Past and Future by krj18645

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									      Past and Future
              Teal Art Gallery presents
              a special collection from
              University of Denver alumni.

                211 N. Main Street, Breckenridge

                       Opening night: Feb. 13th 2010
                                   4:00pm - 8:00pm
Patricia Aaron                      Introduction by
Mark Brasuell                       Deborah Howard
Cynthia Friedlob

Wendi Harford

Jennifer Hope

Joan MacDonald

Ray Maseman

Ira McMahon

Kathryn Oberdorfer

Michelle Rollman

Lindsey Stouffer

Elaine Tack

Honoring the art of:

Russell Bay McKlayer

                            www.tealartgallery.com
Introduction
As a faculty member of the School of Art and Art History at the University
of Denver since the fall of 1987, I had the good fortune to work with most
of the artists in this exhibition when they were students in Painting. Since
graduating many in this exhibition have become vital members of the Den-
ver alternative art community, exhibiting in this city, throughout the region
and elsewhere. Since these artists have graduated I have come to know them
as fellow artists and friends, which has made my life in Denver richer.

Teaching is a collaborative experience and the artists in this exhibit were
inspiring students; I learned as much from them as I hope they learned from
me.

As alumni of DU these artists share an experience in their lives that I be-
lieve was transforming. Studying art is a process and a search that continues
long after graduation. The success and progress one achieves in school is a
springboard that changes the student artist into a lifelong practicing artist.

The artists in this exhibition all continue to grow and evolve because they
continue to experiment, push ideas, take risks and wrestle with timeless
themes derived honestly from their own lives. They have all found their own
visual voice and at the same time continue to challenge that voice to prevent
it from becoming cliché, repetitive or contrived. These artists all continue to
stay engaged with contemporary art, and continue to reassess art from the
past and search for inspiration from outside the art world.

I feel honored to know and to have taught the artists in this exhibition, in-
cluding the founder and director of Teal Art Gallery Stephanie Sadler. This
gallery and the selection of these artists is evidence of Stephanie’s under-
standing of art and her appreciation of her education at the University of
Denver.

Deborah Howard

Associate Professor and Head of Painting Program
School of Art and Art History
University of Denver
Patricia Aaron
University Of Denver, MFA, 1999

Aaron utilizes multiple processes and techniques for the work she creates.
The work at Teal Art Gallery during February and March 2010 features
work from a 2009 series titled “Window Seat: US Virgin Islands”.

When Aaron travels by plane, she chooses to sit in the window seat. She
states, “These works were inspired by what I saw when looking down to
the water and islands below as I flew above on a sunny afternoon. The
Virgin Islands are a wonderful mixture of vibrant music, turquoise colored
water and underwater life filled with beautiful fish and plant life.” These
images and impressions form the basis the works shown in this series
which consist of framed encaustic on panels and also UV prints on Plexi-
glas.




Mark Brasuell
University Of Denver, MFA, 1989

Brasuel’s life and artwork revolve around his own personal experience.
He focuses on what he calls “Conceptual Abstraction” - he deviates from
traditional abstraction in that his pieces have concepts and meanings that
fall outside of painting as painting. The artwork reflects what is happen-
ing to Brasuel at each point in his life. This is not a conscious decision
in work. No judgements are made about his work except the elementary
choices of color shape, line, form, etc. The meanings of the work evolve
out of living with them and letting the works find their own purpose.
When Brasuel finishes a piece he says “that is what I was thinking,” with-
out having thought anything at all.
                                                  “Manifesttion” Mark Brasuell

Cynthia Friedlob
University Of Denver, BA, MA
Friedlob studied art, but ultimately chose a path as a writer. She states
that “many twists and turns, and twenty years later, the path led me back
to making art.” She greatly appreciates minimalism and adores the work
of Agnes Martin, Donald Judd, Richard Diebenkorn and Edward Hopper.
Friedlob most relishes the total liberation of the creative spirit while mak-
ing her art.

