BUILDING FINE ART COLLECTIONS SINCE 1965

UPCOMING

 

PEGGY WEISS / Odyssey Remembered: Experimental Landscapes
November 30, 2018 – January 12, 2019

Open House: Saturday, December 8, 12-5 pm
Peggy Weiss Artist Talk, 3 pm

Odyssey Remembered pays homage to both the ties that bind and the ever-lasting influence of nature on our psyche,” says Weiss. “Along with four childhood friends who share a love of nature and poetry, I have hiked annually around the back-country of North America. Some thirty plus years and treks later, images of the grand places we have experienced have surfaced in my paintings.”

The Artist and Her Work:

Before focusing exclusively on her artwork, Peggy Weiss and her husband made their mark in the culinary world in Austin, Texas. An avid photographer, she began her art career experimenting with digital collage, using old photos as source material. Today's technology allowed her to explore ways of combining personal experience with stories she saw embedded in the photographs of others, marrying memory with fantasy.

 “Life has always pushed me in the direction of creativity,” states Weiss, who now works in her art studio in Wimberley, Texas.

Painting was a natural progression for her artwork, exploring both abstract and experimental. Her paintings unfold instinctively. Weiss' influences include early American modernist painters of America: Marsden Hartley, Arthur Dove, Georgia O’Keeffe.

high-resolution images:
Peggy Weiss / Cry Me a River

Peggy Weiss / Moon Over Desert

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Peggy Weiss / Cry Me a River
Mixed media on canvas / 36 x 48 in.

 

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Peggy Weiss / Moon Over Desert
Mixed media on canvas / 36 x 48 in.

 

 

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CURRENT

 

SHAWN CAMP / My heaven and hell are the same
October 20–November 18, 2018
Reception: Saturday, October 20, 5-8 pm

Having recently returned from an artist residency at the creative center in Stöðvarfjörður, Iceland, Shawn Camp presents new work influenced by the rugged terrain, glacial ice, and volcanic ferocity of the sub-arctic island nation. The experience took him in a new direction with a series of works on paper which reflect his ongoing interest in linear forms, geometric references, and reflective surfaces.

In response to the tumultuous interaction of landscape and sky, the paintings slow to a stand-still. At times dark and atmospheric, the imagery resonates a quiet ambiguity through reflective surfaces and delicate transitions of color. Linear forms are cut like broken panes of geometry through deep recesses of space, hinting at the changing states of matter formed by geological forces within the earth.

These new works investigate dualities and exploit the effects of context on our perception. They convey a sense of atmosphere and explore the mystery of light and our subjective experience of the constantly changing visual world. Through the use of refractive pigments, glazed and sanded repeatedly atop smooth, mirror-like panels, the experience of color and shape becomes elusive and indefinable.

high-resolution images:
Shawn Camp / Across the Window

Shawn Camp / Fig in Winter

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Shawn Camp / Across the Window
Acrylic on paper / 9 x 13 in.

 

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Shawn Camp / Fig in Winter
Acrylic on paper / 13 x 9 in.

 

 

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2018 ARCHIVES

 

JILL LEAR
August 18 - September 29, 2018

Jill Lear first showed with Gallery Shoal Creek in 2008. Over the course of ten years, we have followed the gradual evolution of the arist’s mapping experiences in nature and the formal way in which she approachs the interpretive narratives of the magnificant trees that she shares with the viewer. Central to the artist’s thinking is the question: “How do we process the world around us?” For Lear, the investigation has always started with the particular—the place itself—identified with the longitude and latitude followed by a study of the topography, proportions, negative space and positive forms. 

The current body of work has come about in a different way. “After reading The Hidden Life of Trees,” Lear notes, “I became more aware of how trees communicate with one another, how they cooperate and support one another.” As she transcribed the experience of being near them it seemed like the essence of each tree was coming out in the imagery. The work became more expressive. 

