Current Exhibition: Sally Jacobs, Ernie Marjoram, Jane Peterson

September 27th – October 22nd, 2016

Opening Reception: Saturday, October 1st, 5-8PM

Artist Panel: Saturday, October 8th, 3pm


Sally Jacobs – Larger than Life

Sally Jacobs, Bok Choy, Watercolor, 27 x 29"

In her latest exhibit of watercolor paintings and graphite drawings Sally Jacobs, a long time Miracle Mile resident, was inspired by the rich arrays of produce and flora found in Los Angeles’ farmers markets. Jacobs zooms in, portraying flowers, vegetables, and fruit with dramatic precision. She  transforms a vegetable we choose for nourishment or a flower for decoration by aiming higher, rendering the unique structure eye-catching and explicit, causing the viewer to catch their breath in wonder.

Jacobs uses watercolor or pencil in a unique, graduated way, masterfully capturing the minutest details of her subjects’ anatomy while staying true to the whole. She delves deep into a plant’s structure to reveal striking patterns and colors that seize one’s attention and imagination.

Jacobs is a contemporary botanical artist who has exhibited in numerous juried shows in New York and San Francisco, and at museums in New York, Minneapolis and Phoenix. She was an award winner at the Brand 37 Works on Paper exhibit and is one of the artists included in Todays Botanical Artists, a publication of well-regarded nature artists.

Ernie Marjoram – Homage to Trees

Ernie Marjoram, Backlit, Oil, 36 x 48"

As a Los Angeles artist, Ernie Marjoram lives in the city and sometimes finds himself stressed and anxious while stuck in freeway traffic. On a recent visit to the local San Bernardino Mountains Marjoram seemed to feel better, physically and emotionally when surrounded by trees. With this new series of paintings the artist has attempted to capture that feeling and bring it back to the city. “At least now I am surrounded by paintings of trees!” the artist said with a smile.

Marjoram’s art reflects his interest in representational painting techniques but upon closer inspection the images also utilize elements of abstraction. Working on canvas with traditional brushes, Marjoram also uses unconventional tools such as sea sponges, rags, string and rope to create subtle textures and random forms. Unusual angles and close cropping further enhance the sense of abstraction in some of the compositions. Working from his own photos, Marjoram moved his easel from the studio into his backyard to be able to paint in unfiltered natural light and fresh air.

“The process of creating these paintings was an enjoyable yet challenging experience. I am still exploring how to render tree forms in the futile attempt to capture the beauty of nature.”

Jane Peterson – Welcome Earthlings

Jane Peterson, Landing, Mixed media sculpture, 25 x 38 x 4.5"

Jane Peterson’s new work continues to explore the spectrum of human emotion with particular attention to anxiety, passion, fear, as well as elements of humor. Cartoon-like characters make their way through Peterson’s fanciful compositions, ranging from otherworldly creatures to abstracted human forms. Her hybrid travelers exist in an environment not entirely foreign to that of her viewers; they wander between reality and the subconscious, taking on personalities that are decidedly familiar, yet eerie.

For her limited edition digital pieces, Peterson always starts with drawing. The digital process and its potential to surpass and exceed the speed of thought continually amaze Peterson. Any digital mark she makes can be instantly changed, duplicated, or eliminated. In addition to digital paintings, this current body of work includes drawings on birch panels with wax/oil crayon, ink, and graphite. The wax surface is polished with a soft cloth, to create a satin finish. The surfaces of her sculptures are treated in the same way, on ceramic, wood, and metal supports.

