Sarah Krepp in "Relentless" at Hofheimer Gallery

Sarah Krepp, Detail - White Noise: Interference (614)

The group exhibition—RELENTLESS—opened at the Hofheimer Gallery last Friday evening. This uncompromising collection showcases the work of artists, Ann E. Coulter, Colleen Cox, Frances Cox, Nova Czarnecki, Sarah Krepp, Karen Perl, Joyce Marcus, Emily Rapport, Jeanine Coupe Ryding, and Eleanor Spiess-Ferris. With each artist presenting a sampling of their current work, the show offers a variety of powerful imagery connected with a subtle thread of darkness. In most cases, the artist’s personal truth is offered through symbol or metaphor.

As I drifted through the space, I was continuously pulled to an abstract mixed media work by Sarah Krepp. Titled “White Noise: Interference (614),” the painting is a culmination of found objects inferring the misfortune of a highway accident. Predominantly white with minute elements of black, red, and caution-tape yellow, the image includes wire, frayed tire treads, and recovered objects stitched or adhered to the surface. Glistening globs of silvery-white paint conceal areas of a background, composed of meticulously hand-written notes. Upon closer inspection, the words become random… symbolic of a message lost in translation. 

Lisa Wainwright of The School of the Art Institute of Chicago wrote an essay about Krepp’s work for a solo exhibition at the Rockford Art Museum in 2016. In the essay, Wainwright offers a bit more personal insight into Krepp’s work. After referencing similarities to the bold marks of the Abstract Expressionist painters of the 1960’s, she explains that instead of paint, Krepp creates her marks “…from the scraps of found materials holding personal meaning for the artist.” She goes on to explain that several years ago, Krepp witnessed a highway accident involving her son. “…and while the highway material has served as a kind of fetishistic tokenism ever since, the back story quickly gave way to a much larger viewpoint (Wainwright).

That viewpoint touches on an array of current social issues. The imagery highlights the sins of our society—missing the mark and drifting off course like a driver falling asleep behind the wheel. As a society, we’re closing our eyes to actual science and putting our faith in magical thinking, turning our backs on people who seem to be different, and ignoring uncomfortable topics. From the artist statement… “I seek to question our indulgent contemporary society, as well as present an aesthetically dynamic experience. And she succeeds.

Hofheimer Gallery is located at 4823 N. Damen Avenue, Chicago, Illinois 60625. For additional information, contact the gallery at 847.274.7550 | info@hofheimergallery.com The exhibition continues through July 30.

Sarah Krepp, White Noise: Interference (614), text, oil, mixed media on linen, 48″x60″

With an MFA from the School of the Art Institute of Chicago, Sarah Krepp has been a noted Chicago artist for more than 25 years. She has shown nationally and internationally, and her work is included in many corporate and private collections. She is a Professor Emeritus of Art and former Chair of the Painting Program in the School of the Art and Design at the University of Illinois at Urbana-Champaign. She has over 20 years of teaching experience at The School of the Art Institute of Chicago, Southern Illinois University, the Burren College of Art (Ballyvaughn, Ireland), as well as the University of Illinois. She has taught freshman through graduate level courses in drawing, painting, sculpture, interdisciplinary and site-specific practice, and interdisciplinary critique. Many of her students have gone on to achieve significant success as practicing artists, art educators, and curators.

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"Field Studies" Adam Fung and Steve Carrelli – Hofheimer Gallery

An exhibition of paintings and collaborative drawings created by Adam Fung and Steve Carrelli, opened yesterday at Hofheimer Gallery. The unique quality of this exhibition is that the viewer will first gain insight into each individual artist and then have an opportunity to explore a ten-year long-distance collaboration of nearly sixty 5”x7” graphite drawings on paper.

Each collaborative drawing began with one of the artists drawing a few lines—or a small segment of the composition. The partially completed drawings would be sent between Chicago and Fort Worth, Texas—a few at a time—back-and-forth until each drawing was complete. Each compositional fragment would be reviewed, assessed and contemplated—sometimes sitting for days before the opposing artist arrived at a relevant response to the challenge. Once addressed, the new version of the drawing would be sent back for yet another response. The result of this unique process ranges from humor to destruction.

Analyzing the result of this visual conversation, the viewer begins to notice elements of each artist’s personal work… Plumes of smoke from a rocket launch become smoke pouring into an empty room (Fung), The shadow cast by the open flap of an envelope (Carrelli), or the reoccurring image of a plumb bob (Carrelli). But when these personal elements are incorporated with that of the other, a surreal story begins to be told. That story only seems to exist in the viewer’s mind because this body of work is but a personal conversation… a unique chess match where both players win. And we—as viewers—get to interpret the game as we choose. 

The exhibition continues through June 26. Hofheimer Gallery is located at 4823 N. Damen, Chicago, Illinois 60625. Learn more at: hofheimergallery.com

Adam Fung is an Associate Professor in the School of Art at Texas Christian University. Working primarily as a painter, his nationally exhibited work brings attention to climate change, landscape patterns, and the components of the universe. Exhibited at the national level, His paintings can be found in public art collections at Microsoft, South Bend Museum of Art, and the US Department of Energy’s Fermilab, as well as numerous private collections.

Steve Carrelli is a Lecturer in the Department of Art, Media and Design at DePaul University, Chicago, as well as a Visiting Scholar at the School of Art, Texas Christian University in Fort Worth, Texas. His works utilize representational techniques to manipulate the viewer’s perception. His paintings and drawings are included in the collections of the City of Chicago Public Art Program, the Illinois State Museum, the DePaul Art Museum, Northwestern University and Elmhurst College, as well as in numerous other public and private collections.

Hofheimer Gallery is located at 4823 N. Damen, Chicago, Illinois 60625, on the north side of Chicago in the Ravenswood area at Damen and Lawrence. The gallery is dedicated to introducing contemporary fine art in painting, drawing and sculpture from established and emerging artists. The gallery features provocative, engaging, solo and group exhibitions.

Nova Czarnecki - Bloom at Hofheimer Gallery

It’s the details that make life interesting.

I teach my students, that what they see in art, is based on their life experience. Their reality is grounded solely on their personal experience of the world. In beginning drawing, the student is taught to see… literally. Nothing is taken for granted. Every detail is a new discovery. The student is trained to see how light moves across a surface, exposing the nuance of every object, surface, or subject, within their view. 

As I walked into the Hofheimer Gallery for the opening reception of Bloom, I was instantly drawn to the beautiful complexity of Nova Czarnecki’s paintings. The subject of each canvas is a gorgeously rendered female figure, entangled in foliage and flanked by an array of regal birds and animals. The beautiful dabs of pigment are transformed into an emotional expression of unique storytelling—a subtle message in each detail. The viewer can spend hours exploring the subtle nuance of each bit of the canvas. The symbolism found, is unique for each encounter… again, based on the viewer’s personal history. Quiet moments for observation are required for a poignant journey.

Bloom closes this afternoon at Hofheimer Gallery. The collection hosts a number of beautiful images relevant to the title. Take some time to experience this beautiful exhibition and explore the work of Nova Czarnecki—the newest addition to this amazing stable of Hofheimer gallery artists.

Hofheimer Gallery is located at 4823 N. Damen, Chicago, Illinois 60625 847.274.7550
Learn more at: hofheimergallery.com

There’s always a story… "Tattoo Tattoo" at Hofheimer Gallery

Dianne Mansfield, SuzAnne

The weather in Chicago has finally become comfortable—perfect for getting outside and seeing actual people. With a sunny sky and high temperatures in the 60’s, I couldn’t wait to venture out. And that’s just what I did—this past Saturday—when I visited the exhibition titled “Tattoo Tattoo” at the Hofheimer Gallery. “Tattoo Tattoo” is a group show anchored by the work of George Klauba and Eleanor Spiess-Ferris—two of my many favorites at Hofheimer. 

 

As I explored the space, I came upon a group of black and white photographs documenting full body tattoos. And they seemed to be just that—straight forward documentations. As I continued through the space, I found a second series of photographs, set aside in the back of the gallery. These seemed to be done by the same artist, but they were different. They radiated emotion. The images captured an unabashed reality—a personal moment of self-empowerment. The images are the work of Dianne Mansfield. I asked if Dianne was attending the reception and she was pointed out. Within a minute, we were involved in conversation. 

 

After a brief introduction, we stepped away from a small group, to have a more private exchange. Discussion of the exhibition quickly transitioned into stories about the people represented in her imagery. With sparkling eyes and some colorful language, Dianne revealed another gift—her amazing ability to tell a good story. 

 

A photographer and educator, Mansfield has spent a good portion of her life photographing the world in which she lives. The tattoo culture is an important segment of her world and she has documented the unique personalities within that sector. 

Dianne Mansfield, QM KTK 083, 1982

Referencing one of the images from the show, Mansfield told me of a friend who supported herself as a fully-inked stripper. In the image, a gorgeous woman is presented wearing a sweeping silk robe—exposing her everlasting markings like a hand-painted bodysuit. Incredibly comfortable in her embellished skin—she is dignified, daring judgement from anyone.

Mansfield told many stories that afternoon. In fact—at one point—we stepped outside so that we could continue our conversation without masks. A colorful character with an amazing history, I look forward to our next meeting.

“Tattoo Tattoo” will continue at Hofheimer Gallery through March 27. The group exhibition includes work by George Klauba, J. Adams, Ivan Soyars, Leo Zulueta, Mario Desa, Chad Koeplinger, Danny Reed, Eleanor Spiess-Ferris, and—of course—photographer, Dianne Mansfield. Hofheimer Gallery is located at 4823 N. Damen, Chicago, Illinois 60625  847.274.7550 

Learn more at: hofheimergallery.com

 

Hofheimer Gallery - The Salon Show

Frances Cox, Brown Tree, oil on canvas, 48″x30″

On Friday, June 12, Hofheimer Gallery opened an exhibition titled, “The Salon Show” featuring a collection of work by gallery artists. Playful, obsessive, and thought provoking, the work included in this exhibition presents an array of elegance with a bit of quirky—highlighting each artist’s unique voice.

 

“Brown Tree” by Frances Cox is composed of painterly strokes of pigment that convey the fluttering of reverberating motion. This fluid abstraction of muted tones manipulates the space in the manner of the Cubists. The use of Implied shadow alludes to the third dimension while the translucent application of paint, infers the sound of rustling sun-soaked leaves. This technique exposes the artist’s journey—revealing areas of underpainting that chronicle the form’s evolution. 

Teresa James offers a new spin on the concept of the glass ceiling, with “My Spirit and I Are One”. James creates the surrealistic image on the inside of a book cover, using mixed media; drawing, watercolor, and collage. The image presents a number of winged hands—a reoccurring symbol in James work—in battle with a pair angry birds, blocked from their given right to soar above the clouds. The unresolved conflict results in the loss of feathers, yet the determination of the birds seems unending. 

Teresa James, My Spirit and I Are One, drawing collage with watercolor on inside book cover, 7 3/4” x 10”

George Klauba uses the style of tattoo art to create intimate canvases that address curious topics. His obsessively painted “They Shall Take Up Serpents” references Mark 16:17-18 and comments on that gospel’s misinterpretation for use as spectacle in religious theatre. As the story goes, in 1910—after preaching this gospel—an illiterate Tennessee preacher pulled a large rattlesnake out of a box with his bare hands. He handled it for a few minutes and then demanded members of the congregation do the same—or burn in Hell. This snake-handling practice became commonplace in the Church of God throughout Appalachia. 

George Klauba, They Shall Take Up Serpents, acrylic on panel, 18″x14″

Referencing this unusual life-threatening custom of the Pentecostals, Klauba defines the narrative through the symbols of tattoo culture. Along with the serpent—representing wisdom, rebirth, and temptation, we find the tortured Christ figure, a dagger—symbolic of betrayal or sacrifice, and a skull—referencing death or mortality. Beautifully painted, Klauba uses a variety of flat color areas, patterns and implied textures, which entice the viewer to continue exploring the charmingly quirky content of his compositions… each one with a unique theme.

All of the work in The Salon Show exhibition can be reviewed online and on site, by appointment. Hofheimer Gallery is planning to reopen to the general public after the Fourth-of-July holiday. Face masks will be required, and social distancing will be practiced.

Hofheimer Gallery is located at 4823 N. Damen, Chicago, IL 60625 | 847.274.7550
View the exhibition at: hofheimergallery.com.

The Salon Show includes work by: Betty Cleeland, Colleen Cox, Frances Cox, Charles Gniech, Teresa James, Mary Jones, George Klauba, Catherine Maize, Michael Noland, Karen Perl, Mary Porterfield, Jeanine Coupe Ryding, Eleanor Spiess-Ferris, Fred Stonehouse, and Chuck Walker. The exhibition continues through July 31st.

Mary Porterfield - Hofheimer Gallery

Mary Porterfield, Alice Begins, oil on layered glassine, 36 x 36"

It’s not a secret that Americans have an issue with growing old. Botox, Restylane, Kybella, Chemical Peels… we’re a youth-obsessed society fearing the natural deterioration of the body. In other cultures, elders are honored. Wrinkles are a sign of a life well lived. They signify knowledge and wisdom. When we embrace our elders, we find ourselves honored with the gift of wisdom.

I visit my ninety-two-year-old aunt on a regular basis. When I was a child, she lived in the house next door. A kind and sweet woman, I see her as a second mother. When we talk, the details of her life unfold into a vaguely familiar history with moments of insight—moments that might have been lost forever. 

Mary Porterfield, Waiting, oil on layered glassine, 24 x 60"

This brings me to a wonderful solo exhibition by Mary Porterfield, currently on display at the Hofheimer Gallery in Chicago. The show titled “in:dependence,” fearlessly examines the later stages of life, Inspired by Porterfield’s experiences as a caretaker. Her kind and gentle demeanor is authentic—And that sensitivity is reflected in her imagery.

Porterfield paints her subjects in oil on layered glassine, layered on top of Yupo [Synthetic Paper] and Vellum. This process produces a hazy dreamlike effect which seems to reference fleeting thoughts or foggy memories. Porterfield’s ghostly figures emerge in and out of sterile environments, questioning perception and reality. Is assistance needed? What if it’s not wanted? 

The Hofheimer Gallery will be hosting an artist talk tomorrow, Saturday, September 21 from 2-3pm. Porterfield’s exhibition continues through September 28. Hofheimer Gallery is located at 4823 N. Damen Avenue, in Chicago 60625. Learn more at hofheimergallery.com.

Ann E. Coulter in "Homage to Nature" at Hofheimer Gallery

Anne E. Coulter, Deeper in the Woods, oil on canvas, 20"x20" 

Tangled layers of twisted branches create a labyrinth separating the viewer from paradise in a short series of beautifully panted canvases by Ann E. Coulter. These mesmerizing images are just a segment of the works being presented in a group exhibition, titled "Homage to Nature,” opening this Friday at the Hofheimer gallery.

In her artist statement, Coulter expresses that she is inspired and overwhelmed by the vast panoramic views surrounding her home. She explains…

This particular place is an undeniable and intentional part of my life and my art. There is no ignoring it, I am completely immersed. It leads me to consider big issues like nature and time, landscape and history, and the part we play in it all…

I look at these exquisite canvases and see the challenges of life… conflict and struggle presented as the sharp underbrush deterring us from movement. The viewer is challenged to scour the landscape to find a suitable pathway through the darkness to the ultimate goal… light. The adventure is challenging but results in numerous moments of quiet introspection as our eyes continuously pause to explore another unique fragment of the complex composition.

Anne E. Coulter, Ridge Run #4, oil on canvas, 40"x40" 

The opening reception of “Homage to Nature” with work by Anne E. Coulter, Jennifer Presant, and Joel Sheesley, is Friday, July 5th from 5-8PM. The exhibition continues through July 27th.

Hofheimer Gallery is located at 4823 N. Damen, Chicago, IL 60625 …on the north side of Chicago in the Ravenswood area at Damen and Lawrence. The gallery is dedicated to introducing contemporary fine art in painting, drawing and sculpture from established and emerging artists. Through the year the gallery will feature provocative, engaging, solo and group exhibitions. Learn more at: hofheimergallery.com

Susan Aurinko - Hofheimer Gallery

Susan Aurinko, Two and One, Paris, digital photography

A few months ago, I was asked to curate an exhibition of recent photographs produced by Susan Aurinko. Aurinko is known for her photographic self-portraits—the hazy reflection of self, amidst artifacts found in storefront windows throughout the world. The reflections—at times—quietly allude to an unknowing passerby, while other images only explore the abstract reflections glistening in the glass. 

In preparation for the exhibition, I reviewed more than three-hundred of Aurinko’s never-been-seen before images. The process was an ideal opportunity to delve into the artist’s evolving creative vision. What I found was an expanded concept of “reflection” referencing private moments of contemplation, introspection and meditation. But there was more.

