R O U N D W E A T H E R
August 13 - October 8, 2022
Opening Reception: Saturday August 13, 3-6 PM
Composed Surfaces is an exhibition of paintings by Alexandra Bowes, Vicky Colombet, Tyler Cross, Sally Egbert, Prajakti Jayavant, and Javier Manrique. It takes its title from a simple and bottomless definition of painting as “composed surfaces that actually give physical presence to certain affective states" (Charles Altieri, The Particulars of Rapture).
The way the word composed is composed of both an artistic and affective definition (both “created” and “calm”) does not only represent how this group Round Weather show–like most shows elsewhere–wants to give visitors the material feelings, formal ideas, and vision repositories of artists. Also,
Composed Surfaces is here to walk beside us as we look out upon our own surface composure, our world’s composition, our shatterning imbalance while the sky is very much falling.
Between 30% and 70% of the proceeds from each artwork will be donated to the climate-crisis-mitigation work of nonprofits Honor the Earth, Oil Change International, and Sunrise Movement.
Below the preview, you'll find the artists' statements.
Alexandra Bowes, Joy, oil on panel, 20 x 24 in., 2022
Vicky Colombet, Sea Light #1350, pigments, oil, alykyd on canvas,
18 x 22.5 in., 2017, courtesy The Elkon Gallery
Tyler Cross, Sphinx, acrylic & enamel on linen, 15.5 x 12.5 in., 2019, courtesy pt. 2 Gallery
Sally Egbert, Flowers, oil on canvas, 24 x 30 in., 2018,
courtesy Tripoli Gallery
Javier Manrique, Falling Sky, oil on canvas, 36 x 48 in, 2018
Prajakti Jayavant, Untitled no. 130,
oil on paper, 66 x 42 x 2 in., 2019
My artworks take form and color to express in quirky ways the space I inhabit when my mind wanders into its higher subconscious place. I think of the work as similar to the space between sentences. It is a quiet but reflective spot. Sometimes I paint about relationships in a hidden way. I paint in a barn looking out at nature which influences me–color, shape, calmness and beauty.
I am exploring a territory where abstraction and nature meet. Even though my paintings are
intentionally non-objective, they are inspired by landscapes. I am trying to capture a fleeting
moment in the life of nature suggesting contemplation. It is inspired by traditional Chinese
painting, Eastern philosophy, contemporary physics and poetry. Also, the writings and beliefs
of Schopenhauer and his theory of the Sublime and Leibnitz’s ideas about micro-perception.
The artist has chosen not to include a statement. The title of his painting is Sphinx.
My work is a constant distillation of the way I look at the world. I synchronize what nature reveals to my inquisitive eye and record these rapid glimpses on canvas. I like to leave my work open ended, so that the viewer can experience it on their own terms.
I try not to impose an idea on a painting. I start by applying color paint on a black canvas. I can identify and understand color better without the reflection of the white background. Painting is a language that permits a personal connection with color. There are analogies with our personal feelings, sentiments and experiences that are provoked by color vibrations.
My artwork questions and expands the paradigms of reductive abstract painting and sculpture by focusing on the development of perceptual complexity from the basic elements of color, shape, and form. Through the physical and conceptual bending and blending of paint and paper, these “composed surfaces” explore the reflexive ideas of dimension, space, emotion, history, hue, and the trove of content that restriction can conjure.