Current Exhibition: Pam Douglas, Andrea Kichaven, Shelley Lazarus

August 30 – September 24, 2016

Opening Reception: Saturday, September 10, 5-8PM

Artist Panel: Saturday, September 17, 3pm


Pam Douglas – Rhythms

Pam Douglas, The Pulse of Our Times, Mixed media on canvas, 31 x 77"

Pam Douglas’ newest exhibition, “Rhythms” began in a doctor’s office where she lay hooked up to an electrocardiogram – an EKG machine. As she watched the lines form on the scrolling paper, Douglas was fascinated with the cadences, the peaks and rests that described her heart. Those series of rhythms inspired this newest series of paintings.

As Douglas explored, she asked, “What’s happening in the world that makes the heart clench?” She thought about the fear and hostility in our current political and social landscapes. Those anxieties bred mixed-media works utilizing newspaper headlines intertwined with the EKG lines. She also asked, “What helps the heart release?” The answer led to a monochromatic landscape constructed from an EKG that flat-lines into light.

Douglas’ palette of materials increased as these layers of meaning called for tougher mediums – rope, string, sand, as well as newsprint and paint. Representational elements – hands and birds – joined with abstractions.

Exploring this series further, Douglas’ subjects extended far beyond heartbeats. Waves of sound make similar rhythms, as do phases of nature. From heartbeats to sound waves, our lives are measured in pulses of energy. We sense universal tempos in the timing of our days.

Andrea Kichaven – Waves

Andrea Kichaven, Imagine, Acrylic on surfboard, 72 x 18 x 9"

In her exhibition entitled “Waves,” Southern California-based artist, Andrea Kichaven, takes a simple Californian staple, a leisurely stroll on beach, and transmutes the concept into something tangible by way of recycling worn out surfboards. Not only have these surfboards earned thousands of dollars for charities, they have earned the attention of many collectors.

“Surfboard art” is a departure for Kichaven in more ways than one. Abandoning her usual colorful and geometric compositions, Kichaven quite literally “rides the waves” with this body of work, letting the ocean tides and her imagination whisk her away to new heights and even greater depths. Even with the medium change, one will always be able to identify a Kichaven artwork by “how it makes one smile.”

Kichaven has painted on many sizes and surfaces, yet none have excited her more than this current obsession. Keeping with ecological and environmental thinking, Kichaven repurposes the surfboard as her own personal canvas, navigating the curves and grooves with her brush strokes, activating the space of an object whose function was previously exhausted. The boards cease to be surfboards the minute they are painted. They become a different shaped surface on which the artist can paint. The result is a body of work with as much variety as the waves themselves.

Shelley Lazarus – H20 COLOR

Shelley Lazarus, Gossip, Watercolor, 16 x 12.5"

Shelley Lazarus’ new works go back to her days in Brooklyn spending wonderful sun filled afternoons on the beaches of Coney Island and Brighton Beach. Today she has traded in her Atlantic Ocean times for the Pacific Ocean in Ventura, CA.

Watercolor has always been her medium of choice from the time she started traveling the globe with her husband. "Find a bench and pull out your very portable gear and get lost in the splendor of seeing your colors shimmering on the white page depicting your newest vista." Her paintings are noted for the vibrant colors that she works with. Shelley has never been a purist watercolor artist and will incorporate new ways to use her watercolors. Today she works in all forms of watercolors including mediums, photo papers and the infamous Yupa, besides finding new ways to use the many watercolor papers available today.

Shelley is a founding member of TAG and has been on its board since its inception, serving as president in 2000. She has been teaching watercolor to adults at the Brentwood Art Center for twenty-three years and is a signature member of many art related organizations including the Watercolor Honor Society. The proceeds of her shows go to the Robert David Lazarus Rehabilitation Unit at Cedar-Sinai Hospital in memory of her son Robert.

Walk the Shows: Andrea Rubin Kichaven, Camey McGilvray, and Elyse Wyman

Enjoy this virtual tour of the current shows at TAG:

TAG Show #7 2015 from TAG Gallery on Vimeo. 