Coming Exhibition: Anne M Bray, Katie Crown, Jane Peterson

June 17 - July 12, 2014

Opening Reception:
Saturday June 21, 5-8pm

Artist Talk:
Saturday June 28, 3pm

On the Edge: US, Anne M Bray

Anne M Bray, Gas Station, TX, Digital Watercolor on Aluminum, 4x6"

In her latest series, Anne M Bray provides a visual documentation of the perimeter of the 48 contiguous U.S. states. “Having already driven across the U.S. more than twelve times, I got the notion to try something new,” says Bray. After investigating ways to document her 300-400 mile driving days over the course of her solo venture, Bray opted for digital photography. Using the Waterlogue App, Bray transformed her initial photographs into digital “watercolors” before printing them on aluminum at postcard scale. Bray presents the images as continuous strips, much like how she experienced the landscape as it rolled by her car windows. Each wall showcases a different perimeter of the country: South, East, North, and West. The effect is a passenger seat view of her journey on the country’s roads less traveled.

SWING, Katie Crown

Katie Crown, Dancers Over LA, Watercolor on Paper, 38x29"

In her latest series, Katie Crown challenges the traditional watercolor medium to create vibrant, large-scale swing dancers. Crown’s skilled brushwork captures remarkable detail in her subjects’ expressions and gestures as animated figures dance across monumental stretches of paper - some standing five feet tall. “I like working large, as it pulls people into the scene,” says Crown. “The dancers aren’t grounded. They exist somewhere between reality and cartoon.” Crown says she was initially inspired by the dancers she watched at the Rhythm Room, a blues club she frequented while living in Arizona, as well as summer concerts in Culver City. Her interest grew and she began to also collect photos of people dancing. “I don’t go for people embracing one another in their dance, but people separated from one another,” says Crown. “There’s a theme of alienation, but it’s [also] humorous.” In works like “Dancers Over L.A.,” frenzied figures float through space in active motion through downtown Los Angeles skyscrapers, each dancing independently from one another. Crown uses stiff oil-paint brushes to dryly apply watercolor paint, scratching back and forth to create an essence of movement. Crown’s work radiates with a bold sense of color that matches the musical quality of her playfully surreal compositions.

an.i.mal, Jane Peterson

Jane Peterson, Sentries, Archival Pigment Print, 20x16"

In Jane Peterson’s latest series, she further explores the spectrum of human emotion with particular attention to anxiety, passion, and fear. Cartoon-like characters make their way through Peterson’s fanciful compositions, ranging from grotesque insects and other worldly creatures to abstracted human forms that exist in an environment not entirely foreign from her viewers. “I find particular beauty in the exoskeleton of some insects. I imagine that hard shell form of protection working very well for other animals, including humans,” says Peterson. “Expressions such as ‘thick skin,’ or ‘iron will,’ when applied to humans, describe a metaphorical armor.” Surrealist imagery permeates Peterson’s two-dimensional prints and three-dimensional carvings as her figures wander between reality and the subconscious, taking on personalities that are decidedly familiar, yet eerie. In a series of images portraying a character Peterson calls the “Stomach Man,” the figure’s solar plexus - signifying the seat of fear - protrudes outside the body, becoming an appendage like an arm or a leg. Peterson uses this exaggerated body language to illustrate universal emotions of insecurity and vulnerability. A percentage of the sales proceeds will go to the Humane Society of Ventura County (HSVC).

Coming Exhibition: Shelly Lazarus, Ernie Marjoram, Jane Peterson

November 26 - December 21, 2013

Opening Reception:
Saturday, December 7, 2013, 5-8 p.m.

Artist Talk:
Saturday, December 14, 2013, 3-4 p.m.

Shelley Lazarus, Multiples

Shelley Lazarus, Want to Buy a Bridge (detail), Watercolor and Colored Pencil, 22 x 15 in., 2013

Watercolor and mixed media artist Shelley Lazarus’ latest series looks fondly at her native city of New York, and her current homes in Los Angeles and Ventura. Lazarus’ expressive brushwork portrays sentimental moments and landscapes with a mixed media technique combining watercolor, acrylics, graphite and colored pencil. In her current show, Multiples, Lazarus made her focus on the subject of grouping. “I grew up as one of five children and I learned that we all have to form our own identity,” says Lazarus. “This show is about that dynamic - shining through as part of a group.” From iconic views of the Brooklyn Bridge and Chrysler building to Ventura seascapes and more intimate interiors, Lazarus uses the idea of multiples to explore different perspectives. Proceeds will benefit the Robert David Lazarus Pulmonary Rehabilitation unit at Cedars Sinai Hospital.