Cynthia’s award-winning artwork has been exhibited in gallery and
museum shows across the country since 1992. She has worked in mixed
media, installations, painting, drawing, and hand-colored photography.
She is currently making art she refers to as Photo-Graphics, using a pro-
cess that involves hand-coloring, then computer-altering black and white
photographs.
Wendi Harford
University Of Denver, BFA 1977

Harford, graduated from the University of Denver then returned to her
hometown of New York to study at Parson’s School of Design. Mentored
by Beverly Rosen, Harford created subtle and layered pieces that are at
once organic and man-made. Harford’s pieces don’t seem to be of a set
collection, though the color palettes, line quality and shapes might have
meaning in some private language. Her moody canvases display great
energy and increasingly subtle details. The sharp color contrasts, graffiti
motifs, wild drips and drawn lines, dare the viewer not to look too closely
or spend too long meditating over the piece. The spontaneity also discour-
ages meditation. Don’t be fooled by the blatancy or you will miss out on
the subtleties which make Harford’s work both memorable and original.




Jennifer Hope
University Of Denver, MFA 1994
Hope’s paintings are about paint, how it moves and color. Her line and
shape are created from the use and motion of color. She moves “one color
next to another color or into another color and I have a new shape, a new
line that changes my composition. The action is important, the result is part
of the same process. Keep it, use it, paint over it, it’s all good.” When she
is asked how she decides which colors or lines to add she answers, “I don’t.
After many years of painting there are no decisions required. It’s not left
to chance, it’s done by experience. I’ve learned to put the paint where it
goes.”
                               It’s not left
                               to chance,
                               it’s done by
                               experience.
                               I’ve learned
                               to put the
                               paint where
                               it goes.”             Jennifer Hope



Joan MacDonald
University Of Denver, BFA, MFA 1992

MacDonald completed the series for the DU ‘Past and Future’ show No-
vember 2009. The eleven paintings on canvas are titled “An Incomplete
Taxonomy of Chaos.” The series was inspired by two things: the decon-
struction/disassembly of a bread machine that was no longer working and
the idea of marionettes and puppets. She says that the ideas, images and
the humor all sort of fell into place as she worked on the canvases.
“In each painting, remnants of the bread machine are painted in the background
while other things are going on in the foreground. The broken and disassembled
bread machine represents the machine of society and the current state of national
and global affairs. The puppets and animals are those of us who are caught up in
the machine and relay some of our concerns.”
MacDonald includes a caption for each piece that tells a story.
Ray Maseman
University Of Denver, BFA 1992
Maseman’s work is filled with a preoccupation with voyages and quests
played out over a variety of locations on land, sea, and air. In his work,
he introduces anachronistic modes of travel and incongruous charac-
ters. These protagonists travel through their world, perhaps looking or
searching for something. They don’t know where or when they will find
it, or maybe even what “it” is, but they have an abiding faith that they
will reach their destination. Maseman uses these characers to reflect
notions of home - whether it is a place one is going to, leaving from, or
is carried within.

Maseman’s interest in anachronistic vehicles is
reflected in his choice of printmaking as a medium.
                                                         “Home -
The process is grounded in 16th century technology,      whether it is
yet can make use of contemporary developments in
etching grounds and inks. Working as a printmaker,
                                                         a place one
especially in etching, is an engaging mixture of art     is going to,
and science that allows him to build up a matrix of
information on a printing plate. The printing process
                                                         leaving from,
then allows Maseman to play with the use of color        or is carried
and further reflect on the image while producing an
edition of multiple prints.
                                                         within.”
Ira McMahon
University Of Denver, BA 2008

“Everything           One day in 2009, McMahon had an epiphany: ev-
                      erything in nature is beautiful. Intricate patterns and
in nature is          designs are everywhere we look. And where we don’t
beautiful.”           look. In most of his recent series, McMahon tries to
                      look where others don’t normally look. The “Light-
scapes” series captures the light patterns that are found when looking
directly across the ocean into the sun. People are unable to comfortably
look because it is blindingly bright. The camera is able to cut the light
down so far that we can see the sparkles and patterns of light that the sun
makes. In the “Past and Future” show, most of Ira’s pieces will focus on
trying to capture patterns in water that we are unable to look at or that we
don’t normally take the time to look at.




