The Wilma W Daniels Gallery
Mountain Sculptors 2014 Juried Exhibition
Monday Feb.10thÂ From Â 4-6pm
Union Station 170 lecture hall
The artist will be presenting examples of their work and discussing fabrication techniques.
There will be a question and answer segment at the conclusion of each presentation.
The lectures are free and open to the public.
The demonstrations are by invitation.
See the links below for more information about the visiting artist.
For more information about the lectures or corresponding art show, contact Richard Conn at: firstname.lastname@example.org]]>
Ann Parks McCray lives and works in Wilmington, North Carolina, where the areaâ€™s natural beauty inspires her abstract naturescapes. Many pieces express the essence of sky, sea, and a dense lushness of trees. A wide-ranging palette with generous paint produces an energetic textured feel. These renditions are interpretations, moments in time, impressions of seasons and locations. Many over-sized paintings are suited to large airy spaces where light and distance combine to emphasize a sense of freedom in the work.
Marrying beauty with function to harmonize space is a personal goal for this artist. She believes that oneâ€™s visual experience is psychologically and emotionally significant to a positive life experience. McCray notices that art inspires and comforts, heals and rejuvenatesâ€”that the human heart rests in beauty. Convinced that art is meant to work as well as please, her pieces are placed in healing spaces in Texas, Ohio, North Carolina, and Montana.
An intuitive painter, she explains her process: â€œI begin a piece without defined intention; I wait for a composition to emerge. I listen to music, work quickly, choose colors and utensils by feel. Beginning with a brush, I often incorporate spatula or wooden brush handles. I turn the canvas, so a finished piece has been worked from a number of directions. I study each painting in a full-wall mirrorâ€”in its reversed reflectionâ€”for hints of additions or revisions. This technique helps me merge further with the work.â€
McCray studied art at Amarillo College in Texas. She began a professional art career 25 years ago, creating large hand-built nonfunctional stoneware pieces. As a potter, one of her favorite aspects was glazingâ€”applying abstract designs to clay. Eventually, she turned full attention to painting on canvas. Â She works primarily in oils. She is represented by Cortile Gallery in Provincetown, MA, and in North Carolina by Red Sky Gallery in Charlotte, Sunset River
Gallery is open by appointment.
A public reception will be held for the artist onÂ Friday, September 27th.]]>
Learn more about the exhibition and the artist.]]>
BundlesÂ consists of nearly 30 ceramic sculptures, accompanied by digital detail photographs of the sculptures, and drawings of existing or speculative sculptures.
In this exhibition, Wilcox relishes in exploiting the malleable nature of clay and the boundaries that arise in its fired form.Â His works are joyfully maniacal, with their endless yet subtly complex riffs on theme and variation. Strips of clay are thrown and stretched, fired (and sometimes glazed), and bound by zip ties â€“ often cut into sharp edges – in ways that challenge the materialsâ€™ inherent characteristics with the demands of gravity and the artistâ€™s conceptual manipulations.Â In spite of the insistent restrictions placed on choice of elements and processes, each sculpture offers its own guiding logic, associations, and formal analogies â€“ ranging from meditative tranquility to clenched anxiety.Â The articulation of theme and variation is demanding in its call to observation and exquisite in its relentlessness.
Wilcox considers the sculptures residue of studio practice. In the studio, he aims to remove as many of his subjective tendencies as possible by establishing rules and limiting variables.Â Â For him, the formal oppositions that arise are unresolvable. He writes of embracing this irresolution: â€œClay â€” Plastic; Old â€” New; Precious â€” Disposable; Rigid â€” Flexible; Heavy â€” Light.â€Â As a result, he states that the sculptures with zip ties make him very uncomfortable.Â It is, in part, out of this dialogue of oppositions and discomforts that the photographs and drawings arise.Â Cropped, enlarged, and often installed with disregard to the orientation of the original piece, the photographs propose moments of admiration for, and reinvention of, the sculptures. The drawings serve the same purpose, replacing the abundance of the ceramic strips with the repeated gesture.Â The resulting triumvirate (sculptures, photographs, drawings) captures and celebrates a rigorous investigation of the formal splendors of clay and the conceptual challenges arising from such an inquisition.
Aaron Wilcox was born in Winston-Salem, NC. He received an MFA in ceramics from Cranbrook Academy of Art, Bloomfield Hills, MI (1998), and an M.A. in Liberal Studies (1994) and a B.A in Religious Studies and Art (1992), from UNC Greensboro.Â He lives in Wilmington, NC, and is an Associate Professor of Ceramics at UNC Wilmington.
Â Saved was conceived after my father and three friends died in a single year. I was affected by how friends and colleagues bearing similar loss openly shared stories of their own deceased loved ones with me. Many felt prompted to tell me about things they held onto after the death of a loved one.
In an earlier work, Hanging On and Holding Out, I had photographed my late grandfatherâ€™s dentures, and was intrigued by how this somewhat uncanny color image resonated with viewers. This observation, coupled with the depth of connection Iâ€™d made with the bereaved, led me to borrow and photograph objects that people held onto after the death of a family member or friend. The items, ranging from a below-the-knee prosthetic leg to an old Atlantic City slot machine, are individually photographed on a seamless white background, with close attention on the wear apparent of each surface. It is important for each object to have a unique presence, so the scale of the photograph is based on the personality of the item. Most of the images are larger than actual size to reveal intimate details, such as the loose threads of a scapular or the remnants of food caught in the rolled lip of a well-worn colander.
Lorene and I met at Vermont Studio Center in July 2009. During our four-week residency, I showed slides from the Saved project to the artists and writers of the VSC community. My presentation triggered our initial discussion about how the stories embedded in these photographs could be told in words, which led Lorene to share her writing with me. I was especially captivated by her prose poems of life on the road with her first husband, a minor–league baseball player. The work was intimate, spare, funny and disturbingâ€”in key with the images I was making. Together, we composed interview questions for the owners of the objects Iâ€™d borrowed to photograph. By email and in person, I interviewed those who had loaned an object to the project, and then forwarded their answers to Lorene.
The prose poems, based on the intervieweesâ€™ responses, are meant to evoke the relationships between the objects, the relatives and friends who saved them, and the original owners. We ask the new object-owners to describe their relationship with the deceased loved one, any distinguishing characteristics of that person, a memorable occasion or event shared between them, and what it is that makes the object special. Often the language of the owners is directly incorporated into the poem. Saved is a collaborative work not only between Jody and me, but also between the new owners and us. As collaborators, the new owners lend their objects to be photographed and tell us the intimate, provocative, and sometimes embarrassing stories about themselves and their departed loved ones that we then preserve along with the images.
Jody Servonâ€™s art projects include installations, drawings, photographs, sculptures, video and social experiments. Her work has appeared in exhibitions, screenings and as public projects in the US, Canada, and China. Servon participated in residencies at Vermont Studio Center, Atlantic Center for the Arts, the Contemporary Artists Center, Super G Experiential Residency and was a conceptual artist in residence for the Town of Clayton in North Carolina in 2012. She has received multiple grants including two fellowships from the North Carolina Arts Council. Articles and reviews have appeared in: The New York Times, Sun Sentinel, The Palm Beach Post, The Miami Herald, Arizona Daily Star and The Winston Salem Journal. Servonâ€™s work was featured in Issue 70 of New American Paintings, Issue 50/51 of Artful Dodge, and selections from Saved appeared in Issue 74 of AGNI Magazine.
Servon also curates exhibitions focused on contemporary art was a curator at the Palm Beach Institute of Contemporary Art in Florida prior to moving to North Carolina. Exhibition reviews have been appeared in national and international publications. She received a MFA in New Genre from The University of Arizona and a BFA in Visual Art from Rutgers University in New Jersey. Servon is an associate professor and director of the Catherine J. Smith Gallery at Appalachian State University in Boone, NC. She currently serves on advisory boards for Elsewhere Living Museum and Collaborative and Turchin Center for the Visual Arts. She currently lives and works in Boone and Greensboro, NC.
Lorene Delany-Ullman is a native Californian, and received her MFA in English from the University of California, Irvine. She formerly worked as a technical writer for the Boeing Company and Impulse Research, a public opinion and marketing research firm. Her book of prose poems, Camouflage for the Neighborhood, was the winner of the 2011 Sentence Award, and published by Firewheel Editions in January 2013. In addition, she has most recently published creative nonfiction and poetry in AGNI 74, Cimarron Review, ZÃ³calo Public Square, Platte Valley Review, Naugatuck River Review, Chaparral, and Burnside Review. Her poems have been included in recent anthologies such as Beyond Forgetting: Poetry and Prose about Alzheimerâ€™s Disease (Kent State University Press, 2009) and Alternatives to Surrender (Plain View Press, 2007). Delany-Ullman received a research grant awarded by the International Center for Writing and Translation at UC Irvine, and has twice attended residencies at the Vermont Studio Center. As one of the founding committee members of the Casa Romantica Reading Series in San Clemente, California, Delany-Ullman helped organize and host monthly poetry and fiction readings for six years. She currently teaches composition at University of California, Irvine.
An exhibition of mixed media artwork by Leslie Pearson. View artwork by Leslie at her website.
Friday, September 28,2012
Art Show This Friday: On Aug. 24 at 6 p.m., plan to come to the CFCC Hanover Art Gallery for the opening exhibition of the CFCC Faculty Art Show. Over 60 original works of art will be on display. Refreshments will be served. Admission is free.
August 24th to September 21st
Wednesday 2pm to 5pm
Tuesdays and Thursdays 1pm to 5pm
411 N. Front Street
Wilmington NC, 28401-3910
For additional informationÂ call 910-362-7431.Â Mailed materials will not be returned unless additional return postage is provided.]]>
Cape Fear Community College is pleased to host the opening exhibition of the â€œBig Block Print Partyâ€ at the Hanover Art Gallery and will hold an opening reception on Friday, June 22 from 6 â€“ 9 p.m.
CFCCâ€™s Humanities and Fine Arts Department Chairman Brandon Guthrie is excited about hosting the exhibit at the collegeâ€™s new gallery and encourages visitors to stop in to view the unique pieces of art.
Brandon explained that the artists created the work by carving on a four by eight-foot piece of wood and then applying the imprint on organic fabric using a steamroller rather than a traditional press.
Many of the artists, some of which are students and faculty at CFCC, will be present at Fridayâ€™s reception to explain the process and exhibit their work.
The exhibit will be on display through July 22. Admission is free and open to the public.
CFCCâ€™s Hanover Art Gallery is located at 200 Hanover St. in the first floor of the Hanover Parking Deck in downtown Wilmington. The gallery is open five days a week this summer on the following schedule: Mondays and Wednesdays from 4 p.m. â€“ 5 p.m., Tuesdays and Thursdays from 11 a.m. â€“ 5:30 p.m. and Fridays from 10 a.m. â€“ 12:00 p.m.
For more information, please contact Brandon Guthrie at 362-7431 or emailÂ email@example.com.]]>