Home Fire was composed alongside a series of moves that set Emily Palmquist voyaging from west to east and west again. This fluttering about left Palmquist and her work double-taking for a sense of place and connection. The results invite viewers to step into a narrative of mixed origins where the familiar comingles with the projected, the past, the day-dreamed, and other deviating realms.
Katy Parnello's newest collection, Visceral grew from a desire to create space for her family. Realizing on a deeper level the importance of environment, she created a comforting and inspiring room that provides strength, support and a reminder of what is possible. Her stand alone pieces can be hung on walls or incorporated into the architecture of a building to further support and encourage the sensory experience of life.
Jorge Anchondo lives in Ridgway. He has studied in plenty of places and received plenty of degrees. Although he may be known more for his pigs than his paintings, art has been his life for over half a century. He paints because it provides a space to think and meditate. His paintings do not have anything at all to do with painting as painting, perhaps more with painting as a vehicle to let him wander in another land.
The colorful, humorous, and hopeful fabric works of New Orleans artist Chris Roberts-Antieau will be on display at Gallery 81435 through September 2018. Chris Roberts-Antieau is a self-taught pioneer of machine embroidery. Her main body of work, which she calls “fabric paintings,” are highly sophisticated tapestries created in her signature style of fabric appliqué and intricate embroidery, crafted on a simple Bernina sewing machine. Antieau’s subject matter ranges from joyfully candid cultural commentary depicting unbelievable true stories to more personal reflections on nature, perception, reality, and truth.
Every spring, Gregory Botts drives across the country from New York City to Abiquiu, New Mexico. Along the way, he visits natural areas and begins his works as plein air paintings. Each year, a narrative emerges in the paintings. A southern route through Florida, Louisiana, and Texas has heavily influenced the past five years. This particular direction points to an imaginative poetry sought out by Botts. The plein air paintings typically emphasize a concern for endangered environments. These paintings also serve as references in Botts’ studio paintings. In his studio, Botts enlarges imagery remembered from his trips and uses his plein air paintings to guide his ideas and artwork. After a simple narrative is formed, a poetry of symbols arises from the repetition and simplification of forms. In this type of painting, the Earth itself has become a character – playing the ideal part of the hero.
Trine Bumiller explores the relationship between memory and experience through paintings and installations that balance on the edge of both abstract and environmental concerns. She has a BFA from Rhode Island School of Design and studied in Rome with the European Honors Program.
Trine has had many exhibitions both nationally and internationally. Solo shows include the McNichols Building in Denver, the University of Wyoming Art Museum, the Las Cruces Museum of Art and most recently at the International Arts Festival of Sarajevo in Bosnia and Herzegovina. She has received grants from Colorado Council on the Arts and Colorado Federation of the Arts and been an artist in residence at Yaddo, Denali National Park, and Rocky Mountain National Park. Her work has been reviewed in Art in America, artltd., ArtNews, the New Art Examiner, the Christian Science Monitor, the Denver Post, and Westword. She is on the board of Denver Art Museum’s DAM Contemporaries.
Trine’s large-scale public art can be seen at the Colorado Convention Center, the Four Seasons Denver, the Peninsula Hotel Hong Kong and the University of Colorado and many other places. She is represented by Robischon Gallery, Denver, Markel Fine Arts, New York and Zg Gallery, Chicago.
"What amazes me most about the partnership with a horse is that they allow us on their backs, but that is exactly what creates the tension in my paintings; the partnership between equine and human. The images are larger than life yet intimate, and hopefully, capture the beauty and power and grace of the horse, yet the horses are bitted and bound with reins. The human factor is always present, but never within the frame except for perhaps a suggestion. It is the special agreement and the spirit of both which make the paintings shine with light and life."
Margaret’s work develops intuitively. It is composed of a confluence of multiple sensations drawn from her own experiential landscape. There is an all-consuming mental grind in the creative process, and her objective is to achieve visually arresting images. The goal in this series is to make the apparently simple relationships of form and color charged with as much force, feeling and meaning as possible.
On a simple level, Micheline Klagsbrun began with the intention to display side-by-side work done in her East Coast studio with work done here in Telluride. She has always been interested in the sense of place in art. At a deeper level, Klagsbrun is also fascinated by the parallels that can be found between cultures widely separated by time and geography.
“There is an undeniable sense of danger and power in using fire to create a drawing; and there lies a grotesque, but grounding, beauty in using bacon to create a painting. Perhaps the combination of the two is American.” Anderson is interested in the way environments and their people shape how one interprets their experiences. Oscillating between energetic moments of inspiration and long periods of study and focus is essential to Anderson’s practice. Sketches and drawings from travels formed with careful but emotional mark making weave a history of journey among the creatures.
Next Move is inspired by an Albert Einstein quote, “Life is like a bicycle. To keep your balance you must keep moving.” This work demonstrates some of my “moving”--- recent visual exploration to continue developing my vocabulary and sensibility. Abstracted shapes mingle with more figurative elements and old ideas and concerns struggle to find new expressions. The paintings are metaphors for past experiences and memory.
Rebecca Harrell’s work is rooted in an interest in evolving landscapes, human interventions with the natural world, and geologic formations. She is interested in the contrast between slowly evolving natural forms and rapidly expanding, urban settings. The result is a visual dialog around scale, source imagery and space. Harrell exaggerates that tension through material and formal choices.
The colorful, humorous, and hopeful fabric works of New Orleans artist Chris Roberts-Antieau are coming to the Telluride Arts District for Mardi Gras season. Antieau’s subject matter ranges from joyfully candid cultural commentary depicting unbelievable true stories (such as James Brown’s Funeral: And The Tragic Aftermath) to more personal reflections on nature, perception, reality and truth. Antieau further explores her interests through sculpture and installation, creating elaborate dollhouses of famous murder scenes and elegant gowns embroidered with birds of prey eviscerating small animals.
Emily Palmquist’s newest series is composed of those very bones, an intimate observation of the mesa she has inhabited for the passing of nearly three winters. The seasons transform with the interchange of birds and wildflowers, the various state and movement of water, a hen’s first egg and her last feather. Winter leaves the fence lines buried up to their ears slowly emerging with spring. Summer’s leaves turn brown and dry just in time for the winds of fall to blow them bare. The days are stitched together with tracks in the snow, rain clouds pulling low against the valley, and another dead vole at my threshold.
For two years artist Jill Sabella and poet Rosemerry Wahtola Trommer experimented with simplicity—a leaning toward less and the more that blossoms out of it. They took turns sending each other work to respond to. The result: 45 intimate pairings, in which three-line drawings and three-line poems reflect each other. Some are framed individually and others are framed as triptychs. The result: Elegant. Provocative. Inviting. Poignant.
The artwork began with charcoal thoughts, and later the same drawings were done on rice paper with Sumi ink and brush.
In addition to the framed artwork, the pairings have been made into a book, even now (Lithic Press, 2016).
The show runs thru November 2016 at Gallery 81435, located at 230 S Fir Street in Telluride, Colorado. Open daily from 12-6pm or by appointment.