Author Archives: Charles Coldewey

From What I Remember by Lisa Cunningham

Black Sky
Oil on Canvas
48″ x 48″

 

Mesa
Acrylic on Canvas
36″ x 48″

 

Big Sky,
Acrylic on Canvas,
48″ x 48″

 

285 North,
Acrylic on Canvas
30″ x 40″

 

Old Woman, Grey Rocks,
Cold Wax, Oil, Paper on Wood Panels,
54″ x 36″

 

Trouble,
Cold Wax, Oil, Paper on Wood Panel
20″ x 24″

 

Santa Fe Winter,
Acrylic on Canvas,
24″ x 48″

 

Distance,
Cold Wax, Oil, Paper on Wood Panel,
20″ x 24″

 

Virga,
Cold Wax, Oil, Paper on Wood Panel
20″ x 24″

 

White Sands
Acrylic on Canvas
36″ x 48″

 

Storm,
Acrylic on Canvas,
36″ x 48″

 

 

 


Finding Light by Kate Enoire

Artist’s Statement

My work is meant as a poem, oftentimes to pay homage to things that I find. I am interested in things that are remnants of life. Everyday domestic objects also interest me, as well as exploring the feminine relationship with expectations and allegory. Sometimes there is an implication of fable in my work, however it is not my intention to commit the viewer to a conspicuous plot.

– Kate Enorie

Kate is a Richland Photography Student.  Kate’s work and creativity is a result of her involvement in the Photographic Independent Study Class.

 

Box of Dandelions

Box of Dandelions

 

Flower

Flower

 

Skulls and Water

Skulls and Water

 

Nest

Nest

 

Nest of Silver

Nest of Silver

 

South of the Salton Sea

South of the Salton Sea

 

Bird Skull and String

Bird Skull and String

 

Lightbulb Apocalypse

Lightbulb Apocalypse

 

Round Stock Tongs

Round Stock Tongs

 

Scissors

Scissors

 

Self-Portrait

Self-Portrait

 

Hands

Hands

 

Untitled

Untitled

 

Leaves

Leaves

 

Waiting

Waiting

 

Spoon

Spoon

 

od

Ginkgo on Pearlstone-Wood

 

Leaf

Leaf

 

Selling

 

 

 

 

 

 

 

 

 

 

 

 

 


Social Distancing, Richland Art Faculty Online Show

Richland Art faculty are keeping busy doing what we do—making art. But during this time of social distancing and self-isolating it doesn’t matter if our work is a response to the whole virus thing or what each of us was already exploring; and it doesn’t matter if the work is finished, complete or in a state of progress. In fact, more instructional to our students is how we are coping and creating, showing them the whole process as we go. We just need to make Art.

Joel Murray, Pettibon Voyage Watercolor and Gouache on Paper, 5″ x 7″

Jen Rose, Untitled, Porcelain, Installation

Jen Rose, Untitled, Porcelain, Installation

Penny Bisbee, Art Park Overlook, Watercolor

 

Penny Bisbee, Highway Sunrise Olney, Watercolor

 

Penny Bisbee, Birds Over Mesquites, Watercolor

 

Penny Bisbee, Storm Clouds, Watercolor

Melba Northum, Face Mask, Porcelain and Elastic, 2020

Melba Northum, Whale, Porcelain

Melba Northum, Iceberg, Porcelain

Melba Northum, Sogetsu Ikebana, Porcelain

Marian Lefeld, Untitled, Oil on Canvas

Keith Williams, Green Swan, Oil on Canvas, 24″ x 36″

Juan Negroni Vazquez, El Colmo, Collage

Jim Stover, Jeremia, Wood, 6″ x 18″

Jim Stover, Jeremia 2, Wood, 6″ x 18″

Jim Stover, Jeremia 3, Wood, 6″ x 14″

Jim Stover, Jeremia, Wood, 6″ x 12″

Jim Stover, Jeremia 5, Wood, 6″ x 18″

Brenda McKinney, Under The Sea, Alcohol Ink on Paper, 11″ x 14″

Brenda McKinney, Blue River, Alcohol Ink on Paper, 11″ x 8″

Arienne Lepretre, Armchair Stories, Drawing on Chalkboard Paint with Collage, 12″ x 12″

Arienne Lepretre, Armchair Stories, Drawing on Chalkboard Paint Collage, 12″ x 12″

Arienne Lepretre, Social Distancing, Collage on Canvas, 9″ x 12″

Arienne Lepretre, Social Distance, Mixed Media on Paper, 12″ x 12″

Arienne Lepretre, Stories In The Time of Corona, Work on Paper, 12″ x 12″

Charles Coldewey, Sunny Bunny, Ceramic, 19″ x 6″ x 6″

Trayc Claybrook, Here If You Need Me, Mixed Media, 48″ x 36″

Emily LaCour, All Kinds of Sideways, Powdered Graphite and Ultramarine Blue Acrylic, (Mixed with Matte Medium) on Panel, 18″ x 24″

 

 

 

 

 

 

 

 

 

 

 


You, Them, They, We! by Rob J Phillips

A visual commentary examining
American Culture in the context
of a variety of contemporary
sociopolitical questions.

