New Artists Summer 2012 Sm

1871 N Clybourn Ave / Chicago, IL / 60614

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www.chicagoartsource.com

208/15/12 NEW ARTISTS | SUMMER 2012

FITZGERALD

“My work is created through a fluid process. Paint is thinned and applied as a watercolorist

might run a wet wash - thinned pigment dispersed in a turpentine wash. I work in multiple lay-

ers, producing a deep, rich, luminous surface. Paint dribbles down the sides of the stretcher

as I work. This dripping records the layering process and reminds me of the changing states

of matter. I value the high degree of contrast these sides provide - the drips complement the

careful crafting of the surface. I have never framed my paintings.”


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FitzgeraldWhen Breath Leaves my Body oil with aluminum, 12k gold and silver on MDF 40” diameter panel

FitzgeraldBreath oil with 12k gold on MDF 12” diameter panel

FitzgeraldCorolla12k gold and silver leaf, oil on paper 20” diameter image


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FitzgeraldRed Sea oil with 12k gold and aluminum on paper 12” image on 16x19” prepared paper

FitzgeraldVoice of Fire oil with 23k gold and silver gilding on paper 20” image on 26x33” prepared paper


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FitzgeraldI Am a Thousand Winds that Blow oil with 12k gold and aluminum on paper 12” image on 16x19” prepared paper

FitzgeraldVoice of Fire oil with 23k gold and silver gilding on paper 20” image on 26x33” prepared paper


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FitzgeraldIdir Eathara IV oil with 12k gold and aluminum on paper 12” image on 16x19” prepared paper

FitzgeraldIdir Eathara oil with 23k gold and silver gilding on paper 20” image on 26x33” prepared paper


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CECCIO

“My early summers were spent on the St. Clair River, a narrow body of water separating

Michigan from Canada. I may not remember everything from those years, but I can still hear

the rain on the water as a storm comes in, and the muffled horns of the freighters. Several

summers ago, I drove from Bozeman, Montana down to Yellowstone National Park. That night

at sunset, the smoke from the fires on the Gallatin mountain range fused the evening sky with

the land below.

Past travels and experiences such as these inform my current work. But memory is delicate and

random, seldom clear or complete. As there is often a gap between an actual experience and

the recollection of it, I give only a partial description. