Gilles Giuntini, Kathy A. Moore, John Rohlfing, Carolyn Sheehan, Jane Shoenfeld
December 3 – 21, 2019
Opening Reception: Thursday, December 5, 6-8 pm
Saturday, December 7, 3-5:30 pm
Gilles Giuntini is exhibiting work directly influenced and inspired by a six-month residency in Italy, deeply immersed in the culture and landscape of the region. The bronzes were completed at a foundry in the town of Pietrasanta, in western Tuscany; while the larger work, Ex Familia, comprising of charred wood and lead, was subsequently executed in his Brooklyn studio.
Kathy A. Moore paints and draws from intense visual observation based on the still life motif. Her intent is to place the viewer within her immediate visual perspective, as if the viewer is present, stepping out of a spectator role. Within each still life, she aspires to convey a luminous, quiet, and intimate order.
John Rohlfing’s ceramic vessels evoke visual references to the figure, human sexuality and landscape. This interpretation of the complex interrelationships between art and nature, surface and form and man’s relationship to his environment are significant and for me an attempt to draw a personal understanding of the balances in life. Making pots is the art and craft that celebrates the human spirit; it captures the maker’s touch in a material that like humanity is part of a process of transformation and change..
Carolyn Sheehan creates art works that are best described by color and images. She combines creativity and imagination with emotions in every piece with the sole purpose of not only creating an aesthetic that impacts the feelings but causes pleasure as well. Every piece is worked like a sculpture which is three dimensional and they take shape in a style in which the icon is always the focal point.
Jane Shoenfeld’s recent series of pastel abstractions and small acrylic paintings on Yupo is based on W.B. Yeat’s 1919 prophetic poem, The Second Coming. Each painting is titled with a phrase from the poem. Shoenfeld invites the collective and personal unconscious into her creative process by reciting Yeat’s lines to herself as she paints.
The emotional impact of color is a major visual tool. Within the abstraction; lively figure-ground relationships, subtle transitions and edges, and shifting references to representation create powerfully suggestive relationships between abstract forms.