Michelle Rollman
University Of Denver, BFA 1990
“I can say all sorts of clichéd things about how these years changed me and
taught me more than any other years of my life. All of these clichés ring
true. I have had other growth spurts, but DU was the most intense and it
was at DU that I learned what art was and could be and so twenty years
later, I am a grateful alumna.”
Rollman recently published “The Book of Practical Pussies” an adult
picture book of her drawings combined with the writing of others. The
pieces exhibited here are a few of the original drawings from that collec-
tion. Inspired by a work by Yedda Morrison and by Apathy, my cat of 18
years, she found herself drawing lots of pussy cats. She asked several of
her favorite writers to send her pieces that related to cats. As it turned out,
Kathryn Oberdorfer
University Of Denver, BFA 1998
Nature is Oberdorfer’s greatest source of inspiration. She states, “it is
there that our surroundings relate and interrelate with each other in the
most profoundly perfect way.” She is drawn to mountain silhouettes,
shadows of tree branches, floating clouds, ocean waters and her garden.
Her journey as an artist strives to articulate the mood, rhythm and move-
ment evoked by these mysterious images.

Oberdorfer works with acrylics because of their watercolor properties
that are suitable for her art. She begins each painting by pouring very thin
washes of paint onto raw stretched and unstreched canvas. The interaction
between the canvas’ weave and washes results in interesting and varied
forms, creating the foundation of the composition. As the work evolves,
imagery emerges bringing together a delicate balance between order and
spontaneity.




without planning, so much of their work speaks to loss, to sexuality, and
to maintaining humor throughout; all themes that live in her drawing and
speak to her work in general.
Lindsey Stouffer
University Of Denver, BFA 1989
Stouffer is a sculptor with extensive design and metal fabrication experi-
ence. She currently teaches in the Sam Fox School of Design and Visual
Arts at Washington University in St. Louis. She has received several grants
for public artworks. In addition to public artworks and design, Stouffer
maintains an active studio practice that includes three-dimensional and
two-dimensional works. Her work emerges from a sense of place and seeks
to reveal the importance and beauty there.

In her current sculptural work, a site is constructed and a place, directly
shaped by constituent natural forces emerges. Meaning is communicated
through materiality, form, and light in these sculptures made from steel and
hosiery. Current two-dimensional works document observations from her
back yard, an alley way or the Riverfront North area in St. Louis, Missouri.
These constructions record a particular history through a series of medita-
tions of flotsam and jetsam.




  “DU opened my eyes
  and mind to so many
  friends from different
  cultures and my profes-
  sors inspired me to be-
  lieve, there are no limits
  to the imagination.”                  Elaine Tack
Russel Bay Mc Klayer
University Of Denver, BA 1979
Russell McKlayer was a Painter with a Bachelor of Fine Arts Degree from
the University of Denver. Russell worked in a variety of mediums. He
was a founding member of EDGE Gallery, was a member of the Women’s
Caucus for Art, and appeared in collections in Colorado, California, and
Alaska.
Russell Bay McKlayer died in 2009

Artist Statement
My paintings respond to personal experiences and observations. The sur-
face of my paintings are heavily worked, by scraping away pigment and
redefining areas with a variety of medium i.e.; graphite and charcoal. This
texturing of the surface ultimately gives the paintings a history of their
own, and with that their own visual ideology.
                                                           “The more
In this world, war is explosive. For this, I try to open
minds and expose the possibility that the more diver-      divergent
gent we believe ourselves to be, the more similar we       we believe
truly are. At one time I had said, “Nothing is free in
life,” when came the reply, “‘Except the love of a         ourselves to
child,’ the love of a mother, the love of a father, the    be, the more
love; the unconditional love of family.”
                                                           similar we
       “O, lead me to the slaughterhouse, I will           truly are.
       wait there with the lamb.”
                               -Leonard Cohen
Elaine Tack
University Of Denver, BA 1979
Tack graduated with Communications and English degrees and became a
video journalist. She graduated to anchoring and reporting, and for fif-
teen years she combined her video, producing and reporting skills. Since
2005, Tack has travelled the globe taking photos and experiencing new
and beautiful cultures. She attributes, “DU opened my eyes and mind to
so many friends from different cultures and my professors inspired me to
believe, there are no limits to the imagination!” This collection includes
photos from a recent trip to Africa, Croatia, Tasmania and Colorado.




                                                      Teal Art Gallery
                                                         211 N. Main Street
                                                               PO Box 808
                                                          Breckenridge, CO
                                                                     80424

                                                    www.tealartgallery.com

								
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