Sprig, 2007

Evolutionary Soup
December 13, 2007 — February 2, 2008

Dolby Chadwick Gallery is pleased to announce the upcoming exhibition “Evolutionary Soup”, by Kirsten Stolle. Through etched marks into waxed layers and rich built-up surfaces of oils, inks and Asian paper, Stolle references her printmaking past. Diana Daniels, Asst. Curator Crocker Art Museum writes. “Stolle found in wax and oil stick the means to imbue surface with the presence of painting while continuing to privilege her expression with line.”… read more

A Quiet Town #17, 2007

A Quiet Town
November 1 — December 8, 2007

New Paintings by Suhas Bhujbal November 1 - December 8, 2007… read more

Marshall Crossman

Class Action
October 4 — 27, 2007

New work by Marshall Crossman… read more

Stephen Namara "Insufficiency of Dreams"
September 6 — 29, 2007

Namara has an astonishing control of his medium creating in his compositions a physical presence in which figures seem to move and shift. He deliberately includes faint traces of alternative poses and gestures allowing the viewer to see where the drawing began and clearly ends. Initially, Namara uses a model for the contour drawing and then works from memory, even inventing a light source. Regarding the figure Namara states, “I belong to a generation that was preoccupied with the human figure…using it to ask questions about the modern world and to describe the faces of our time.” Besides a strong narrative, it is paramount that the drawings remain timeless. In quite a number of Namara's drawings, the heads are covered with cloth wraps, paper bags and sometimes left bare. As it happens, hairstyles reflect the times in which the drawings were made, and by masking the head he evades the time stamp. Consequently, the drawings are imbued with intense power and rawness. Therefore, Namara feels that when exhibiting the work framing is not necessary as it constricts and eludes privacy and so the drawings offer insight beyond casual perception.… read more

Brook Temple "Cross Currents"
July 12 — September 1, 2007

Temple graduated from Yale University where the well-known artist, Joseph Albers, accepted him into the art program based on his figurative paintings. Temple says "Albers’ influence was incredible. I threw out my pre-conceived ideas about what color was and discovered this wonderful dialogue that exists between colors. Alber’s class opened a door to a universe I did not know existed. I also learned how to eliminate, isolate and distill down to the essence. I began to realize that when I thought I was at the end of a painting, usually I was really just at the beginning." In a cross current, oceanic tides pull us away from the shore and the places we know and feel safe, but if you are patient you will return and will eventually be brought back to the land from whence you came. Temple was pulled away from his native California all the way to New York and Yale where his early figurative work became increasingly more and more abstract. Now, in his recent paintings, Temple returns to the figurative female form and describes it with a brilliant color dialogue. Temple speaks of his painting process in three stages: The concept is the first and easiest part, like sitting on the beach. The second step is chaotic, confusing and deep trouble, a rip tide. The third step is resolution, a return to the shore where everything comes together. Basically, it is an editing process that is never predictable, which is what makes it exciting.… read more

Kyle McDonald "Axis Mundi"
June 7 — July 7, 2007

McDonald uses multiple layers of thin paint, powdered pigments and cold wax suspended in medium and slowly built up using a palette knife to simulate the luminescent light of the sky and denser volume of the Earth. These several layers result in a commanding depth experienced only in person. Although reminiscent of traditional landscape painting, the images McDonald is working with are internal landscapes and therefore more abstract than literal. As a starting point, she uses rural farmland and the ocean from her local environment. McDonald sees the light of the sky as a revelation, an axis mundi that pulls the consciousness out. She sees the process of painting as part meditation; part prayer. The images become a record of her journey. McDonald’s process includes contemplation of the natural world and focus of the senses. She is seeking a communion with the divine. The connection, which McDonald is trying to express metaphorically, draws a parallel between nature and humanity reminding her each day of her personal quest to find a greater meaning in life.… read more

Robert Kingston

New Paintings
May 6 — June 2, 2007

The surface of Kingston’s work has several layers where he builds and modifies motifs. He draws and paints shapes without thinking of them too much in advance allowing the forms to suggest objects that never get specific. Through a series of fits and starts he gradually layers over the initial painting and through the combined effects of overlap and palimpsest a hazy ambiguous space appears. Kingston states, “It is what I call a ‘search and destroy’ process. I paint intuitively, and just keep doing it until it looks like I can stop.” Influenced by Cy Twombly, Paul Klee and also jazz music which Kingston usually has playing in his studio, he embraces history while his paintings clearly remain contemporary. From his haphazard approach Kingston tries to coax out a harmony or balance that is abstract yet evocative; formal yet psychological. His objective is to let his paintings unfold slowly to the viewer as it does in the making.… read more

10 Years: A Retrospective
March 1 — 28, 2007

An exhibition of selected artworks featured on show announcements from the past ten years. Artists featured include Stephen Simons, Willard Dixon, David Kelso, Katina Huston, Jim Phalen, Alex Kanevsky, Stephen Namara, Ken Rosenthal, Kim Frohsin, Ada Sadler, Dan Jackson, John DiPaolo, Lance Morrison, Gary Ruddell, Chris Cosnowski, Marshall Corssman, Sherie' Franssen, Michael Tschantz-Hahn, Doug Glovaski, Michael Pauker, Shelley Hoyt, Richard Miller, Alex Couwenberg, Jeffrey Beauchamp, Betty Merken, Rick Chapman, and Noah Wilson.… read more

Kim Frohsin "Two Minutes and Counting"
February 1 — 24, 2007

Frohsin has been working from live models for over two decades. She estimates that in the course of one year she draws from the figure 270 hours and a third of that time focuses on “le geste”. Faster poses which require the model and artist to be spontaneous, improvisational and daring. Frohsin appreciates the more unconventional, even extreme, and acrobatic poses from her “muses” but also simultaneously looks for naturalistic forms as well. Paul J. Karlstrom expresses of Frohsin’s work, “She seems intuitively to combine an interest in formal (stylistic) issues with a willingness to confront something far more difficult to capture: the essense of a unique, singular, human being…The particular never surrenders to the general”. This exhibition emphasizes a fold and heightened play in color. The gesture drawings have a certain allure to Frohsin as she enjoys the fluidity of very fine or opaque washes and color combinations and relishes in losing the lines or integrating them as she paints. The use of white ink and the powdered pigments can create new effects that make this body of work come to life. Some of the pieces in the show are minimally worked into, remaining fresh with translucent washes and showing the white of the paper. In others, Frohsin likes to push the limit, lose, and even destroy something “finished”, only to redefine it in the process. These new paintings have been influenced by classical music including Beethoven and also the short stories of Ernest Hemingway, Raymond Carver and Joyce Carol Oates. Frohsin’s paintings on paper are like short, colorful narratives but without the written word.… read more