Many of these images explore the geometry of life as visual vocabulary for these serene moments. Aurinko embraces line, shape, pattern and texture—the repetitive texture of foliage, the sparkling spray of water droplets, the unique patterns of dappled sunlight… all brilliantly presented in what becomes a significant flash in time. 

Susan Aurinko, Idyllique, Paris, digital photography

Aurinko captures these moments, causing us to stop and take notice—a reflecting pond distorting the ornate formality of a park setting; a sea of decorative statues randomly huddled together in a flea market; an aerial perspective of a sun-filled atrium producing shadows of unique shapes and patterns. These compositions force a glimpse into an actual reality which is typically missed. They remind us of the surrounding beauty—often neglected—in a hectic world.

Susan Aurinko, Café Society, Berlin, digital photography

The title of Susan Aurinko’s upcoming Hofheimer Gallery exhibition is europa europa—referencing the continent on which the work was created. The show will open this Friday, May 3—with a reception for the artist—and continue through May 30, 2019. The reception runs from 5 to 8pm. 

The Hofheimer Gallery is located at 4823 North Damen—on the north side of Chicago in the Ravenswood area. The gallery is dedicated to introducing contemporary fine art in painting, drawing and sculpture from established and emerging artists. Through the year, the Hofheimer Gallery will feature provocative, engaging, solo and group exhibitions.

Susan Aurinko, Selbst, Vienna, digital photography

I will be joining Susan Aurinko at Hofheimer Gallery for an artist talk on Saturday, May 18 from 2-4pm. Please join us for a relaxed discussion about the artist and this wonderful collection of imagery.


SUSAN AURINKO, a photographer and curator, has shown her work in solo exhibitions in France, Italy, and India, as well as in the US. Her exhibition about India, entitled STILL POINT INDIA, opened at Kriti Gallery in Varanasi, India in February 2013, is touring India’s largest cities, and is now available as a book, STILL POINT INDIA, the cover image for which won both a Jury Award and a Public Choice award from Px3 in Paris. Aurinko’s work appears on several book covers, including The Stranger Among Us, Ariel, Scar Tissue, and Slut Lullabies, in the US and UK, and four of her photographs are included in the Museum of Contemporary Photography’s permanent collection. Her photographs hang in private collections in France, Italy, India, Monaco, the UK, and the US. Aurinko is on the Advisory Committees of the International Photography Awards (Lucie Awards) and has been an IPA and Px3 Juror for several years and is on the Advisory Board for Filter Photo Festival.

Aurinko’s preview exhibition for her series SEARCHING FOR JEHANNE –The Joan of Arc Project, at Takohl Gallery in Chicago, was named among THE FIVE BEST PHOTOGRAPHY SHOWS OF 2014, by New City Magazine.

As a curator, Aurinko has created over 250 exhibitions, both at FLATFILEgalleries, the gallery she founded and directed for 9 years, and in a variety of other gallery and museum venues, including IIT and CAC, and exhibitions for both the Japanese and Danish governments. She has led workshops for photographers and artists in the US, Canada, and India. Aurinko is on the Boards of Directors of Universe of Poetry, Chicago Artists Coalition, Apprentice Lab, and the Advisory Board for Chicago Photography Center, for whom she also curated the gallery’s 11 annual exhibitions from 2010 until 2013. Aurinko is also the founder of the f8collective. Aurinko is represented by HILTON/ASMUS FOTO in Chicago and Kriti Gallery in Varanasi, India.

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Frances Cox – Hofheimer Gallery

Frances Cox, Summer, oil on canvas, 36 x 38"

A World Apart—the exhibition of vibrantly colorful oil paintings by Frances Cox and Michael Noland—will open with a reception at the Hofheimer Gallery on Friday, April 5th from 5-8 pm. 

I’ve followed the career of Frances Cox for the past decade. I was first introduced to her beautifully-organic imagery, while curating exhibitions for a small upscale gallery in Three Oaks, Michigan. At that time, she was working on a series of paintings related to a recent tsunami disaster. The imagery was powerfully haunting yet beautiful—composed of teal, blue and green organic shapes adorned with elaborate patterns. These luminous elements alluded to the tragedy that occurred in a paradisiacal environment normally bursting with an abundance of brilliant color.

