CONTEMPORARY CAROLINA ABSTRACTION II

To view work by the artists in the exhibition click on their names:

Michael Brodeur
Anna Redwine
Tom Stanley
H. Brown Thornton
Enid Williams
Paul Yanko

For installation shots CLICK HERE

Works of Art

Risers and Descenders, 2011-12, acrylic and collage on panel
8 x 8 in., $500

Sheltered and Revealed, 2011-12, acrylic and collage on panel
8 x 8 in., $500

Box Module Angle, 2010, acrylic on panel, 12 1/2 x 12 1/2 in.
$700

Module Bloom Slant, 2008-09, acrylic on canvas
14 x 14 in., $700

Ray Fan Grow (Module Version), 2011-12, mixed media
and collage on panel, 24 x 24 in., $1,600

Ray Fan Grow (Screened Version), 2011-12, mixed media
and collage on panel, 24 x 24 in., $1,600

Ray Fan Grow (Machine Version). 2011-2012. 

mixed media and collage on panel, 24 x 24 in., 

$1,600

Slide Pane Fold, 2009-2010, 

mixed media on canvas, 

50 x 42 in., $3,000

Spill Wedge Angle, 2010-2011, 

mixed media collage on museum board,

29 1/2" x 281/2", $1,700 (unframed)

Green Module, 2008-2009, 

acrylic on museum board, 7.5 x 7.5 in.,

$500

Cluster Wing Tilt. 2009-2010, 

mixed media on canvas, 50 x 42 in., $3,000

Bridge Frame Wing, 2009-2010, 

mixed media on canvas, 44 x 36 in.,  $2,800

Angle Fin Wing 2009-2010, 

mixed media on canvas, 72 x 60 in., $,5000

 Block Hub Spoke, 2010-2011, 

mixed media collage on panel, 16 x 16 in., $850

Untitled, 2010-11, mixed media on museum board
15 x 11 1/2 in., $1,200

Spill Wedge Angle, 2010-11, mixed media and
collage on museum board, 29.5 x 28.5 in.
$1,700 (unframed)

New Work

Untitled, 2010-11, mixed media on museum board
15 x 11 1/2 in., $1,200

Untitled, 2010, mixed media on museum board
18 x 14 in., $1,350

Block Hub Spoke, 2010-11, mixed media and collage
on panel, 16 x 16 in., $850

Shard, Angle, Wedge, 2010-11
Mixed media on museum board
15 x 11 1/2 in., $1,200

Spill Wedge Angle, 2010-11, mixed media and
collage on museum board, 29.5 x 28.5 in.
$1,700 (unframed)

New Work

Untitled, 2010-11, mixed media on museum board
15 x 11 1/2 in., $1,200

Salon III: January 15- February 4, 2009

For exhibition preview, click here.

For installation images, click here.

For printmaking demonstration schedule, click here.

Untitled, 2008

Monotype, chine colle

17 1/2 x 17 1/4 in.

$700

if ART Gallery

presents

SALON III: The Print Exhibition

January 15 – February 4, 2009

if ART Gallery

1223 Lincoln St., Columbia, S.C. 29205

Reception: Thursday, Jan. 15, 5 – 10 p.m.

Opening Hours:

Weekdays, 11 a.m. – 7 p.m.

Saturday, 11 a.m. – 5 p.m.

& by appointment

Printmaking Demonstrations:

Sunday, Jan. 18, 3 – 5 p.m., Marcelo Novo, Print Gocco

Sunday, Jan. 25, 3 – 5 p.m., Phil Garrett, Monotype

Saturday, Jan. 31, 3 – 5 p.m., H. Brown Thornton, Photo Transfer

Sunday, Feb. 1, 3 – 5 p.m., Steven Chapp, Linocut & Photopolymer Prints

For more information, contact Wim Roefs at if ART:

(803) 255-0068/ (803) 238-2351 – if-art-gallery@sc.twcbc.com

For its January 2009 exhibition, if ART Gallery presents Salon III, an exhibition of prints by gallery artists at if ART Gallery, 1223 Lincoln St., Columbia, S.C. The opening reception will be Thursday, January 15, 2009, 5 – 10 p.m. The exhibition will be installed salon-style at the gallery’s first floor and continues if ART’s salon-style exhibitions; in December 2008, Salon I & II took place simultaneously at the gallery and Gallery 80808/Vista Studios in Columbia.

Among the printmaking techniques represented in the exhibition are etchings, dry points, lithographs, woodcuts, linocuts, photopolymer prints, embossings, monotypes, silkscreens and photo transfers.

During the exhibition, gallery artists Steven Chapp of Easley, S.C., Phil Garrett of Greenville, S.C., Brown Thornton of Aiken, S.C., and Marcelo Novo of Columbia will give demonstrations of various printmaking techniques. For times and demonstrated techniques, see above.

