyful.” ~ artist Cecilia Whittaker-Doe
Exhibition October 1 to 31, 2015
Fawn Gillespie,
Reference Librarian
HIlary
Opperman "Room to Soar"
encaustic mixed-media collage
Michael
Kozlowski "Again 2"
Spray paint on canvas
Cecilia
Whittaker-Doe "Uprooted"
oil / mixed-media on panel
Phil
Falcone "Storm"
oil on canvas
Mounira
Stott "Reflection 2"
oil on canvas
Joseph
K. Higgins "Lyric"
color print from enamellized tile
Interpretive Art works by
Alan Bisbort, Steven DiGiovanni, Allan Dudek, Phil Falcone, Joseph K.
Higgins, Richmond Jones,
Peter Konsterlie, Michael Quirk, Lisa Seidenberg , K. Levni Sinanoglu,
Cecilia Whittaker-Doe.
Artists' Reception: Thursday,
August 6th, 5 to 7 PM.
New Haven Free Public Library
Gallery
(in the Business/Periodicals Room)
133 Elm Street, New Haven, CT 06510
NO MATTER WHAT THE POLITICAL OR STRATEGIC PURPOSE, THE MAKING OF
WAR AND THE CYCLE OF KILLING, DEATH FOR DEATH, KILLING FOR REVENGE,
OR KILLING FOR PROTECTION OR "SECURITY," AND THE SO-CALLED
"SACRIFICES" OF A NATION'S OWN SOLDIERS -- THESE ARE ALL STILL
THE MORAL EQUIVALENT OF MURDER ! The taking of any life undermines the
future potential of mankind, and rubs out a light of consciousness,
and becomes a dark spot on the soul of Humanity.
~johnes ruta
Thursday, August
6th, 2015 is the exact 70th Anniversary day of the dropping of the 16
kiloton Atomic Bomb of Hiroshima, Japan, a city built on a wide river
delta. During World War II, the city was the headquarters of Japan's
2nd General Army, a base of Army Marines, and a key shipping port.
OnMonday, August 6, 1945, at 8:16 a.m.,
the nuclear bomb "Little Boy” was dropped on Hiroshima by
an American B-29 bomber, the Enola Gay flown by Colonel Paul Tibbets,
directly killing an estimated 80,000 people. In a 2 mile wide firestorm,
many were vaporized outright, and tens of thousands burned to death,
or survived briefly with excrutiating burns. By the end of the year,
injury and radiation brought the total number of deaths to 90,000–166,000.
The population before the bombing was around 340,000 to 350,000. Approximately
70% of the city's buildings were destroyed, and another 7% severely
damaged. One month later, on September 17th, 1945, a typhoon additionally
struck the area, destroying bridges and killing more than 3,000 people.
In 1946, the novelist John Hersey visited the city, and in his Pulitzer
Prize winning book Hiroshima, documented the experiences told
to him by survivors of the horrific and devasting nuclear bomb.
During the course of the war, the “conventional incendiary bombing
of Tokyo and other cities had caused widespread destruction and hundreds
of thousands of deaths. For example, Toyama, an urban area of 128,000
people, was nearly destroyed, and incendiary attacks on Tokyo claimed
the lives of 100,000 people. There were no such air raids on Hiroshima,
but a real threat was recognized, and to protect against potential firebombings
in Hiroshima, school children aged 11–14 years had been mobilized
to demolish houses and create firebreaks.
Following protracted heavy combat on Pacific Islands, such as Guadalcanal,
Iwo Jima, Okinawa, and Saipan, Harry Truman, now President following
the death of Franklin Roosevelt in April, decided on this nuclear attack,
either to end the war quickly with Japan's surrender, or to destroy
it city by city. The subsequent atomic bombing of the Japanese industrial
valley city of Nagasaki on August 9th, killed around 80,000 individuals.
