Art Of Gloss Gallery
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While the reproductions are all in acceptable color, the text could have made more of the basically Cubist ground out of which Davis's art grew. At one point, Wilson oddly describes a Davis painting as a ``gloss on Matisse'' when it was undoubtedly influenced by Picasso or Gris.
What Remains includes artwork created over the past two years, during a period of transition as the artist moved beyond his well-known Elm Tree Project. The exhibition includes three new bodies of work: planks that combine elm with carbon composite and progress to high-gloss carbon surfaces that reflect and mirror light sources and viewers; ominous freestanding sculpture with thorny surfaces of resin-coated carbon fiber draped and wrapped over armatures; and wall works that cross over between drawing and sculpture.
WITH the task of filling up gallery one at the Thunder Bay Art Gallery, Quentin Maki produced a stunning show called Kohesion, filled with bold expressionistic works, both intense yet playful. With various mediums, mostly paper on canvas, Maki has worked the parts into cohesive solid works that mimic the worn and weathered age of dilapidated walls, abandoned construction sites and sheets of metal, looking as if dragged from a site and hung on a gallery wall.
The aged and decay look of things is contradicted by a sense of hope in the works, a celebration of destruction with hints of beauty. Glazing gives the stencil and painted layers depth. The gloss varnish that coats the reflective and iridescent paint splatters make sections shine to give a tissue paper thin impression, as if parts of the painting could blow away in the wind.
Duncan Weller is a writer and visual artist. His work can be seen Saturday mornings at the Country Market and at his gallery and studio at 118 Cumberland St. You can write to him at duncanweller@hotmail.com. 781b155fdc