Our existence passes through the same cycles as the earth. The garden teaches us that.
Fate sees to it that we are never as alone to work through our lives, as we often imagine. Within the deep moist secrets of the soil are all manner of teeming life - eating, digesting, wiggling, stretching, evolving, cell upon cell, reaching through the surface with each nascent poem of verdancy and vitality. We have a responsibility to learn from Nature rather than presuming to manage her, poison her for our prejudices, trick her through science. She is, after all, the dark stained source of knowledge, a mud red goddess who seduces us into her tribe with a great jazz festival of endless discovery.
With this series I continue to experiment with a monotype printmaking process using wet media acetate and water based pigments to explore composition and narrative.
My compositions are inspired by everyday interactions- often mundane, but compelling to me as an observer or as a participant. How our sense of belonging in the world often hinges on how we communicate with those around us, directly or indirectly, and how our perception of who and what surrounds us can invoke a sense of belonging or an experience of isolation and disconnection.
To exist, even for a moment, in a space that unquestionably feels like the right space to be, can be a gift as we attempt to navigate the complex terrain of our humanity. To understand and accept that we belong here now, even just for a moment, opens up a way to be present with our longing for connection. - Polly Breckenridge
Akiko Tanaka grew up in Japan before relocating to Virginia. She is a ceramic sculptor now living in Hampton Roads. Her exotic, animated forms reference the fantastic oddities in nature, half inspired by actual biological structures found in lichens, mosses and undersea life, and half from her own imagination.
Jurgen Ziesmann a native of Germany, comes to painting through a long professional life as a biology professor at the University of Lynchburg. His magical, dancing drawings of biological anatomies and processes, are not too very far removed from the reality of the organisms he studied under his microscope. Through his paintings he shares the dynamic mysteries of life's secrets, with just a little additional artistic license..
"Memorial" is an immersive audio/visual installation that considers the African American perspective. It is constructed inside Chroma's Vault by Bolanle Adeboye and built around loss, remembrance and veneration. Ritual acts, music and poetry, idiosyncratic and personal, invite us all into a space of communal creation, remembrance, awareness and compassion.
Memorial's Sound Map is an homage to Black activists who came before, many who defended Charlottesville two years ago, and those who continue to do this very difficult work oftentimes unsung and at their own personal expense.
Ray Berry spends some part of most everyday outdoors in rural Ashland, recording the demonstrations of time, weather, land changes, atmosphere and slight evidences of migratory animals. Much of his work is along the river, much of it is painted in spite of environmental inconveniences - biting winds, freezing drizzle, and baking sun. These poetically impressionistic paintings are a daily record of Berry’s surroundings, composed from a mixture of truth and sensation.
In Those Days There Was No River Here is a modern parable; Ros Casey’s cautionary tale about the earth and how we are in such critical denial of how we are forsaking it.
Elaine Rogers, Presence, Absence, encaustic
Laura Wooten: "Spirit of Place: Landscapes Real and Imagined" and Jennifer Esser: "When Time Abstracts Truth"
Jennifer Esser, Don't Fall in Love with the Way Things Used to Be
Tim O'Kane: One Intention in a Troubled World
The painter loved the world
with its conflicts of light and shadow,
desolation and beauty.
His was just one intention in a troubled world,
the intimacy growing like ivy
around the obstacles of doubt,
as he watched...
Tim O’Kane, excerpted from his poem Signature, 2008
Tim O'Kane has long been an observer and translator of the bounty and breadth of the world, from the smallest dapple of light on a surface, to the irregular, almost geological ridges of crumpled paper, to the pulsing volume in a human body or a stone.
This collection of works centers primarily around the wrapping of things; the concealing and swaddling of objects and messages within, and the carefully determined poesy of the wrapping materials themselves. Within every bundle there is an accompanying story about place and meaning, with a skin to protect or illuminate it.
It's June, and gardens are full and bursting with blooms, making it the primary month for this year's crop of birds to sortie out of their nests and begin their own lives. This group lark presents a number of artists who celebrate birds in their work. Who doesn't love a piece of art that includes a bird?
Jim Henry's paintings are usually essentially inscrutable. That is the proposition. Whether as large scale paintings, or more intimate works on paper that pose as prints, the formal structure, the oxygenated atmosphere and the richness of surface generally hold supremacy over any particulars of subject matter. Still something is usually fathomable in the gathering and evaporating fumes of the scenes Henry offers. It's really left to the viewer to make decisions about what they can make of them. In the midst of the riddle of each work - and Henry usually provides the name of a thing within - is that single floating object to set our compasses by.
Former resident artist and painter Michelle Gagliano will be collaborating with poet Stuart Gunter, and musician Butch Taylor on a unique exhibit that seeks to explore and execute an awareness of the vocabulary of place.
These three artists have drawn their inspiration from British author Robert MacFarlane’s book Landmarks, which celebrates the ancient language of the landscape.
As residents of the beautiful Virginia countryside, Gagliano, Taylor, and Gunter work in solidarity with MacFarlane's mission to preserve all of landscape’s rich descriptive botanical terms and original local vernacular. Much of that terminology, once critical to agrarian people's communication with each other is now vestigial. These artists re-introduce it into our consciousness each in their own medium. Lighthouse Studio is also involved in the creation of a video component in the gallery.
Blake Hurt has long been fascinated by the deconstruction of the portrait in order to re-order it with artifacts and symbols that describe the accomplishments and interests of his subjects. He doesn't choose to portray highly renowned individuals, but rather people who have made some significant impact in our local community, or on a more autobiographical level in his own life.
Officially opening with a Sunday Artist Reception on August 13th, at 3:00 PM. However the work will be up for First Friday with somewhat unpredictable summer hours. Call 434 806-9667
Hurt is showing two bodies of work in the two separate galleries. In the PCA Gallery his large scale Steampunk Ink Collages are featured. While in Chroma, Hurt is presenting his new series of outrageously coronated watercolor portraits "August Persons".