Stanford Art Spaces
August 26, 2005 to October 27, 2005, Stanford Art Spaces features this exhibit:

Bill
Atkinson

Photography
Marguerite Olson
Fletcher

Paintings
Peter
Foley

Mixed Media
Mitchell
Johnson

Paintings
Ulla
de Larios

Weaving

Petrified Wood

Venice: Turner Homage

Zanzibar

Must Be Rio Chiquito

Crossings 5


This exhibit is located on the Stanford University campus, primarily in the Center for Integrated Systems (CIS). The building is open 8:30 am to 5 pm, Monday through Friday. A directory is available at the CIS reception desk.

Most works are for sale directly from the artists. For information, contact M. Grossman, Curator, at (650) 725-3622 or marigros@stanford.edu

Bill Atkinson
 
Crazy Lace Agate © 2005

It began innocently enough. While photographing the Painted Desert, Bill Atkinson became intrigued with the brilliant colors in the petrified wood scattered on the ground. He brought home some polished rocks, photographed them under glare-free lighting, and was captivated. The photographs looked more like paintings of forgotten dreams than either rocks or photographs. Atkinson proceeded to photograph thousands of art-quality polished rocks, bought or borrowed from international dealers and collectors, and to refine his photographic techniques.


For more Bill Atkinson photography, click here.




Marguerite Olson Fletcher
 
Venice Variation © 2005

“Is it possible for art to provide a space that is regenerative? Is it possible to use the space of art to resist this restlessness, this sense of fragmentation, this sense of alienation from self and from place?” -Anthony Gormley, British Sculptor (Phaidon Press)

Marguerite Fletcher’s expanded question “How is it possible for art to provide a space that is regenerative?” lucidly summarizes her working conscience. She wants the materials, methods, and content of her art to evolve in light of this inquiry. Her personal materials and methods are traditional: flat surfaces; drawings, and paintings on paper, boards, and canvas with pencils, pen, pastels, oil, watercolor, and gouache; occasionally matte acrylics. She works with formal methods, using gestural forms and the language of color. Various forms, forces, and pictorial images have circulated through her artwork over the years. The natural world is their elemental reference, and the interaction of human culture with nature is a recurring theme. Along with human culture come tides of ideas, attitudes, events, conflicts, hopes, and questions, questions such as Anthony Gormley’s.




Peter Foley
 
Canoe © 2005

Peter Foley’s work is a deconstruction of the picture plane, adding and subtracting, using random and found elements to form a visual dialog. This collage technique allows incongruous elements to meld into unanticipated panoramas of visual connection. The structured composition and random association are key components of the work. “My box constructions are a construed balance of found images, faux artifacts, and primitive motifs. I keep the level of the picture surface in a found state by revealing my raw construction methods of staples, tape, and fasteners. The frame is an integral part of the piece, creating a shallow box in which the artifacts are preserved. My picture surface invokes a time worn patina.” This visual element gives the work an atmosphere of historical significance. The found photographs and iconography invoke a visual narrative. Juxtaposition of indigenous images and western classical icons introduces an underlying tension, creating a subliminal political dialog. The multiple levels of visual complexity form a labyrinth of paths for the viewer to explore.


For more Peter Foley mixed media assemblages, click here.




Mitchell Johnson
 
South of Gilroy © 2005

Whether outdoors or in the studio, Mitchell Johnson revels in the act of painting. His airy, sun-splashed landscapes of Italy, northern California and New Mexico vibrate with an energy culled from years of painting on site. The seemingly casual nature of his compositions is the result of a dedicated studio practice. Schooled in the rigors of New York abstraction, Johnson does not abandon representation but rather constructs a context for it: color becomes form, line becomes definition, and paint becomes space. With these tools Johnson presents us with his unique vision of the world.


For more Mitchell Johnson paintings, click here.




Ulla de Larios
 
Crossings 3 © 2005

Ulla de Larios’s “Crossings” pieces explore the state of limbo that is part of being an immigrant. We can never entirely leave our countries of origin, but are always stuck between what was left behind and the new. The border we crossed is not a single line but a period of time that extends throughout our lives. The cultural imprint of childhood and youth does not go away, but instead strengthens with age. The “Crossings” are woven on a sixteen shaft computer-aided loom, dyed by the warp-and weft- painting method. All the yarns are measured and dyed before they are woven together.


For more Ulla de Larios woven wall hangings, click here.



Most works are for sale directly from the artists. For information, contact M. Grossman, Curator, at (650) 725-3622 or marigros@stanford.edu
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