Over the years, I’ve work with Cox on a variety of exhibitions. Generally, her work is botanically-inspired figurative still life, with clear references to Art Nouveau—highlighting organic design motifs including vine tendrils, flowers, and the human form. Cox’s canvases are gracefully composed, offering the viewer layer-upon-layer of detailed nuance. But the beautiful forms that emerge from the complexity are never subtle. They are bold, direct, and demanding of the viewer’s attention.

Cox explains, “When I look at plant forms, I view them as botanical singularities having the characteristics of other living things. I transfer to plants, metaphors for human feelings and appearances.”

As I previewed the exhibition, I found myself drawn to the beautiful complexity of the canvas titled Summer. This 36 x 38-inch composition plays with a variety of contrasts; the use of a complementary color pallette, large open areas juxtaposed with highly detailed modeled patterns, and a popping of light and dark.

In much of her work, Cox utilizes dark outlines to build form and distinguish shape. This technique presents a visual trail leading the captivated viewer through the composition, introducing quiet details. From a distance, yet another surprise emerges. Each canvas melds into the sum of its parts, becoming a completely new and unique abstraction.

Frances Cox, Dancing Tree, oil on canvas, 40"x40"

Dancing Tree is another gem in this collection. The 40-inch square canvas seems to be channeling the essence of Winged Victory with its flowing Grecian gown and wings raised in triumph. But the fluidity isn’t lost on me. References to Art Nouveau and the work of Will Bradley come to mind. Bradley’s poster for The Chap Book, 1895 offers similar forms. In both samples, billowing shapes seamlessly flow into one another—defining edges where none exist, repeating shape for complexity, and challenging the viewer’s perception.

A World Apart, featuring the work by Frances Cox and Michael Noland, opens Friday, April 5, with a reception from 5-8pm. The artists will be in attendance. The Hofheimer Gallery is located at 4823 N. Damen in Chicago [60625]. Gallery Hours are Wednesday through Saturday from 11-5 and by appointment. For additional information contact the gallery at 847.274.7550 or visit hofheimergallery.com …A World Apart continues through April 25, 2019.

Frances A. Cox was raised in Chicago, Illinois, graduated from Marquette University and attended the Art Institute of Chicago. Her work has been exhibited nationally, earning Cox well-deserved recognition and numerous awards.
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Amanda Gentry in "Earth Bound" at the Hofheimer Gallery

…CHASING PERFECTION

I think it may just be a personality trait… wanting to create perfection. I remember striving to create that flawless print piece, the perfect composition, the ideal image. It seemed impossible… in my own mind. There was always something that could be better. The idea of creating something—anything—that is flawless, seems flawed. But it’s not. It’s all about perception.

Last week, I stopped by the Hofheimer Gallery to experience “Earth Bound”—a group exhibition that includes work by Amanda Gentry, David Criner and Denise Bellezzo. The exhibition offers an array of unique visual voices that come together in a peacefully inviting environment.

I was greeted by a wall of—what seemed to be—white bed pillows floating in a grid formation... work by Amanda Gentry. Upon closer inspection, the pillows appeared to be subtly marked with ghostly impressions of artifacts—quiet remnants of a hidden past. And then it became evident that the soft floating pillows were actually earthenware. Each piece, the clay impression of a soul at rest. Each, the unique fingerprint of a moment in time. Together, the impression of a segment of society. The works became an archeological find, perhaps asking the question; What will we leave to those who survive us? Will they notice? Will they remember?

Brother John, Unglazed White Talc Earthenware Incised with Mason-stained Slip, 17"x14"x5"

Gentry also has some smaller pieces in the exhibition that reference unique artifacts. There are groupings of these smooth geometric forms, placed throughout the gallery—all pierced or indented with circular dimples that invite interaction. Each surface is smooth but reveals subtle imperfections.

Penland Studies Nos.1-5, 3.5"x5.5"x5.5" salt and charcoal-fired stoneware

I continued thinking about Gentry’s work after leaving the gallery. I did a little research and found a wonderful story on the artist’s website. The story described a seemingly unsuccessful piece of work and a studio visit with an Artist Representative. Following is an excerpt of the story. You can read the story in its entirety at amandagentry.com

“This piece (above) signifies some breakthroughs for me as an artist. This is the first piece that was not what I set out to make. I generally have a tight sketch or idea that I intend to realize. This piece originally was going to be oriented the other way (what is bottom was to be top). It was going to have a rocking, convex bottom with the two extensions coming to points twice the length they currently are. I realized as I was making this that I would need to rotate it and refine the bottom (now top) as I would not be able to do so once the two points were put on it. Upon rotating it and looking at it upside down I realized that it was perfect—that it needed to have the orientation it now has. It was the first time I had looked at a work from a different perspective and allowed myself to change my plans. It was the first time I truly listened to the work.

