Monday, October 31, 2011

First Thursday November: Trigos, Idlet, Hudson, Sims

Join us First Thursday November 3rd from 5-8pm at the Fayetteville Underground for another exciting month of all new exhibitions!
Luciano Trigo's paintings will be featured in the Revolver. In the Vault, Dana Idlet will present her latest work since her experience on Flores Island in the Azores. The work of Chad Sims will be on display in the Hive gallery. The E Street Gallery will feature functional stoneware by Gailen Hudson. 

Luciano Trigos 
Progressive Hemofiction
Revolver Gallery
 The eye stops in front of the Hemofiction painting. Observes shapes, colors, and structure, it self mesmerized. Desires to comprehend, looking back from a previous time, worn out. Attempts to enter lateral invented reality through a known door, but uses the incorrect key. Attentive eye, but conditioned. Curious eye. Was it going to speak proudly of its knowledge? What do I see? – asks the eye in continuous excitement. Hemofictive shapes that escape like smarmy fishes. Luciano Trigos's pictorial sense refuses to respond positively to custom. I am eye, should be able to see- the observer says with a certain rancorous air in his usual gaze.

The eye that claims or wishes to admire the unwanted requires tutelage. The disciple eye submits itself to surprising design and, does it look again? No, in reality it touches, it creates visual hands that reach out to caress the canvas and wooden frames. The eye, reeducated, gropes hemofictive forms. Colors and perspectives come to it in an open manner, vibrating. Wanting to retrocede, the eye wishes to perceive the pictorial dimension in an instant, but the painting's reality divides, it sets diversity of centers at the sight, it seems the painting does not desire to be a painting, and in contact with the touching eye it becomes restless, aggressive, as if it were being watched through a microscope. What I see transforms to pure beauty. The eye insists, inserts, accomplishes at last to detach an apparent totality, but discovers itself walking in an aesthetic surface right away, it is a wayfarer that steps, barefoot, in fragments of another reality attached to the first. Then, annoyed, decides to focus again.
Luciano Trigos does not recreate images, he produces Dynamic Abstract Chromatics. The artist sets off in observing, where personal creativity is the center. He sets the eye in first place and completes what could be spaces full of aesthetic cells that reproduce in unusual senses.
The eye roams with its own unrefined resources: shape, movement, color. The cosmos is by no means, the way Luciano Trigos paints it, it is worse- the artist's aesthetics tries to make up for God's faults or in some way, adhere to nature's constant birth giving. Luciano Trigos's paintings are product of lateral, germane vision. Plastic cells are born, they grow and reproduce inside original, abstract form and at the same time, follow a kind of autonomous development. These spurious Hemofictous beings are displayed towards objectivization, they wish to be touched, they desire to enter as fact to the three dimensional world and offer concrete possibilities to the receptor.


Dana Idlet 
Vault Gallery
This work comes from the growth and experiences I had on Flores island in the Azores. After coming across a photograph of a place I had never seen, I followed my intuition and spent the last six months in the middle of the Atlantic. I shared a tiny village with 200 other people between waterfall striped mountains and a rugged coastline shaped by lava flow, always aware of the sea and its shifting horizon. The people I spent my time with there are now my brothers and sisters.

There is a simplicity to the pieces I have produced, but they come from a very deep and honest place. The island's gentle pace, lack of material clutter and some indefinable quality of lightness gave birth to these images. On the island I had an overwhelming feeling of heaviness and being grounded. I had lived with my head in the clouds, floating around, fighting to touch down. In this otherworldly place rich with contradictions I found my gravity.

Gailen Hudson
Tea Time

The art of pottery has been the transformation of the raw clay into the vessel form serving the daily utilitarian needs of the people. It has always been a three dimensional surface of expression and decoration in the living space. The tea pot is the refinement of the vessel as a server of refreshment noted as a time of relaxation and reflection - a rest from the day's labors - either as a private moment or as a social gathering. The tea pot should be pleasing to observe, to hold in the hands, and to use. It is an enclosed space for containment, it creates a defined volume within the living space of the home, and it must have the attributes to efficiently serve its contents as desired. As I return to making functional pottery in stoneware, I am again searching the perimeters of design of the pleasing and functional vessel.

Chad Sims

Chad Sims graduated with a degree in Art from the University of Arkansas at Fayetteville, where he majored in Graphic Design. He also studied at the Savannah College of Art and Design in Savannah, Georgia. His works have been displayed in various galleries including the Jules Gallery in Fayetteville, AR; DDP Gallery in Fayetteville, AR; Gallery 26 in Little Rock, AR; and have been shown publicly in conjunction with Art Amiss, a Fayetteville-based collective for emerging artists.

This collection of works ranges from earlier, more detailed, meticulous and deliberate watercolor and pencil pictures, to more recent work in red and white earthenware clay. Due in part to the nature of the medium, the clay tiles took on a more urgent and basic quality (the lines for example being drawn more gesturally, and the compositions made simpler). Clay provided an opportunity to explore and stylize more elemental forms and figures, which I hope might one day populate paintings like the earlier more elaborately composed ones. Working with glazes and underglazes, which can't as readily be mixed and blended with one another the way watercolors can, forced me to look at color in a new way; to compose in flat blocks of color and to rely less on blending and shading and modeling of forms.

Fayetteville Underground : 4 Art Galleries : Working Artist Studios
One East Center Street : Fayetteville, AR
Fayetteville Underground Gallery Hours: W-F 12-7pm and Saturday 10-5

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