Through Our Eyes, solo show with guest mentors, celebrating the significant birthday of Linda Dubin Garfield
Hosted at DVAA, May 2nd - 13th
Artists’ Reception and Opening: Sunday, May 6 - including birthday party to benefit DVAA
This exhibit of works on paper by Linda Dubin Garfield includes work by four of her significant teachers and mentors: Moe Brooker, Carson Fox, Francine Shore and Christine Stoughton. The fluid space of memory, influenced by time, place and experience, forms the foundation of content for this new series of work. Garfield merges aspects of experience and observations with imagined sensations to create work that reflects life and memory. Using new materials and techniques, she creates overlapping layers of color and space, mark making that includes monotype, silkscreen, stencil, image transfer as well as drawing and digital imaging. Inspired by travel to new places, she creates visual memoirs that allow multiple meanings to exist.
Linda Dubin Garfield, an award-winning printmaker and mixed media artist, creates visual memoirs exploring the mystery of memory and the magic of place, using hand-pulled printmaking techniques, photography, collage and digital imaging. Her abstract and dynamic works use multiple layers of ink that waver between background and foreground creating a fusion of surface design and abstract expressionism She also creates installations that include public participatory art, especially when she is exploring themes relating to women in today’s culture. In 2005 she founded ARTsisters, a group of professional artists who empower each other and their community through art. In 2007 she started smART business consulting, helping emerging artists reach their goals and their audience, providing consulting and coaching on the business side of art through individual, small groups, and workshop experiences as well as providing opportunities to exhibit work. Today she serves on several non-profit boards, including being President of Da Vinci Art Alliance, and appreciates her good fortune to be able to make art every chance she gets.
In the early 90’s, I took a printmaking course and fell in love with the process. Unlike other passionate relationships that fade with time, the passion and love I have for printmaking has only gotten more intense. Several years ago, I started exploring mixed media and have found that combining collage and monotype is another relationship that works for me. I also enjoy combining photography and digital imaging with traditional printmaking techniques. The process leads to rich palimpsests using a vocabulary of shapes and motifs. My use of traditional printmaking techniques in concert with experimental approaches is a means of expanding my visual language. The possibilities are exponential.
Nature nurtures and inspires me. I combine elements of nature, texture and design along with the magic of the press. I am intrigued by memory and what remains in our mind’s eye. My work reflects scenes from travel near and far. More than a report on how it was exactly, I am interested in my expressive and passionate response to the color and pattern of the landscape, experience or image. The fluid space of memory, influenced by time, place and experience, forms the foundation of content for my work. I merge aspects of experience and observations with imagined and remembered sensations to create non-objective work that reflects life and memory. My work has overlapping layers of color and space, shifting relationships with mark making that includes monotype, silkscreen, stencil, image transfer as well as drawing. Inspired by travel, I am creating visual memoirs which offer multiple meanings to the viewer.
My focus on the process, not the outcome, frees me to be experimental. Following my passion and living my dream energizes me to be productive and alive. I feel like I am now living out loud. I want to share that passion and joie de vivre with those seeing my work, triggering a memory or experience for the viewer.
Known for his lyrical abstract paintings, Philadelphia artist Moe Brooker employs a palette of bright, electric colors; zigzag lines; and collage to create spontaneous, yet rhythmic, compositions. He finds inspiration in jazz music and draws on the work of French artist Vasily Kandinsky (1866-1944), who believed that painting can be a form of "visual music."
Brooker was born in Philadelphia and studied at the PA Academy of Fine Arts and the Tyler School of Art, graduating with a B.F.A. in 1970 and an M.F.A. in 1972. He has been on the faculty of the Cleveland Institute of Art, Parsons School of Design, PA Academy of Fine Arts and Moore College of Art and Design.
Brooker works on canvas and paper, using acrylics as a base coat and mixing oils, oil stick and encaustic. He has been influenced by both graffiti art and music and has moved from semi-figurative art to abstract art. He credits abstractionist Wassily Kandinsky’s book Concerning the Spiritual in Art (1912) as an influence on his work. One of the reasons why Brooker moved to abstraction was that he wanted to paint the joyous and spiritual aspects of African-American life, but could not find figurative symbols for doing so.
"If you are given a gift, using that gift in its fullest sense is true worship."
His work is displayed at the Studio Museum in Harlem, Montgomery Museum of ART, the Musee des beaux-arts de l”Ontario and the Phila Museum of Art. He is represented the June Kelly Gallery in New York City. He is a member of Recherche, an African-American artists group whose works are known for "active engagement with life and a zestful manipulation of color and pattern.”
Carson Fox (born Oxford, Mississippi) is an American artist who lives and works in Brooklyn, New York. Her work relies heavily on the imprint that individual experience has on the artist, and centers on the production of sculpture, installation, and prints.