I had high hopes for this piece when I put it in the kiln. When it came out with cracks I felt defeated. I brought it back to my studio and tucked it away in my shelves. I was certain I would take a hammer to it in six months’ time. A few months passed, and an artist rep came for a studio visit. I had pulled all of my "good" work out onto the tables for her to see. 

After looking at everything she asked if she could look in my shelves. She pulled out my disappointment and said, ‘Oooh. Tell me about this one!" I promptly apologized for the cracks and she said, "Are you kidding me?! They follow the movement of this piece. They're perfect.’ I left the piece out on my studio bookcase and started to see it with new eyes. She was right. The cracks made the piece. And the piece then became beautiful to me. This perspective has changed the way I see my work now. The kiln always has the last word. And often times that comes in the form of cracks or spots I had not intended. I realize now that they are the birthmarks of the work. They are kisses from the kiln goddess.”

Amanda Gentry in “Earth Bound” continues at the Hofheimer Gallery through August 29th. Hofheimer Gallery is located at 4823 N. Damen, Chicago, IL. 60625—on the north side of Chicago in the Ravenswood area at Damen and Lawrence. The gallery is dedicated to introducing contemporary fine art in painting, drawing and sculpture from established and emerging artists. Through the year the gallery will feature provocative, engaging, solo and group exhibitions.

HOFHEIMER GALLERY 

4823 N. Damen | Chicago, IL. 60625 | 847.274.7550

Work by Amanda Gentry

SPATIAL AMBIGUITY - Hofheimer Gallery

Julie Karabenick, 22.2013, Acrylic on Wood 29x29" 

Color, tone and structure set the stage for the “Spatial Ambiguity” exhibition opening tomorrow at the Hofheimer Gallery. Hofheimer presents a two-person show highlighting a series of hard-edged precision-driven paintings by Marcia Fraerman and Julie Karabenick. The imagery includes a combination of gradient grids from Fraerman and optically pristine and uniquely dimensional structures by Karabenick. The show comes together with colorful pallets that invite the viewer into approachably-scaled formates. 

Spatial Ambiguity will open tomorrow—July 6th from 5-8pm. The Hofheimer Gallery is located at 4823 N. Damen, Chicago, IL. 60625—on the north side of Chicago in the Ravenswood area at Damen and Lawrence. The gallery is dedicated to introducing contemporary fine art in painting, drawing and sculpture from established and emerging artists. Through the year the gallery will feature provocative, engaging, solo and group exhibitions.

HOFHEIMER GALLERY | 4823 N. Damen | Chicago, IL. 60625 | 847.274.7550

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Marcia Fraerman, Square One I, Acrylic on Canvas 20x20" 

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PERCEPTIONS - Hofheimer Gallery

Julia Katz "Cache"

If you haven’t had an opportunity to experience the PERCEPTIONS exhibition at the Hofheimer Gallery, there are still a few days left. “Perceptions” will close on Tuesday, May 29th. The show presents the work of four Chicago area Artists—Julia Katz, Deanna Krueger, Rebecca Moy and myself. Each artist offers his or her own point-of-view of visual abstraction created through a unique physical or creative process.

Julia Katz [work shown above] is known for her bold use of rich color and fluid paint strokes. Through focused observations of the environment, Katz creates loosely-facetted forms of hues alluding to nature. She produces her imagery—documenting the details of light, shadow and subtle movement.

Deanna Krueger "Lichen at Brush Creek"

Deanna Krueger's work conveys some of the same visual elements of Katz but Krueger's work is much more about unique materials. Krueger manipulates medical diagnostic film to create large-format wall pieces that exist somewhere between a two-dimensional painting and three-dimensional sculpture. She applies loose layers of paint over the film and then shreds the visual evidence of the medical findings. The film is painted, torn, repositioned, and then stapled together to create beautifully semi-reflective multi-faceted surface. The surface creates a shimmering, gem-like appearance reminiscent of the flickering mosaics. The same visual complexity is also apparent in the work of Rebecca Moy.

