Holy Family Art Gallery
MONUMENTS TO STRANGERS
Reception: Wednesday 10/10/18 at 12:00-2:00
Exhibition Title: Monuments to Strangers
In this work I utilize news images and materially re-contextualize them to emphasize the limitations of photography as an emotionally and factually accurate record of the time. combine analogue and digital processes to underscore the ways in which news photographs have been produced and how that production affects our understanding of cultural history. The photographs look at the selective representation of the individual within printed daily newspapers from the 1880s to the1960s.
The figures in the blocks are unknown, but they were at one point important, or significant enough, to have their image produced in this way. The images reveal how versions of history were presented publicly. I photograph to highlight how women and minorities were vastly under represented, and in re-presenting these images hope to reveal and question our flawed history. The images are etched into copper or zinc, creating long lasting portraits that have proven permanence over time. I imagine the names of the figures, question what they were once important for, and explore the social context behind them. I don’t seek to make a document as they were used before, but to photograph them as visual monuments. Men are abundant; women are few and far between. The images pertain to births, graduations, professions, weddings and obituaries. Through these images a story begins to evolve of the major life events and rights of passage that people continually move through then and now.
The objects I photograph were originally made by a photomechanical process to reproduce photographs for publication and is an invention of Fox Talbot’s. It was the first time in history images of reality could be reproduced on presses reaching the public, rather than an image interpreted and altered by hand. While in use for over 80 years, it was an imperfect process that eventually was made redundant by offset printing in the 1960s. An outdated process, today these blocks have no use. They have become antiquated, much like the newspapers that they were once printed in. I am photographing them to present this historic process and lost imagery in a new way, using the technologies that made them obsolete. In re-photographing these images, my photographs are several iterations of light sensitive materials being exposed; the original photograph, the re-photographed negative, the photomechanical produced block, and my exposure. Each image thus goes from a positive, to a negative, recorded once again as a negative, then inverted to a positive. It is in this long chain of events, which traverses over decades, that the glow of light and color occurs. In the portraits of women, I use the original antique printing block and ink it onto a sheet of film. I then expose the film, process, scan and print it.
The photographs are hung individually and in groups separated out by the depicted subject’s sex, age and race. Consequently, there are large groups of men printed smaller, and smaller groupings of women printed larger to point out their lack of representation, while also trying to reclaim their importance in history. The photographs describe the history and limitations of photography, and reveal contemporary practice at the same time.
Please join the Holy Family Art Gallery at the artist reception.
Holy Family University Gallery is on the Lower Level of the Sister Francesca Onley Education and Technology Center.
Contact: Pamela Flynn email@example.com
works on paper
Reception: Monday 10/1 12:00-2:00
I work with landscapes because I feel that there is a potential for expressiveness inherent in the depiction of organic forms. I am also drawn to them because they are both universal and personal; they are intertwined in both individual lives and collective histories, and are historically and culturally relevant in the art community and in the larger world. Though they are constantly changing, they are ever-present.
Because landscapes are so involved in human life, they lend themselves well to the discussion of personal experience. My primary philosophical influence is phenomenology, a branch of philosophy that deals with the subjectivity of experience, as our knowledge of the world comes primarily through our senses. Because sensory input is the primary means through which we can interact with the world, as we are beings in physical forms, we rely on these senses for how we interpret our experiences.
My work is an examination of the strong connection that exists between human consciousness and its surrounding environment, specifically the way in which our sensory experience of a place influences our subjective interpretation of it. I present the viewer with scenes of heightened atmosphere that are indicative of a sense of reflection and quiet attention to the elements of the world that are both physical and nonphysical, as the external world reflects the internal life of the viewer.
By placing a wide border around each small-scale drawing, I invite the viewer to consider one particular experiential moment. In these works, I place emphasis on the sense of vision, by manipulating sources of light and contrast to exaggerate the way in which the mind processes visual cues, creating a heightened sense of light and atmosphere. At the same time, however, the framing and presentation of my subject matter is straightforward, and the depiction of forms and perspective creates the illusion of reality. In presenting the subject in an objective manner, I hope to call to mind the illusion of objectivity that is often assumed in photographic images.
My mark-making is expressive; however, since my finished pieces are so small in scale, the expressiveness of these marks cannot be seen unless the pieces are viewed from a close distance. Thus, I am seeking to depict the contrast between the objective depiction of nature and the subjective human element that is always present in our interpretation of our surroundings.
From the Gallery
Graphic Design Senior Art Exhibition
Art is Why I Get Up in the Morning
Exhibit: 04/13 – 04/26
Artist Reception for: Tuesday, April 17
5:00 – 7:00 pm
From the Gallery:
Grids and More
Works on paper
Exhibit: March 6 – 26, 2018
March 19, 2018 12-2 pm
My current paintings grew out of my attraction to geometric patterns from many world traditions such as Islamic tile patterns, ancient Roman mosaics, quilt and textile forms. I have also been influenced by American 1960’s Op paintings with their subtle color relationships playing on simple straight lines, geometric shapes, and 3D illusions. Another influence has always been Persian, Turkish, and Indian miniature paintings. I love their delicate painting techniques, decorative patterns and intimate size.
Each of my paintings is based on a grid structure which I find to be an appealing scaffold upon which to play with variations of color, light, pattern, and volume. The grid serves as a unifying starting theme for me as it does in most tile and many textile patterns. I am attracted to the repetitions and purity of the grid and inspired by the potential of creating endless variations on this simple theme. The grid form also provides a way to break up colors rather than use colors in solid blocks. I am intrigued to find grid forms all around me in so many industrially produced objects and naturally occurring forms. These grids present me with infinite variations of pattern, rhythm, light and shadow.