Have a question for Andrea, Camey, or Elyse? 

Leave it below in the comments and we'll ask them at the Artists' Talk on Saturday, June 28 3pm. 

Hope to see you there! 

Coming Exhibition: Andrea Rubin Kichaven, Camey McGilvray, and Elyse Wyman

Tues June 16th – Sat July 11th, 2015

Reception: Sat  June 20, 5-8 p.m.
Artist Talk: Sat  June 27, 3 p.m.

Andrea Rubin Kichaven

Transitions

 Andrea Rubin Kichaven, Falling Away, Acrylic on Canvas, 30 x 30 in.

Andrea Rubin Kichaven’s latest body of work is a compelling visual and metaphoric exploration of the disintegration of her long marriage.

The inspiration for this exhibition is the process of self-reflection. Through the visual narrative, she boldly portrays and expresses each step with clarity and strength.. Canvas by canvas, she takes us toward her new identity as a single woman. Even the mundane task of purchasing a new car is vividly represented on a yellow brick road. According to Kichaven, art and life are linked together by experience and inspiration. This process has turned the negative into a positive. 

By painting about these most recent life experiences, the artist has brought herself a degree of peace as she begins to see the light at the end of the tunnel as well as a renewal of life, and a new chapter beginning. Through the detailed painting of each canvas, Kichaven has found new growth and a new voice as an artist.

Camey McGilvray

Women in Wood and Metal

 Camey McGilvray, Ipanema, Acrylic, wood, wire, 33 x 18 x 8"

Women in Wood and Metal celebrates the strength and beauty of women.

The female figure is used as the starting point for all of the pieces. However, a strictly naturalistic depiction is abandoned and the female subjects are abstracted to essential elements for the final version. The style is contemporary, with a touch of Art Deco.

All of these artworks are assemblages and the components are specifically created or selected to advance the narrative of each piece. Some of the component pieces are created from scratch from sheets of aluminum or plywood. Others are selected from McGilvray’s large treasury of found objects and recycled into new creations.

McGilvray’s sculptures of women range from unadorned nudes to elaborately dressed brides and depict women caught in a moment of beauty. All of the pieces for this exhibit have been created over the past 10 years, from 2005 to 2015, and are a retrospective of McGilvray’s artistic development.

Elyse Wynman

Veil of Fog

Elyse Wyman, Beautiful Centers, Encaustic, 8 x 8 in.

Elyse Wyman’s new exhibition, Veil of Fog, is a collection of encaustic paintings that is a visual (as well as visceral) response to the poetry her mother “composed” in the final years preceding her death from Alzheimer’s disease. Her mother’s words convey emotions such as love, anger, fear and humor, and provide insight into her struggle to communicate despite the unraveling of her brain.

These paintings are a direct, unfiltered response to each individual poem. Wyman began by writing her mother's poem on the blank surface of the canvas. She then applied layers of encaustic paint over the words, often scraping back into the layers to allow some of the poem to emerge. Sometimes the entire surface ended up covered with paint and only faint references to the written word are visible. This direct painted response was analogous to the way her mother related to the world at that time. The plaques and tangles of the disease were like layers of webs and veils obscuring her mother’s ability to think clearly.

Wyman’s mother referred to this condition as living in a “veil of fog.” She didn’t remember the immediate past, and had no concept of the future, and therefore seemed to exist entirely in the present. Wyman’s objective was to make paintings that reflect this condition. According to the artist, “It was liberating to allow the paint to flow in an immediate response to her (mother’s) words, creating a direct dialogue with not only the poem, but with each painting in progress.”

Coming Exhibition: Sue Keane, Andrea Rubin Kichaven, Alison Lowe Platt

Tues. September 30 - Sat. October 25, 2014
Opening Reception: Saturday, October 11, 5-8 p.m.

