Opening Reception: Saturday, May 21st, 4 – 7PM
Artist Panel Discussion: Saturday, June 4th, 3PM
Vicky Hoffman
Latitude & Longitude
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| Vicky Hoffman, Sacred: 34.8N, 111.7W, Encaustic, 12 x 12" |
In her latest series of work entitled Latitude & Longitude, Vicky Hoffman explores the impact we have as a society on our environment, and its vastly limited natural resources. Questioning how much further we can exhaust the assets of our earth, Hoffman references ecological concerns such as drinking water, economy, population, and poverty within her work. Using simple geographical coordinates as her titles, Hoffman brings to light specific locations around the world facing such crises.
From sites as far away as Madagascar, and as close as the LA River, Hoffman’s work speaks broadly about our opportunity and responsibility to work collaboratively as a civilization to pollute less, and conserve more. Utilizing different textures, grids, and tactile materials, Hoffman provides an intimate perspective of these environmental worries. Applying mixed media and encaustic paints, Hoffman creates a veil of light, depth, and transparency to achieve an abstract atmosphere within her work.
Joe Pinkelman
Pinching China
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| Joe Pinkelman, Pinching China #1, Porcelain, 19 x 7 x 7"" |
In his latest exhibition, artist Joe Pinkelman explored the porcelain pinch pot methods of the indigenous people of Jingdezhen, China. While studying abroad last summer, Pinkelman began experimenting with the time-honored techniques of creating ceramics and using the vocabulary of traditional and ancient Chinese vessels. With a very slow and delicate process, Pinkelman was able to focus on the spiritual and ceremonial aspects of the traditional craft.
Using a customary oxblood red glaze, Pinkelman’s work draws focus to the texture, surface, and shape of each piece. The other forms in this exhibition explore Pinkelman’s continued examination of fragmented vessels, the tension created between two shapes forced together, yet seemingly pulled apart.
Tom Wheeler
Light Lab 2016: Western Landscapes
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| Tom Wheeler, Cube #1, Archival pigment print, 26 x 36" |
In Light Lab 2016: Western Landscapes, Tom Wheeler presents a dynamic evolution of his continuing work in night photography. His new work reaches beyond the realm of typical night photography and into something unique. Wheeler proposes that this style might be more aptly called light manipulation photography.
Wheeler’s underlying requisite methodology still holds constant, (nighttime long exposures with light-emitting tools such as flashlights, and hand-lit subjects among vast, awe-inducing, starry landscapes) while many of the images in his newest series challenge the elements of composition in traditional night photography. Moving beyond his previous approach, these new images are no longer necessarily bounded by complete starry darkness and now include “fast work” in rapidly changing pre-dawn and post-dusk light situations.
Although always a primary subject, nature itself is no longer the only cast member, as man-made intrusion and/or coexistence is introduced into his new work as a theme. A recurring subject is a lonely plastic snowman, as well as exploration with portable acrylic light rods and large glowing hand-hit Lucite boxes. Experimentation is paramount in Wheeler’s artistic process, spurring the title Light Lab 2016, as Wheeler intends to morph his style of work as he progresses. Wheeler holds the idea that there is an abundance of untapped compositional style in the world of night imagery, and thoroughly enjoys the journey and thrill of exploration in this genre of photography.
Light Lab 2016, showcases a variety of images in beautiful settings along the West Coast region of the American continents from the upper US to the bottom tip of Chile. Wheeler’s recurring styles lean toward minimalism, with vast wide-angle landscapes and tiny, yet powerfully lit up subjects, with some of his work continuing to show a somewhat quirky sense of humor.
Wheeler’s underlying requisite methodology still holds constant, (nighttime long exposures with light-emitting tools such as flashlights, and hand-lit subjects among vast, awe-inducing, starry landscapes) while many of the images in his newest series challenge the elements of composition in traditional night photography. Moving beyond his previous approach, these new images are no longer necessarily bounded by complete starry darkness and now include “fast work” in rapidly changing pre-dawn and post-dusk light situations.
Although always a primary subject, nature itself is no longer the only cast member, as man-made intrusion and/or coexistence is introduced into his new work as a theme. A recurring subject is a lonely plastic snowman, as well as exploration with portable acrylic light rods and large glowing hand-hit Lucite boxes. Experimentation is paramount in Wheeler’s artistic process, spurring the title Light Lab 2016, as Wheeler intends to morph his style of work as he progresses. Wheeler holds the idea that there is an abundance of untapped compositional style in the world of night imagery, and thoroughly enjoys the journey and thrill of exploration in this genre of photography.
Light Lab 2016, showcases a variety of images in beautiful settings along the West Coast region of the American continents from the upper US to the bottom tip of Chile. Wheeler’s recurring styles lean toward minimalism, with vast wide-angle landscapes and tiny, yet powerfully lit up subjects, with some of his work continuing to show a somewhat quirky sense of humor.
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