For many years, I worked from direct observation of still-life set ups (which can be seen on my website). The experience of working from direct observation of the physical world has given me a vocabulary of space, volume, and light to abstract into my current grid structures. My paintings generally have a response to the visual world as a starting point in an indirect way. Observing the play of light and color in the world around me is always an inspiration.
Connie grew up in Princeton, N.J. She received her B.F.A. from the Cleveland Institute of Art and her M.F.A. from Syracuse University. She is currently on the faculty of the Delaware College of Art and Design in Wilmington, DE where she teaches drawing, design, and color courses.
Exhibitions of her paintings have been seen at the Blue Streak Gallery in Wilmington, the Rosenfeld Gallery in Philadelphia, Howard Community College in Columbia, MD, the Cressman Library Gallery on the campus of Cedar Crest College in Allentown, the College of Southern Maryland in La Plata, MD, and the Mezzanine Gallery in Wilmington. The Berman Art Museum at Ursinus College in Collegeville, PA purchased a painting of hers for their permanent collection after exhibiting her work in 2006. Connie was awarded an Individual Artist Fellowship from the Delaware Division of the Arts in 1994. Her paintings and drawings have been featured in articles in Artists’ Magazine, American Artist, New American Paintings, New Art Examiner, Art Calendar, and Art Matters.
From the Exhibit:
Holy Family Art Gallery
Young Artists Exploring Diversity Through Art
Gilbert Spruance Elementary School Exhibit: 2/7-2/27/18
Reception: Tuesday 2/20 5:30-7:00
Art students from Maria Caruso’s art classes at Gilbert Spruance Elementary School, Philadelphia, are exhibiting their African Mask inspired watercolor paintings, Large African Mask Collages, Small African Mask Collages, Mola inspired Tapestries, Frida Kahlo inspired Animal Portraits and Lanterns made from Books.
Please join the Holy Family Art Gallery at the artist reception.
Holy Family University Gallery is on the Lower Level of the Sister Francesca Onley Education and Technology Center. Contact: Pamela Flynn firstname.lastname@example.org
My Colors, My Joy
Exhibit: January 10 – 30, 2018
Artist Reception: January 16, 2018 5-7 pm
Jed Williams renews and celebrates his commitment to the power of pure color and unadulterated brushmarks.
A Philadelphia painter, Jed presents recent abstract works which explore the way color, mark-making and texture can redeem the darker aspects of the mind’s soul-searching in today’s disjointed world, allowing us to find joy in the mundane. Jed brings an intense spiritual quality to his work that stems from a purely emotional impulse. A busily, effulgent mix of terse brushstrokes, his paintings reconcile the chaotic atmosphere we live in with a deeply felt preoccupation and devotion to his pure painter’s craft, blending an outsider artist’s mind with academic diligence, while playfully yet intensely transforming abstract painting into a spiritual exercise during this complex moment in America.
Jed Williams was born in Philadelphia, USA, in 1975 and brought up in Paris, France; he is a French and American dual citizen now based in Philadelphia, USA. He graduated from the University of the Arts (BFA in Painting and Drawing, 2000) and the Pennsylvania Academy of the Fine Arts (Certificate in Painting, 2005), both located in Philadelphia, and has been exhibiting his work in various venues ever since. And, since 2010, he also own/runs Jed Williams Gallery, a contemporary fine arts venue showcasing local, mostly visual 2D emerging and mid-career artists, along with his own art process.
Jed works on his images in different kinds of media: oil paint, acrylic, mixed media; his art stems from a wish to blend a more formalist, expressionistic abstract tradition with a conceptual quest nourished by his interest in the human figure, pop and mythological culture, and different forms of spirituality, along with a dose of whimsy and street art.
Jed has exhibited in solo and group capacity at numerous galleries and art venues in Philadelphia/Pennsylvania, Miami, New York City, Brooklyn and Portland, Oregon. Recent showings include “Jed Williams” a solo show at Soltane Arts (Phoenixville PA), and “Intersections”, a group show at the International House/Da Vinci Art Alliance in Philadelphia (2017).
Artist website: www.jedwilliams.net
I work on my images in different kinds of media: oil paint, acrylic, mixed media; my art stems from a wish to blend a more formalist, expressionistic abstract tradition with a conceptual quest nourished by my interest in the human figure, pop and mythological culture, and different forms of spirituality, along with a dose of whimsy and street art.
The images I make simultaneously stem from intense inner turmoil and wonder expressing itself in his fascination with certain objects, images and symbols, which I observe and work from. The objects, images and symbols I choose to work from possess “loaded” meanings as well as symbolic societal and cultural connotations. I am juxtaposing and associating ciphers of meaning by physically bringing these objects, images and symbols together in seemingly illogical yet intellectually and culturally relevant ways, all the while creating my own personal semi-abstract painting style. I select objects to place within fields of line and color, from within a subtle range of the commonplace, which carry diverse associative meaning. In a formal sense these objects become islands or anchor points around which my lines flow– a balance is struck between the visceral palette, the active line, the sometimes heavy impasto, and these simply rendered objects so that a whole manifests itself amidst the charm of this luminescent chaos. A whole which doesn’t neutralize or negate the individual powers of seemingly irreconcilable elements, but harnesses their energy and harmonizes them into a whole without any abnegation.
From the Gallery:
Graduating Student Art Exhibit
Reception and Artist Gallery Talk:
Thursday 11/16/17 6:30-8:30 pm
I attempt to push myself in new ways each time I take on a project. I look at making art as a way for me to challenge the previous pieces that I created. I enjoy the struggle of learning a new skill or simply jumping right into an idea that I have. Constantly being presented with hurdles has helped me grow as an artist and as an individual.
From The Gallery