Where will we be tomorrow considering the irrepressible tumult stifling the voices of
peace? Is social accord an experience that will remain only as fiction, destined to be
banned in some totalitarian future America as discordant political rhetoric promotes
ideals of exclusion…is this is the State of the Union? Status quo defect is ad nostrum
verum est; the status quo failures are ours to correct. Abject insularity is a keystone
ideal facilitating deeper divides in the experiment we call America.

– Rob J Phillips

 

Brazos Gallery Crockett Hall C140. February 17 – March 06, 2020

Reception March 03, 11- 12

Presented by Richland College, DCCCD

 


MADE IN AMERICA, A PORTRAIT OF A CITY, Riley Holloway

Artist Statement

My work begins with the individual. I’ve always been an observer of people and run into individuals who inspire me through their fashion, personality, or conversation. I am for creating pieces that are rich in storytelling, free from constraints, and true to the person I’m painting. This is accomplished by letting the individual’s narrative drive my work. I use traditional drawing and oil painting techniques to communicate the qualities of each individual.


Circuit Breakers

Brazos Gallery and Art Faculty of Richland College present CIRCUIT BREAKERS,

November 4 – December 6

Reception: November 7, 11:00 – 1:00 Brazos Gallery C140

Gallery Hours: 10:00 – 4:00, Monday – Friday

 


SQUARES and STRIPES by Lane Banks

 

Untitled2018.10

Untitled2018.11

 Artist Statement 2019

This show comprises works from two series that developed more or less simultaneously.  One group is Concentric Squares, which has been ongoing for several years, and paintings from this set have been shown numerous times in various venues recently.  The other group, Horizontal Stripes, is smaller, with just six altogether.  They have not previously been shown.  Both groups use only a range of grays and metallic hues, what I have been calling an industrial palette, to distinguish the colors from spectrum or natural hues.  They all are hard edged using straight lines and multiple layers of paint to give the surface an opaque effect that keeps the eye of the viewer on the surface instead of penetrating into an illusionist depth.

The squares are classical in their symmetry, and are made up of a series of mathematical relationships and proportions that are determined before the painting is begun.  The paintings are conceived as a series of concentric forces compressing toward the center, or conversely, radiating outward from it.

The stripes use a vertical rectangular format that consists of stripes or bands of color of differing widths.  The canvas is divided down the center vertically from top to bottom, which contrasts with the horizontal bands in order to reconcile the opposing forces of the two directions.  The central divide is conceived as an upward or downward shift in the horizontal movement of the bands, so that the band is broken and disrupted at the midpoint, continuing as a different color and width on the other side of the divide.

These works are abstract rather than abstractions, the difference being that an abstraction is rooted in perception, what the eye can see, and the resulting work is a distillation, reduction or essence of what was observed, regardless of how far removed from its source the work appears to be.  An abstraction is therefore dependent upon a subject outside itself for its existence.  My abstract works are entirely conceptual, in that they are invented with no reference to anything outside themselves.  They are a physical, visual embodiment of an idea that consists of proportions and colors of areas relative to each other and to the framing edge of the painting.


FEEDBACK LOOPS by Emily LaCour

 

 

 

 

 

 

 

 

 

 

                    Artist Statement

 

2018 – 2019 Feedback Loops references the painted figures’ suspended actions, my own

relationship with my subjects, the viewer’s interpretation of those actions, and the

painting’s own homeostatic state of color and form. I see painting as a way to

contemplate the nonverbal space between people. The paint makes it tactile. The

inevitable incongruity, asymmetry, and fluidity of that space is translated by

amalgamations of color, line, and figure forms. When lucky, the painting itself becomes a

gesture. In my process, I re-perform experiences that have been shared with me

digitally, witnessed in person, or embodied. Much like communication itself, the visual

content and actions in paint compress multiple perspectives, time, actions, and

memories—creating a visual placeholder for the in-between. As a twin, and now a wife,

mirroring and asymmetrical duality has become common themes in my work. I was born

in New Orleans in 1990. Drawing and painting constantly, I navigated my way towards a

life of art making. I received my BFA from LSU in painting and drawing and then my MFA

as a fellow at SMU. My work is exhibited in museums, galleries, and art fairs throughout

the country. I live and work in Dallas as an artist and art educator at Richland College,

other local institutions, and privately.


Brazos Gallery Presents LUX by Andrew Kochie

Andrew Kochie pushes the boundaries of refraction and light on hand etched aluminum panels balanced with works that play with shadow.

LUX will also include QR Code technology that will reveal stories and thoughts behind the pieces.

Andrew Kochie is a Dallas based visual artist and cultural advocate. His body of work is a synthetic blend between abstract and trompe l’oeil illusion ranging between abstract minimalism to hard edge geometric abstraction and a pioneer in Metallic Trompe l’oeil.

June 17 – July 19, 2019

Artist Talk June 19, 11- 12 / Reception June 21, 7 – 9P

Brazos Gallery, Crockett Hall C140, DCCCD