Ernie Marjoram, Eye Candy

Ernie Marjoram, Gummy Worms, Oil on Board, 12 x 12 in., 2013

Borne out of his previous food studies of decadent main courses, artist Ernie Marjoram’s current exhibition is a playful look at candies and confections in their various shapes and sizes. Marjoram’s magnified perspective provides a glimpse into a sea of truffles, salt water taffy, foil-wrapped Hershey’s Kisses and nostalgic treats. The result is a vibrant study in color, as well as detailed pattern and texture. “I have a sweet tooth the size of Texas,” says Marjoram, who said his current work was more than a natural choice. “I saw this series as an opportunity to work with fun color and transparency.” Ribbed, colorful gummy worms become studies in transparent color gradation, while cellophane candy wrappers appear as reflective abstractions. Compositions are closely cropped to emphasize line and shape, referencing traditional still life, while exploring oil painting with a contemporary approach.

Jane Peterson, Fear of Falling

Jane Peterson, Symbiosis, Giclee', 5 x 7 in., 2013

Transitioning from her previous series Pith and Vinegar, mixed media artist Jane Peterson’s current exhibition uses characters to communicate contrasting human emotions of fear, trust, and comfort. Using current events as a reference, Peterson’s characters’ are expressive vehicles constructed from a range of two-dimensional and three-dimensional media including oil on canvas, pen and ink, and digital painting. Peterson’s figures are startlingly grotesque, yet familiar, as insects and shape-shifting human amalgams convey mixed passions and anxieties. Detailed antennae and liquid forms make reference to surrealism, while Peterson’s mixed media arrangements hold personal value to the artist. In a series of photographs, Peterson injects herself into the composition, communicating directly with her characters and the core struggle within. The bridge between real and surreal is blurred, as Peterson poses the question of what world is our own.

Our Shifting Subconscious: Form vs. PerceptionNew Exhibit at TAG GalleryJanuary 31 - February 25, 2012

Featuring:
Ty Bowman, Jane Peterson, David Twamley

Opening Reception: Saturday, February 4, 2012 5-8 PM

Artist Panel: Saturday, February 11, 2012, 3 pm

Light Impressions: Four Continents, Ty Bowman

In his current exhibition, Light Impressions: Four Continents, artist-photographer and new TAG member, Ty Bowman blurs the line between perceptions of the natural world and the creative potential of imagination. Distorting form, Bowman manipulates his subjects, transforming them from recognizable objects and foreign locales into images that transcend time. He eases the tension between reality and imagination, uniting the two and igniting our curiosity to approach the world with a more nuanced perception. If words have many connotations, Bowman reveals our reality does as well.

Pith and Vinegar, Jane Peterson

In her upcoming exhibit Pith and Vinegar at TAG Gallery, new TAG artist Jane Peterson hones in on the powerful essences of the Australian Bush. Peterson invokes Jungian-like archetypes and playful animal symbology to explore the palliative effects of these exotic plants. Like the essences themselves, her concentrated images affect our senses, and we can almost smell them. The palette of bright, bold colors function like diverse flowers in the wild, calling out to be investigated and mined for sustenance. As we get closer, the question arises: “Is it safe?” - only to discover mini-narratives and curious symbols that jar our subconscious

New Work, David Twamley

In New Work, David Twamley brings collage smack into the world of abstract-expressionism. Like Matisse-cutouts dipped in a Miles Davis soundtrack, Twamley infuses his collages with a jazz-fueled improvisational aesthetic. Forms and fields of color are never static, and media is layered to create a textured experience, snapshots of his mind’s landscape. If Schwitters expounds on social mores, Twamley comments on the fluidity of form and perception.