Opening Reception: Saturday, July 18, 5-8 p.m.
Artist Talk: Saturday, August 1st, 3 p.m.
|Don Adler, Torch, Marble, 20 x 7 x 7 in.|
Don Adler's current exhibition, Eroti-X, is a combination of two concepts: erotic and X-rated art. The sensuous nature of carved stone is exhibited throughout this body of work, produced by the employment of design and technique. The softness of the surface, curvilinear shape, and form portray the exotic nature of the feminine soul (mystique). The repeated use of negative space draws the visual/cerebral sense into the mysterious nature of eroticism. Initially it is the eye that makes the connection, but in the end, the inner-self experiences the concept.
It is easy to understand the artist’s direction to the female subject when considering his 42-year occupation as a reproductive Gynecologist. Adler encourages the observer to not only visualize, but to touch and caress his art so as to absorb the erotic experience and warmth of his concepts.
|Suki Kuss, To the Flame II, Mixed Media, 40 x 12 in.|
Suki Kuss' latest show, State of Grace, reflects her feelings surrounding the past year -- a year in which her time was divided by the intensity of family life and the steady pull of her artistic instincts. Working was difficult and time spent in her studio was limited. The body of work resulting from her efforts represents that solitary limitation, each piece a complete yet delicate visual note.
Still using an austere, nearly monochromatic palette, Kuss' self assured quietude reinforces the title of her show. Her abstractions are filled with mysterious icons and highly feminine materials, lace, maps and line work.
|Joe Pinkelman, Plates #2, Porcelain, 42 x 42 in.|
Plates, the new series of work by Joe Pinkelman, are decoratively and abstractly patterned plates. Some of the plates are cut away which breaks up the outer circumference of the form. Yet they are interlocked with plates that aren’t cut which forces the viewer to see the image as a whole, unified visual experience. Patterns are created by the surface and by the actual configuration of the plates themselves. What initially seems disjointed is actually a rhythmic unification of surface and form.
These pieces toy with the notion of Functional Art. As plates, they are completely functional, but once hung on the wall, and particularly grouped as Pinkelman has, they confront the viewer’s preconceived notions of what plates are for. Forcing the viewer to look again and more inquisitively is a trademark of Joe Pinkelman’s work.