Charles Schindler

Tower, 2018

Cherrywood

3 ft x 8 ft

Charles Schindler

Tower, 2018

Cherrywood

6 x 32 in

Gregory Curry

Ackamarakus, 2017

Acrylic on canvas

40 x 48 in

Gregory Curry

Alternative to the Amalgam, 2016

Acrylic on canvas

27 ½ x 34 in

Gregory Curry

Mumbled Aporia, 2017

Acrylic on canvas

21 ½ x 28 ¼ in

Lisa DiLillo

Autumn Damask, 2017

Digital c-print

12 ¼ x 18 ¼ in

Lisa DiLillo

Crimson Glory, 2017

Digital c-print

12 ¼ x 18 ¼ in

Lisa DiLillo

Triumphator, 2017

Digital c-print

26 x 39 in

Melanie Kozol

Karst, 2016

Watercolor on sumi-e paper

48 x 18 in

Melanie Kozol

Li River, 2017

Oil and acrylic on canvas

48 x 24 in

Murphy Chang

CARTER, 2017

Carbon on paper

4 x 6 in

Murphy Chang

CHANEY, 2017

Carbon on paper

5 x 7 in

Murphy Chang

GRANT, 2017

Carbon on paper

4 x 6 in

Murphy Chang

RED EAGLE, 2017

Carbon on paper

5 x 7 in

Murphy Chang

SIYEH, 2017

Carbon on paper

5 x 7 in

Murphy Chang

VULTURE, 2017

Carbon on paper

5 x 7 in

Peggy Bates

Fort Pond Bay, 2016

Acrylic polymers on canvas

30 x 40 in 

Peggy Bates

Long Beach, 2016

Acrylic polymers on canvas

30 x 40 in

Peggy Bates

Stepping Stones, 2016

Acrylic polymers on canvas

22 x 22 in

Aspects in Landscape

curated by Stacy Greene

Peggy Bates, Gregory Curry, Melanie Kozol, Lisa DiLillo, Murphy Chang, Charles Schindler

February 15 – March 21, 2018

 

Aspects in Landscape

Curated by Stacy Greene

 

February 15 – March 21, 2018

Opening reception Feb 15th, 6-8pm

 

 

Galerie Protégé is pleased to present Aspects in Landscape, the second in a series of curatorial projects by Stacy Greene.  The exhibition succeeds her debut exhibition Aspects in Collage introduced in January of 2017

 

Aspects in Landscape explores the work of six artists whose visions of landscape evoke a range of political, emotional, surreal, ecological, absurdist, personal and sensory themes.

 

Peggy Bates’ pond and beach paintings see landscape as a repose for the senses.

 

Murphy Chang’s process drawings use melting ice to create etchings in resist.

 

Gregory Curry’s paintings of swirling “entities” depict the destabilization of flora and fauna.

 

Lisa DiLillo’s photographic arrangements of fictional botanicals fantasize potential futuristic plant evolutions.

 

Melanie Kozol’s scroll paintings take us through China’s Karst Mountains, atmospherically capturing an emotional rhythm of nature through paint and ink.

 

Charles Schindler’s wood sculptures allow the viewer to walk through an urban forest where nature has a face.

 

The six artists shown in Aspects in Landscape work in a wide variety of forms and mediums -- highly saturated paint colors, carbon and water, photographic manipulations, Sumi-e (black ink) painting, and mahogany and cherry wood, all transforming their interior worlds into outer ones – at times, lush; at others, disturbing, but always beautiful.

 

Stacy Greene, curator

February 2018