MoPrint 2020 - Georgia Amar Participating @ the Gallery February & March 2020
Artist Georgia Amar has been screen-printing since the early 1980s, first at her A-Frame studio she built from her trees overlooking Lake Ontario in Canada, and then at her Toronto and Denver locations. Color in Georgia Amar's prints is never static. Any given color imperceptibly moves through a range of hues and intensities, revealing a subtle gradation that creates movement while interacting with light. Perspectives suddenly shift, causing the viewer to reassess awareness of self in space. The prints of Georgia Amar transforms a wall or space into a privileged place of contemplation, a place of withdrawal from the surrounding world so that the viewer, focusing on a inner calm, may emerge from the experience of concentration newly energized.
MoPrint is a Denver metropolitan area event highlighting the art of print-making.
MoPrint is a Denver metropolitan area event highlighting the art of print-making.
New Paintings by Blake Flynn & Georgia Amar
Olympia, Washington painter Blake Flynn returns to our gallery with a new collection of magical work inspired by his recent time in Mexico. A preview of selected monuments inspired paintings will be on display starting on Friday November 1.
The full exhibit commences on November 1, 2013 and runs through January 31, 2014.
The full exhibit commences on November 1, 2013 and runs through January 31, 2014.
Blake Flynn's "Life and Death" - Exhibit of new oil paintings
November 3 - February 5, 2012
Olympia, Washington painter Blake Flynn returns to our gallery with a new collection of magical work inspired by his recent time in Fiji. A preview of selected beach and aquatic inspired paintings will be on display starting on Friday August 5.
The full exhibit commences on November 3, 2011 and runs through February 5, 2012.
The full exhibit commences on November 3, 2011 and runs through February 5, 2012.
Artist Statement
I work within the basic framework of realism, with recognizable subject matter and the fundamental goal of making a two-dimensional surface look three-dimensional in a convincing way. But at the same time I transcend the limitations of realism, letting my imagination run rampant. I bend physical laws. I distort shapes and sizes. I combine disparate elements. I create improbable juxtapositions. This gives me greater capacity to articulate a particular idea and to create the desired visual and emotional atmosphere.
My work appears surrealistic however it is neither dream-based nor lacking in conscious control. And although I concede the germ of the idea for a given painting might have a subconscious component, I’m actually quite analytical in the development and execution of the piece (no doubt symptomatic of my previous career as an engineer). This reliance on my rational mind combined with the narrative quality of the work suggests the term “Magic Realism” would be a more accurate classification.
Like most artists I paint what interests me, which can lead to a broad array of subjects. As a result my works portray humans and other animals, myths and religions, social and cultural boundaries, even the occasional autobiographical allusion. The tone may range from serious to quirky, but I always try to engage the subjects from an atypical perspective that finds both beauty and absurdity in our struggle to find our place - as individuals, as a society, as a species – in both the natural world and the “civilized” world we have created.
Technique
All my original paintings are done with oil, which I prefer for its depth, richness, and workability. I paint on rigid panels with treated surfaces. I start by developing a detailed sketch, often in conjunction with small-scale value and color studies. After transferring the drawing to the panel, I apply the paint in thin layers with soft brushes, much like watercolor. I usually start with a monochromatic underpainting and then add color with a series of translucent glazes. My attention to detail stems from my belief in its importance to quality design and reflects my deep respect for craftsmanship.
~ Blake Flynn, Olympia, Washington
My work appears surrealistic however it is neither dream-based nor lacking in conscious control. And although I concede the germ of the idea for a given painting might have a subconscious component, I’m actually quite analytical in the development and execution of the piece (no doubt symptomatic of my previous career as an engineer). This reliance on my rational mind combined with the narrative quality of the work suggests the term “Magic Realism” would be a more accurate classification.
Like most artists I paint what interests me, which can lead to a broad array of subjects. As a result my works portray humans and other animals, myths and religions, social and cultural boundaries, even the occasional autobiographical allusion. The tone may range from serious to quirky, but I always try to engage the subjects from an atypical perspective that finds both beauty and absurdity in our struggle to find our place - as individuals, as a society, as a species – in both the natural world and the “civilized” world we have created.
Technique
All my original paintings are done with oil, which I prefer for its depth, richness, and workability. I paint on rigid panels with treated surfaces. I start by developing a detailed sketch, often in conjunction with small-scale value and color studies. After transferring the drawing to the panel, I apply the paint in thin layers with soft brushes, much like watercolor. I usually start with a monochromatic underpainting and then add color with a series of translucent glazes. My attention to detail stems from my belief in its importance to quality design and reflects my deep respect for craftsmanship.
~ Blake Flynn, Olympia, Washington