New Works on Paper, Sue Keane

Sue Keane, Vessel I, Monotype, 20 x 15 in

Making a dramatic shift from her previous focus on ceramic media, artist Sue Keane explores abstract two dimensional expression in her current body of work. Working solely with oil-based inks and paper, Keane creates monoprints within a restrictive palette of black and white, occasionally infusing bold orange hues. High contrast images emerge in pieces like “Vessel,” as strong lines thrust upward in compositions that simultaneously suggest motion and strength. Keane is inspired by architectural patterns and forms, using a linear style that she developed first in her clay works and translates seamlessly to paper. The effect is one of fluid grandeur - using the ancient technique of ink printmaking with a contemporary perspective.

Windows of Dreams, Andrea Rubin Kichaven 

Andrea Rubin Kichaven, Spectrum of Light, Acrylic, 24 x 36 in

The exploration of atmosphere, weather, composition and mood are Kichaven’s focus in her upcoming show, Windows of Dreams. Mindful moments captured in a small window of time create a dream-like expression of space and place. The spiritual and physical become the catalyst of her exploration. From a lifelong fascination with the magic of the sky and the elusiveness of clouds, Kichaven’s current work reveals the fleeting moments that have the power to make us stop, look up, and daydream. Kichaven’s work is built on layers of texture, exuberant marks, and color, to crystallize this visual imagery. Modernists Mark Rothko and Josef Albers have inspired Kichaven's use of color. “Her color sensibility and layout are remarkable,” said acclaimed artist Franklyn Liegel. Color is the heart and soul of Kichaven's work. Through the process of application and elimination, Kichaven gradually builds layers of color, creating depth and translucency that give way to recognizable yet abstract landscapes. This experimentation with texture and color reveals ethereal compositions that resonate as spiritual landscapes.

Explorations, Alison Lowe Platt

Alison Lowe Platt, Little Reminders, Mixed Media, 30 x 22 in

In her most recent body of work, Alison Lowe Platt shifts stylistically from her plein-air and oil painting background to focus on animated mixed media compositions. Implementing a vibrant use of color with media that combines photo transfer along with ink, gouache, oil-based inks, and pencil elements, Platt's new work takes on a more intuitive approach. According to Platt, her intent is to achieve organic art pieces. By drawing equally from the influence of family and friends as well as spiritual meditations, each work in "Explorations" unfolds leaving the viewer with narratives of both frivolity and intangibility. “There’s an element of surprise with these [pieces] that is both challenging and exciting," says Platt. "I love the pushing and pulling of colors and learning how to manipulate the viewer's focus." By incorporating an array of provocative and ethereal imagery in her subject matter, Platt’s works take on contemporary and philosophical themes.

Special Closing Reception: Andrea Rubin Kichaven, Suki Kuss, Joe Pinkelman

Missed our opening reception over the Memorial Day Weekend?

Not to worry - artists Andrea Rubin Kichaven, Suki Kuss, and Joe Pinkelman will host a special closing reception on Saturday, June 15th, 4-5pm for a final night of mingling + refreshments for those who missed our opening. See you there!

TAG interviews Andrea Kichaven

+ & - / Textured Terrain is Andrea Kichaven's current show at TAG.
On Saturday, June 8, she will be at the gallery to talk about her work.
We asked her a few questions:

What excites you about the medium/genre that you work? 
My excitement for a new piece begins with the canvas size and the blank canvas. I look at all the canvases and one will just speak to me, as if it is saying, "paint me!" I am not afraid of the blank canvas. The first thing I do is layout the page and divide it into sections. I suppose this is my graphic design background speaking.

Una Nueva Vida (Renewed Life), 2013 Mixed media on canvas, 36 x 36"

Can you share about your technique? Or is it a secret?
The title of my current show is + & - / Textured Terrain. The + & -, or addition and subtraction, refers to my process of layering color and texture. My grounds are made with texturing pastes and gels to create texture. Then I build color and texture one layer at a time. Once I add a layer of color, I quickly wipe away most of it and then seal it so that I can add another layer. This process goes on for many layers (10-30). My hope is to have fragments of each layer coming through from beneath, leaving a history and creating depth. Often, more texturizing layers are added for more depth. Complementary colors are used to add harmony and unify the different textures throughout the piece. I believe that my work in monotypes (a type of printmaking) inspired me down this road of experimentation of textures, colors, and layers.