Artists in the exhibition include Karel Appel, Jeri Burdick, Carl Blair, Lynn Chadwick, Steven Chapp, Corneille, Jeff Donovan, Jacques Doucet, Phil Garrett, Herbert Gentry, Tonya Gregg, John Hultberg, Richard Hunt, Sjaak Korsten, Lucebert, Reiner Mährlein, Sam Middleton, Eric Miller, Joan Mitchell, Dorothy Netherland, Marcelo Novo, Hannes Postma, Edward Rice, Anton Rooskens, Kees Salentijn, Laura Spong, Brown Thornton, Bram van Velde, Katie Walker, David Yaghjian and Paul Yanko.

if ARTwalk: Salon I & II: December 11- 24, 2008

For exhibition installation images, click here.

THE SALON I & II

Dec. 11 – 24, 2008

an exhibition at two Columbia, SC, locations:

Gallery 80808/Vista Studios

808 Lady Street

&

if ART Gallery

1223 Lincoln Street

Reception and ifART Walk: Thursday, Dec. 11, 5 – 10 p.m.

at and between both locations

Opening Hours:

Weekdays, 11 a.m. – 7 p.m.

Saturday, 11 a.m. – 5 p.m.

Sunday, 1 – 5 p.m.

& by appointment

Open Christmas Eve until 7 p.m.

For more information, contact Wim Roefs at if ART:

(803) 255-0068/ (803) 238-2351 – if-art-gallery@sc.twcbc.com

For its December 2008 exhibition, if ART Gallery presents The Salon I & II, an exhibition at two Columbia, SC, locations: if ART Gallery and Gallery 80808/Vista Studios. On Thursday, December 11, 2008, 5 – 10 p.m., if ART will hold opening receptions at both locations. The ifART Walk will be on Lady and Lincoln Streets, between both locations, which are around the corner from each other.

The exhibitions will present art by if ART Gallery artists, installed salon-style at both Gallery 80808 and if ART. Artists in the exhibitions include two new additions to if ART Gallery, Columbia ceramic artist Renee Rouillier and the prominent African-American collage and mixed-media artist Sam Middleton, an 81-year-old expatriate who has lived in the Netherlands since the early 1960s.

Other artists in the exhibition include Karel Appel, Aaron Baldwin, Jeri Burdick, Carl Blair, Lynn Chadwick, Steven Chapp, Stephen Chesley, Corneille, Jeff Donovan, Jacques Doucet, Phil Garrett, Herbert Gentry, Tonya Gregg, Jerry Harris, Bill Jackson, Sjaak Korsten, Peter Lenzo, Sam Middleton, Eric Miller, Dorothy Netherland, Marcelo Novo, Matt Overend, Anna Redwine, Paul Reed, Edward Rice, Silvia Rudolf, Kees Salentijn, Laura Spong, Tom Stanley, Christine Tedesco, Brown Thornton, Leo Twiggs, Bram van Velde, Katie Walker, Mike Williams, David Yaghjian, Paul Yanko and Don Zurlo.

Essay: Paul Yanko

HubAngleRay, 2006

Acrylic on canvas

20 x 20 in.

$ 1,100

PAUL YANKO

By Wim Roefs

Paul Yanko is an earnest and deliberate man, and it shows in his art. Whether his ink-on-paper pieces consisting mostly of line work, or his built-up, constructed canvas paintings of jagged, geometric bits and chunks, the works are intricate, tactile compositions of lines, shapes and colors. “The densely layered compositions reflect my desire to reconcile formal painterly concerns with an interest in process-derived imagery,” Yanko says. 

Yanko builds his canvas paintings like a puzzle. With his oil paintings, he uses cut-up canvasses or thick paint and a palette knife, creating carved-like surfaces. In his acrylic paintings, Yanko builds up the surface by taping off areas and then applying the next layer of paint one small area at a time. Heavily layered shapes protrude from the canvas, while physically, though not always in terms of color, the more modestly worked sections hang back a little. The results are dense, thick patterns with relief qualities. 

“I remain influenced by emblems of geometric abstraction,” Yanko says, “such as the stripe and triangle. As a configuration develops, I register successively smaller shapes over underlying rectilinear and geometric shapes. I set less active passages against heavily layered regions possessing a more tactile surface quality.”

“I extensively use primary and secondary hues arranged in complimentary color schemes to achieve maximum contrast. As a painting approaches completion, I use a tonal palette more to partially obscure large regions containing more intense hues.” The complex compositions show underlying shapes, revealing part of the process, of the search for the final form. “The overlapping shapes allow for a backward reading of the space,” Yanko says.

His extensive use of tape goes back to his days as a sign painter. Yanko likes the workman-like element of using tape, which is used by house and sign painters and in body shops. The intricacy of his work suits his temperament. “I like the longer-term engagement. There’s something reassuring in the sense of connection I get when parts of the painting are registering properly, when shapes interlock and fit into each other.”

Though the line compositions on paper are physically flatter than the paintings, they are as complex and involve much of the same process. “You layer marks, react and respond to decisions, edit, look where you need to embellish.” Yanko moved from the works on paper to the geometric canvases to explore more tactile surfaces.

“As a student, I was exposed to tactile painting, works that were in between painting and sculpture. I was always self-conscious as a student of being too concerned with illusion and not with the physical presence. So I made a pronounced decision to model paint.”