Rebecca Moy "Carnivale II"

The fine line between graphic and fine art is explored in the lyrical work of Rebecca Moy. Her bold use of color is heightened by a flat linier element that flows through and around seemingly architectural structures. The interaction of bold flat shape with mystical color gradients, offers the viewer a unique environment to explore. 

Over the years, Rebecca and I have discussed a possible collaboration—merging our styles to produce a hybrid. It came up again at the Hofheimer opening reception. We'll see what happens. 

PERCEPTIONS will conclude on Tuesday, May 29th. The Hofheimer Gallery is located at 4823 N. Damen, Chicago, IL. 60625—on the north side of Chicago in the Ravenswood area at Damen and Lawrence. The gallery is dedicated to introducing contemporary fine art in painting, drawing and sculpture from established and emerging artists. Through the year the gallery will feature provocative, engaging, solo and group exhibitions.

HOFHEIMER GALLERY | 4823 N. Damen | Chicago, IL. 60625 | 847.274.7550

Charles Gniech - Hofheimer Gallery

Charles Gniech, Untitled, 2018, acrylic on canvas, 40 x 50"

PERCEPTIONS

Charles Gniech | Julia Katz | Deanna Krueger | Rebecca Moy 

OPENING RECEPTION: FRIDAY, MAY 4,  5-8PM

Yesterday, I dropped off a series of recent paintings at the Hofheimer Gallery. The paintings will be presented in the upcoming exhibition titled, "Perceptions". This group exhibition includes some of my most recent work—including an “Untitled” painting [shown above] utilizing a combination of my established multi-layered surface technique with a new element of smooth transitional color. The contrasts—tactile and hue—add a more dramatic spatial component to the imagery. This painting seems to be a evolutionary moment in the work that I've been producing over the past decade.

I’m excited to be included in this exhibition. Although I’ve exhibited with Deanna Krueger and Rebecca Moy on numerous occasions, this will be my introduction to the work of Julia Katz. I have no doubt that “Perceptions” will be a beautiful array of surface, pattern and color with content that deserves both joyous and introspective engagement.

Please join me at the Opening Reception of “Perceptions” this Friday from 5-8pm at the Hofheimer Gallery. Hofheimer Gallery is located at 4823 N. Damen, Chicago, IL. 60625—on the north side of Chicago in the Ravenswood area at Damen and Lawrence. The gallery is dedicated to introducing contemporary fine art in painting, drawing and sculpture from established and emerging artists. Through the year the gallery will feature provocative, engaging, solo and group exhibitions.

OPENING RECEPTION: Friday, May 4th  5-8pm

The exhibition continues through May 29

HOFHEIMER GALLERY  |  4823 N. Damen  |  Chicago, IL. 60625  |  847.274.7550

Betty Cleeland at the Hofheimer Gallery

Betty Cleeland "Arabique" 2015, Oil on Linen, 48" x 38" 

An exhibition of brilliantly colorful paintings by Betty Cleeland opened Friday night at the Hofheimer Gallery, 4823 N. Damen in Chicago. When I arrived, I found myself greeted by a crowded, energy-filled gallery­—filled with patrons excited by the unique imagery being displayed.

A quick review of the exhibition statement highlighted Cleeland’s journey of vibrant pattern—inspired by a love of global textiles. The statement also referenced the influence of the German born artist and teacher, Josef Albers. Albers—who had a major influence on American Mid-Century Modern Art—believed that color, rather than form, was the primary medium of pictorial language.

After greeting a few friends, I moved in to take a closer look at the work. The Albers reference seemed pertinent. I found that Cleeland’s imagery explores a strange game of perception—playing with spatial relationship and simultaneous contrast. The beauty of the work is the obsessive complexity of the imagery—the layering of organic and geometric forms. The viewer is presented with a series of constantly changing canvases, were the eye shifts back-and-forth from a linier composition to organic… Cleverly intriguing with a scientific twist.

If you missed the opening reception for Betty Cleeland at the Hofheimer Gallery, the show continues through May 4th. The Hofheimer Gallery is located at 4823 N. Damen, in Chicago. Gallery hours are 11am-6pm Tuesday through Saturday… and by appointment. 847.274.7550

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