Most recently Lear has begun visiting historical tree sites in Louisiana. Featured is a work titled “Eminent Domain”, a reference to place held by a magnificant oak in a small village along the Bayou Grosse Tete (Big Head in French). Legend has it that the bayou was named after a big- headed Choctaw Indian who lived and hunted in the area when it was settled by French Acadians. Before the advent of the railroad and eventually I-10, the bayou was the main route of transportation through this pastoral region of lush green pastures and sugarcane fields.  When listed in Dr. Stephen’s Louisiana Conservation Review article of 1934, the grand old tree had a girth of 22 ft. 6 in. The most recent measurement in September 2015 shows it with a girth of 30 ft. 2 in. Situated between the freeway, the truck stop and the bayou, the tree holds its place, protected from progress and encroachment.

high-resolution image:
Jill Lear / Eminent Domain

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Jill Lear / Emnient Domain
Mixed media on paper / 30 x 41.24 in.

 

 


 

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KATIE MARATTA
August 18 - September 29, 2018

In creating her "horizonscapes," Katie Maratta acknowledges an apparent contradiction. While the literal picture plane is incredibly small, the visual space it suggests is vast. The technique is understated and monochromatic, but the elements of the composition retain their weight and authority.

The signature piece for the current exhibition took Maratta to South Texas to document the border wall.

In my work depicting the Texas horizon, I am regularly exposed to fences: they define, divide, and describe a landscape that historically resisted all that. The ubiquitous barbed wire fence that edges the distant field and bisects the ground into rectangles becomes a geometry lesson that demonstrates planes, intersections, and perspective.

The fences exist as drawn lines - as opposed to the fence as a statement of property rights, displacement, and conflict.

With both those ideas in mind, I decided to visit the border fence south of Sierra Blanca, Texas.  

From a distance, the border fence I depict in my horizontal format of 10 feet long and 1.5 inches high zigzags within the bleached landscape of scrub and chaparral. It is a dark angular gesture that slashes across your vision, recedes and partly disappears into the brush and foothills, then approaches and looms above you. At close range, the fence is a series of steel pillars, at once imposing and sculptural. But, again, from afar, it is overpowered by the terrain and dwarfed by the mountains of Mexico.  

The structure is an unintentional piece of land art – remote and foreboding. It dehumanizes the panorama and, at the same time, demonstrates the complex perception of scale and proportions that I focus on in my work.

high-resolution images
Katie Maratta / Texas border fence (detail 1)
Katie Maratta / Texas border fence (detail 2)
Katie Maratta / Texas border fence (detail 3)

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Katie Maratta / Texas border fence (detail 1)
Mixed media drawing on panel / 1.5 in. by 10 ft.

 

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Katie Maratta / Texas border fence (detail 2)
Mixed media drawing on panel / 1.5 in. by 10 ft.

 

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Katie Maratta / Texas border fence (detail 3)
Mixed media drawing on panel / 1.5 in. by 10 ft.

 

 

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LIMINAL: Sydney Yeager
May 19 - June 30, 2018

For the past decade, I've painted on linen, leaving the field either raw or lightly touched with a wash of color. This method insists on a willingness to take what is immediately given  Further challenging is my habit of painting "alla prima", or wet into wet. This approach allows little opportunity for revision, and tiptoes along the edge of chaos. Working this way is consistent with my interest in motion and transitory forms, as each mark of the brush holds the possibility of altering the painting entirely.

In this current body of work, the organic forms are now countered by geometry. There is a  collision between  fluid lines and the brute force of the geometric shapes. The wedges of solid color challenge the tangle of shifting space and line, and begin to imply a narrative. Together, the oppositional forms express a sense of imminent change. These forms are in a state of flux, a condition best described as liminal.
- Sydney Yeager

 

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Touched by Blue

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Sydney Yeager / Touched By Blue, oil on linen, 43" x 53"

 

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The Pink Bow Project
My name is Karen. I was ten years old.
April 13 - May 12, 2018

A large-scale, multimedia work, "The Pink Bow Project" is designed to envelop its audience. Upon entering the gallery space, you are immediately confronted by 52,000 pink bows - the ubiquitous symbol of a girl’s childhood innocence.  In unison, they represent the substantiated cases of girls under age 18 who are victims of child sexual abuse each year in our country.  Fifty-two panels, each covered in 1000 bows, hang from the ceiling in the exhibition space creating pathways for the viewer to meander through the space and grasp the enormity of the issue of Child Sexual Abuse.