Carson Fox received her master of fine arts from Mason Gross School of the Arts at Rutgers University, her BFA from University of Pennsylvania, and a four-year studio certificate from the Pennsylvania Academy of the Fine Arts. Her work can be found in the permanent collections of The Museum of Arts and Design, The Royal Museum of Belgium, the Noyes Museum of Art, the Newark Public Library, the Jersey City Museum, the Morris Museum of Art, the Jane Voorhees Zimmerli Museum, the New Jersey State Museum, and the Pennsylvania Academy of the Fine Arts Museum. She has participated in solo and group exhibitions at the Museum of Arts and Design, New York, The New Britain Museum of American Art, New Britain, Connecticut, the Boulder Museum of Contemporary Art, Boulder, Colorado, the Jersey City Museum, Jersey City, NJ, Claire Oliver Gallery, New York, O. K. Harris Gallery, New York, the National Museum of Wales, Cardiff, Wales, the Brunswiker Pavilion Kiel, Kiel, Germany, and the Association Mouvment Art Contemporain, Chamalieres, France. In 2009, Fox completed a permanent public art project commissioned by the NYC Metropolitan Transportation Authority at the Seaford LIRR Station in Seaford, NY. Fox has received grants from the New Jersey Council on the Arts, the Barbara Deming Memorial Fund, and the Mid Atlantic Art Foundation, a Willem Emil Cresson Award, and a New Jersey Print and Paper Fellowship at the Brodsky Center for Innovative Print and Paper. In 2013, Fox received a Sea Grant from the University of Rhode Island.
Fox lives and works in Brooklyn, New York.
My natural inclination is to be interested in objects and themes that have been left out of the history of art, feeling a particular kinship with marginalized “craft” materials, and the popular illustrations and folk art of the Victorian era. Like the Victorians, the fragility and brevity of life terrifies me, and one way I cope with it is to make things; thereby proving my existence through the evidence of my labor.
By nature, printmaking lends itself well to the investment of labor, and my current prints support this edict, while stylistically referring to Victorian wood and steel engravings. By scanning original images and extensively retooling them in Photoshop, I create bucolic landscapes of birds, butterflies, and flowers using the tropes of beauty, yet expressing an undercurrent of anxiety in the excesses and the crowding of the compositions. To compound this feeling, I have manipulated a number of these images by piercing them with thousands of holes, suggesting invisible routes made visible, a tangible history of my own industry, while transforming the paper into a lacy map. Other intaglio, screen print, and lithographic prints employ multiple layers of color printing, and were originally inspired in their use of straightforward, declarative text by illustration captions in the moralistic, “Royal Path of Life,” published in 1881.
Francine Shore received her BFA from Philadelphia College of Art. She has also done graduate work at La Salle University and the University of Mexico in Mexico City. Francine is a recipient of a Ford Foundation Grant, a Benton Spruance award and a T.V Guide award. Her work has been represented in private and corporate collections including the Museum of Western Art, Russia. Francine also leads workshops in the American Southwest, Italy, Portugal, Greece, France and Mexico. Her work is currently represented by the Aaron Gallery in D.C. Since 1986, Francine has worked as a Teaching Artist at Main Line Art Center.
The connection of finding an object, figure, landscape, then translating it, has been her primary focus. The journey from figure to "place" happened when she started "painting out" everything that wasn't essential, that seemed like an overstatement. She starts with an idea, not a plan, and work until the painting dictates, what to do.
Imagery has become reductive, released from gravity, and set free from a horizon line. Light drifts through thick/thin layered spaces. Surfaces become a depository of reflected and refracted light. Her images retain residual references to the object, mixed with and incorporating the intrinsic nature of paint, mixtures of mediums, canvas, paper, board, and its transcendent reality.
Christine Stoughton holds a PhD in Counseling Psychology from Boston College, a MEd from University of Louisville in KY, a BA from St. Louis University and a Certificate from Pennsylvania Academy of Fine Arts. Student of the Barnes Method with the De Mazia Foundation for four years and also studied at the Chicago Art Institute, Boston Museum School, Ontario College of Art and the Barnes Foundation. Christine teaches printmaking classes and workshops for various institutions, including UArts.
Inherent in the making of art is the transformation of a creative impulse into a creative action. In the visual arts this involves a change from the artistic concept to the art object. My work is strongly motivated by this idea of change, both in the making of the work and in the final image. Eastern philosophy, with its honoring of the simple and its focus on change with mindfulness in the present, is a guiding principle for me. My former profession of practicing psychologist and my experience of being a mother has reinforced the view that living life is about honoring change and recognizing impermanence. Thus the capturing of the ephemeral is essential to my art.
Close observation of the transformation that is inherent in nature, and my interaction with this natural environment, influence my art. The way plants change their form as they grow, the movement of wind and water, and the rhythm of light and shadow inform my work. My art, whether 2D or 3D, often depicts abstracted images moving in an undefined environment. Transitions from internal space to external space, from grounded ness to groundlessness, are consistent themes in my work. The work is often presented in an informal manner with the intent of emphasizing the aesthetics of the everyday.
Simple, easily accessible and often natural objects are my materials of choice. The goal is always to maintain the integrity of the material while transforming it in a manner that allows the artist and the viewer to experience it in a new and often surprising way. The materials used, the lines drawn, the images portrayed, generally have the expressive quality of fragility and vulnerability. The challenge for this artist is to express an emotional sensitivity in the work, while maintaining a substance, an "Itness" that allows it to withstand the passing of time. This challenge is a reflection of my view of human development, the need to remain emotionally open while being strong enough to go the distance.