New Year’s Eve brought throngs of jubilant guests to the Marietta Square for a series of FIRSTS. The inaugural ice-skating rink was filled with happy afternoon faces, and fresh ice sculptures dotted the sidewalks. As the evening approached and temperatures became more reminiscent of a Winter Wonderland, plucky Blue Grass tunes drifted through the air and revelers began congregating for the first local NYE countdown celebration. A much anticipated “object drop” —the first of its kind– mesmerized and confounded the masses at midnight, and meanwhile a beautifully curated art show full of first-timers peacefully awaited the attention to turn away from the mystery of the “#shinypants.”
Inside, a medley of colors, textures and shapes came together to invite art lovers into 2016 in style. The first show of the year featured 8 new dk Gallery artists.
In his current series, Adams focused on the liquidity of the paint, using a pallet knife to spread the pigment across the surface of his canvases. Splatters of paint, layers of color, and a variety of textures are definitive qualities of a Joe Adams painting.
“I try to let the colors of the figure inform my background. In doing so, it picks up mood and personality and a story line. Even though it looks simple, it’s extremely challenging for me to make the color fields work with the animal. I have to decide the direction of the lines, the breakup of the space, and come up with a background that even without the animal in it could be interesting all by itself.”
“The effects of time, loss, and the transformation that follows is central to the content of my work. Change is constant, and the metamorphosis involved is filled with transitional elements that serve as both direct and indirect means of transportation into new states of existence. These elements are explored through responsive mark-making; the result of moments spent in contemplation and query concerning the effects of time, life cycles, and various states of flux within these circles of being.”
James was born in London, England in 1962, and although he studied art at school, it was not until he immigrated to New York City in 1982 and found himself working as a painter that he started to grow and understand color and different mediums. However, it was the discovery of Venetian plaster that really captured his attention and its potential as a living, breathing entity more than capable of hanging as art. James’ time in New York put him in front of some of America’s best artisans in the field of interior decorating and faux finishing, and was consequentially privileged to call Jackie Onassis, The Rockefellers, Yoko Ono, Donald Trump, and many more as clients.
“There are words that hurt, words that heal, words that advise and words that change things. The process of writing the words in my work helps me make those connections,” says Page. “I have to trust in the process of sharing the story – that through being courageous and vulnerable, something beautiful will emerge.” In her sophisticated use of color, material, texture, and text, and by her techniques of masking and layering, Page speaks eloquently to the most elemental condition of humanity, namely our capacity to “see” one another.
“I try not to take my work or myself too seriously. I have a humorous and somewhat whimsical outlook on both life and creation. My career goal is to continually reinvent myself artistically. My inspiration is in the colors and textures and motion all around me. Fabrics, nature, sounds and music all speak continuously to my creative mind. I love to study the mid century modernists and also Sargeant, Bodini, Van Gogh and many other of the greats. My career focus is to conduct myself with integrity, respect and appreciation for all who have helped me. If I live that way, then my art will speak for itself.”
“My work is primarily process-oriented because it is meant to be a reflection of our lives, which are also a process. We are a constant “work” so to speak and change is the brush stroke of time that happens to each of us. Process in itself tends to be a more generaI approach to a specific end, which is why I tend to prefer working with base colors and emotions rather than figurative structures and concepts. I don’t set out to create anything outside of a mood or feeling or to discover what mood or feelings I am having at that time, and I do this by using colors I am inwardly drawn to in the moment. After discovering what colors/emotions I am working with layering becomes important. The layering in my work represents the human psyche and the many layers that we as humans have within us.”