As you make your way through the gallery space, navigating around the panels, an audio component pulls you deeper into the space, where viewers will hear recordings from hundreds of sexual abuse survivors reclaiming their voices. In solidarity, unified through experience, a crowd of voices is talking. From the crowd, a voice comes forward, stating their name and their age at the time of their abuse, and then fades back into the crowd as another survivor’s voice comes to the forefront. As a survivor of childhood sexual abuse herself, the first voice will be Hawkins’ brave statement, “My name is Karen. I was 10 years old.”

www.thepinkbowproject.com

 

high-resolution images:
Karen Hawkins / The Pink Bow Project

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Karen Hawkins / The Pink Bow Project

 

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MILT KOBAYASHI
March 3 - 31, 2018

The Artist and His Work
Milt Kobayashi seeks to capture fleeting moments of everyday life. Spontaneity and gestural expressions define his paintings. Brevity of brush stroke gives an illusion of simplicity, highlighting only that which is essential. One stroke less and the subject is void of structure, one stroke more and the painting is chaotic. His compositions are dominated by quiet moments. “For inspiration, I will memorize scenes, store them in my memory and then distill them down to the most important elements. It may be a shadow, a scene from a movie, or the way light hits the face of a stranger walking down the street.” In talking with students, he stresses Degas’ belief that “relying on memory as opposed to copying a scene or event stimulates the creative process. In this manner, you only reproduce what has stuck with you, that is to say, the essential . . . your memories and fantasies are freed from the tyranny which nature holds on them.”

high-resolution image:
Milt Kobayashi / Blue and Gold

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Milt Kobayashi / Blue and Gold
Oil on canvas / 10" x 10"

 

 

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KARINA NOEL HEAN
STRATA / Prints and Drawings
January 12 - February 17, 2018

Grounded in drawing, Hean explores responses to the landscape. She points out that “the dislocated landscapes in this exhibition are like us, accumulations of experiences, interactions, weather -- stacked and layered as sediment revealing residual effects of change. Both the woodcut and intaglio prints and large and small scale drawings contain a layering of time, memory, and mark.” 

Karina Noel Hean is based in Santa Fe, NM, where she balances teaching and creating her own art. She teaches at the New Mexico School for the Arts, where she chairs the Visual Arts Department. Hean has a BA from St. Johns College, a Post-Baccalaureate Certificate from Studio Art Centers International, and her MFA from New Mexico State University. Hean received an American Artist Fellowship at the Ballinglen Arts Foundation, Ireland, and has completed several artist-in-residencies in the U.S. Her work has been exhibited in solo and group exhibitions throughout the U.S.

high-resolution image:
Karina Noel Hean / at edges I

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Karina Noel Hean / at edges I
Ink, watercolor, acrylic / 29 x 37 in. framed

 


 

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2017 ARCHIVES

 

TONY SALADINO
October 20 - November 22, 2017

Sound in Time / Marks in Space
When sound becomes music and marks become art we can see and feel the effect of shared experience.

Tony Saladino has always felt a deep connection between music and the art that emerges from his creative process. In a series of 12 new works on canvas, the artist explores this connectivity.

The exhibition opens on Friday, October 20 at Gallery Shoal Creek with a reception for the artist and will be on view through November 22. Mr. Saladino and gallery owner Judith Taylor have worked closely together for over twenty-five years. While color has always been at the heart of Saladino's works—whether on canvas or paper—his mark marking has evolved from highly structured to loose and gestural.