How do you know when a work is finished? 
I generally don't know where I am going and I rely on my instincts during the process. Eventually the piece tells me when it is finished, and whether the environment I have created needs an animal or not. I have a collection of animals (hand painted photographs, illustrations, renderings, paintings) and if the piece calls for an animal, I will add it. I prepare the animals separately so that I don't spoil the grounds I have created thus far.

Traves de la Bahia (Across the Bay), 2013, Mixed media on canvas, 24 x 24"

Tell us about your studio -- where do you create?
My studio is my converted two-car garage. I generally work on three to four pieces at a time, so I also utilize the garden tables for drying between layers.

What would you like your viewers to take away from their encounter with your artwork? 
I hope that the textures and colors draw the viewer into these abstract environments and provoke their imaginations and curiosity.

This is your first show at TAG. Have you had any surprises? 
Becoming a member of TAG has been a wonderful experience. I am enjoying the camaraderie of the other artists and the professionalism of the gallery.

Do you have some questions for Andrea?
Come ask her at TAG on Saturday, June 8, 3-4pm.

Coming Exhibition: Andrea Rubin Kichaven, Suki Kuss, Joe Pinkelman

May 21 - June 15, 2013
 

Featuring:

Andrea Rubin Kichaven, Suki Kuss, and Joe Pinkelman

Opening Reception:

Saturday, May 25, 2013, 5-8 p.m.

Artist Talk:

Saturday, June 8, 2013, 3-4 p.m.

Textured Terrain, Andrea Rubin Kichaven

Andrea Rubin Kichaven, La Vida Pasa, Mixed Media, 36 x 36 in., 2013

In her current exhibition, Andrea Rubin Kichaven juxtaposes representational animals within fanciful terrains. Layering color through a variety of techniques, Kichaven incorporates tactile patterns created by found materials such as lace, stencils and templates, mark-making, collage, and acrylics to develop colorfully textured landscapes. “What makes me passionate about each piece on which I work are the immediacy of my personal feelings, the colors, and the textures,” says Kichaven. “In the process of experimentation and unknown possibilities, one image generates another.” Whimsical animal environments are borne out of layer upon layer of color and texture application and removal (addition and subtraction), simultaneously building upon and revealing the visual history of the work beneath.

Haunted Heart, Suki Kuss

Suki Kuss, Sanctuary I (detail), Mixed Media Collage, 36 x 24 in., 2012

The loss of a beloved family member is both shattering and illuminating. In Suki Kuss' new exhibition, Haunted Heart, she explores these emotions, navigating through the aftermath of the suicide of her niece. Kuss’ recent work reflects the darkness and the light that she has worked through in the past year. Incorporating paint with mixed media materials of vintage fabrics, lace, maps, threads, patterns and mirrors on canvas, Kuss’ highly textured work takes viewers through an abstract narrative. “My finished pieces are delicate and intimate,” says Kuss. “They call out to be closely scrutinized.” Layers of details beckon the viewer closer to examine the elegant subtleties within Kuss’ use of abstract line and shape that convey an ongoing search for balance and peace.     

New Work: The Heaven and Hell Series, Joe Pinkelman

Joe Pinkelman, Heaven and Hell #2, Porcelain, 23 x 15 x 15 in., 2012

In his current show, artist Joe Pinkelman continues his exploration of abstract pottery. Using a technique he first developed in Jingdezhen, China, Pinkelman incorporates decals, high-fired porcelain, as well as thrown and press molded forms to create his designs. Fusing modern, often fragmented shapes with ancient Chinese pottery techniques, Pinkelman creates expressive contemporary allegories. “I am interested in imbalance and instability contrasted with beauty and ugliness,” says Pinkelman. The contrasting motifs of life and death, heaven and earth, light and dark pervade Pinkelman’s work as delicate ceramic pottery is placed precariously on pedestals.