abstract part 1 & abstract part 2
Barbara Campbell Thomas lives and works in North Carolina. Her intensely colorful works combine painting and collage in an exuberant pattern of shape, line and texture. "Conceptually committed to inventing a visual counterpart to the breakneck pace of our culture through images equally relentless in their press of information" the artist succeeds in creating a burst of adrenaline upon viewing the explosive, precariously balanced compositions. From within the fragmented jumble of shape and color an "odd intuitive order -- just barely intact" emerges and the comforting textures of the bits of fabric and canvas collaged onto the surface offer the enthralled viewer a tactile respite, as a stealthy harmony
Barbara Campbell Thomas lives and works in Climax, North Carolina. She is currently an Associate Professor of Art at the University of North Carolina Greensboro. Her work has been exhibited nationally, in such venues as the Weatherspoon Art Museum in Greensboro, North Carolina, the Atlanta Center for Contemporary Art, the Urban Institute of Contemporary Art in Grand Rapids, Michigan, A.I.R. Gallery in Brooklyn, New York, 1708 Gallery in Richmond, Virginia, the University of Tennessee Concourse Gallery in Knoxville, Tennessee, and Agnes Scott College Dalton Gallery in Atlanta, Georgia. She received her MFA from the University of California, Berkeley and her BFA from Pennsylvania State University. She has been an artist-in-residence three times at The Hambidge Center for Creative Arts and Sciences in Rabun Gap, Georgia, as well as at the Skowhegan School for Painting and Sculpture in Skowhegan, Maine. Additionally, she was a fellow at the Yale Summer School of Music and Art in Norfolk, Connecticut.
Sydney Cohen, of Berkeley, layers blocks of intense, muted, color that lean against the edges of each other and of space. Ideas of figure, architecture and landscape are abstracted in fluid geometries. In the new body of work to be exhibited in Atlanta, Cohen explains that the paintings "equate experience with space". The narrative is of a female artificial intelligence's neural networked day dreams about a future or past romantic honeymoon. These dark, humorous and engaging paintings are a powerful distillation of a process that is among other things formal, spontaneous, controlled, and edgy.
Sydney Cohen teaches at the California College of the Arts in Oakland, California. Her work has been exhibited nationally and internationally in the Bay Area, Iowa, Chicago and Venice, Italy. She received her BFA from the California College of Arts and Craft, Oakland, California, and her MA and MFA in Painting from the University of Iowa, where she was an Iowa Arts Fellow.
Amanda Hughen has exhibited her work in museums and galleries internationally, including the Berkeley Art Museum (CA), Danese (NY), Knoedler & Co. (NY), the Triton Museum of Art (CA), and White Columns (NY). She has been an artist-in-residence at the DeYoung Museum of Art (CA), the Headlands Center for the Arts (CA), Oxbow (CA), and Yaddo (NY). Other honors include being a National Endowment for the Arts Scholar and the Chair of the Advisory Board of the San Francisco Arts Commission Gallery (2005-6). She has taught at Skidmore College (NY), the San Francisco Art Institute (CA), and University of California, Berkeley (CA). In addition to her solo work, Hughen collaborates with the artist Jennifer Starkweather under the name Hughen/Starkweather. They have been commissioned to create a permanent public artwork on the glass exterior of the Central Subway Union Square station, opening in 2016. Hughen received a BA in English Literature from Washington and Lee University, and an MFA from UC Berkeley, where she was awarded a full Block Grant Fellowship and the Eisner Prize. She lives and works in San Francisco.
In her series, Associated Press, she abstracts shapes of jewelry from ads in the print edition of the New York Times. Using the color palette from adjacent news photographs in the same issue, she repeats a single jewelry shape multiple times onto layers of mylar, paper, or wood panel using screenprinting. If the screen is not flooded with ink every few minutes, the ink will dry and the screen must be discarded, so constant movement is required. Her work explores, among other things, image fallibility, audience, editorial hierarchy, anachronistic media, and objects of distraction.
"I draw and paint for the same reason I read a good novel: to enjoy the unraveling of finding out what happens. When I begin a work, I start with something both accidental and familiar — a few colors, a few shapes or smears, a memory of a tangled pile of laundry or the movement of sunlight through my grandmother’s apartment. These initial colors and shapes begin a process of discovering unintended proximities and relationships, of finding logic and meaning in the unique situation that emerges. Accidents repeatedly redirect me, blurring my understanding of the difference between accident and intention. I look for anomalies as I rearrange, reassemble and make myriad adjustments. Eventually, the confusion of relationships slipping out of balance begins to create new structures and forms. These shifts and accumulations become a way for me to respond to the necessity of change, and the beauty and complexity of living. As I work, my process both brings me closer to and gives me distance from the friction between intention and coincidence, subtle forces which shape my understanding of being in the world."
Deborah Zlotsky is a 2012 recipient of a New York Foundation for the Arts Fellowship in painting and is represented by Kathryn Markel Fine Arts in New York. She has exhibited her work in exhibitions across the country, and her drawings are in the curated flat files of Pierogi Gallery and The Boston Drawing Project at Joseph Carroll and Sons Gallery, as well as the online-curated registry at The Drawing Center. A selected list of public collections includes Nordstrom, Progressive Insurance, Rutgers University, the Waldorf Astoria, the New York Palace Hotel and the Albany Institute of History and Art. Over the past 10 years, she has received residency fellowships at Yaddo, VCCA, Ox-Bow, Millay Colony for the Arts, Ragdale Foundation, the Weir Farm Art Center and the Kimmel-Harding-Nelson Center for the Arts. Zlotsky received a BA in Art History from Yale University and an MFA in Painting and Drawing from the University of Connecticut. She teaches at the Rhode Island School of Design.
Lori ott "Experimental in material and process, my work is informed by the language of painting, the history of abstraction, chemistry, color, landscape and grid. Favoring the fluidity of pigmented liquid plastic, I construct physical objects that function optically as well as sculpturally, engaging both vision and touch. Using color and surface texture to differentiate the parts or elements, I combine and assemble juxtaposing materials and forms (hard/soft, organic/geometric, opaque/translucent) to further abstract the pictorial qualities of the works.
Within my studio practice the cumulative activity of mixing and pouring liquid plastic establishes time and place; each piece is a visual moment where material and process are tested and challenged. Color consideration is based upon my response to landscape (real, imaginary and emotional): I seek to reinvent a model of my experience using color, material and form. Installing these pieces directly on the wall allows the work to be open-ended in process and presentation."