 

high-resolution image:
Tony Saladino / Firebird

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Tony Saladino / Firebird
Acrylic / 54" x 50"

 

 

 

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KAREN HAWKINS
August 18 - September 30, 2017

KAREN HAWKINS / How Many Journeys?
Holding a vintage book, Karen Hawkins is drawn to the sensory qualities of the volume and wonders, "how many journeys has this book taken?"   In our digital age, books are rapidly becoming objects on a shelf. As an artist, Hawkins' goal is to propel the objectivity of each decommissioned book by transforming and reinterpreting its form. In deconstructing and constructing, Hawkins creates meandering, organic forms—each with a meditative aspect. Recent jelly roll assemblages are rendered in un-dyed, natural tones of aged paper while sculpted book forms are presented as hanging pillars as well as wall installations.

"I begin by expanding the physical properties of the book: folding, cutting and excavating it, rendering each page largely unreadable, and each book shifts into an object, not of literature or science or history any longer, but an object of art. As the meaning of each book is subjugated to this objectification process, a shifting beauty transpires, aside from any language or text or etching held between the endpapers. As the type transforms from a recognizable symbol to a simple visual mark, it no longer references a known cue, but introduces a new, visual language."

 

high-resolution images:
Karen Hawkins / Jelly Rolls
Karen Hawkins / Sculpted Book Forms

 

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Karen Hawkins / Jelly Rolls
Rolled book pages

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Karen Hawkins / Sculpted Book Forms

 

 

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KOICHI YAMAMOTO
August 18 - September 30, 2017

KOICHI YAMAMOTO / New Territory
Engraving has been a primary medium in Eastern Europe for centuries, and it was there that artist Koichi Yamamoto's interest in it began. The intense physicality and slowness of this specific intaglio process resonated with the highly skilled printmaker. The last five years of the artist's practice has been devoted to developing a unique technique of creating bisymmetrical imagery via traditionally engraved copper plates. The current exhibition highlights the new territory into which this important artist has ventured both physically and creatively.

This spring, while on sabbatical from his teaching position at the University of Tennessee Knoxville, Yamamoto had the opportunity to pursue his printmaking at three very different residencies, each of which broadened the scope of his work. On Kauai Island in Hawaii, the artist incorporated images from naval architecture. The winds of the Mojave Desert inspired the artist to create kites out of his prints while at Joshua Tree National Park. Research into Moorish architecture in Southern Spain and Morocco led Yamamoto to incorporate color into his oeuvre. In reference to the collective experiences, he notes, "To share and to communicate requires a vehicle. Kites are my vehicle and printmaking my language."

high-resolution images:

Koichi Yamamoto / Kite Flying at Joshua Tree National Park
Koichi Yamamoto / Floating Architecture Series no. 25

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Koichi Yamamoto / Kite flying at Joshua Tree National Park

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Koichi Yamamoto / Floating Architecture Series no. 25
intaglio / 16 x 20 inches

 

 

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PrintAustin 2017
KAREN KUNC + MONIKA MELER
January 13 - February 18, 2017

A spectrum of color and light connects Karen Kunc's woodcuts and Monika Meler's relief prints in this two-person exhibition. The span of time is central to both artists' imagery. For Kunc, the natural world is where she finds inspiration; Meler draws on place—referencing memories of her childhood in Poland and her immigration to the U.S.  Strong visual imagery and technical fluency have brought each artist international recognition in printmaking.

KAREN KUNC is the Willa Cather Professor of Art at the University of Nebraska-Lincoln and is internationally known for her large scale, elaborately colored woodcut prints. Her imagery incorporates richly hued shapes with timeless textural language, leading to a sense of intimacy and detail, with the tactile resonance of wood, paper and impression.

MONIKA MELER's selected works for the exhibition focus on Collected Memories and include several different print processes - diffused relief print, monotypes, and handcut stencil relief prints. Monika is an Assistant Professor of Art at the University of the Pacific in Stockton, California.

high-resolution images:
Karen Kunc / Place Naming
Monika Meler / The Tower

 

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Karen Kunc / Place Naming

 

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Monika Meler / The Tower

 

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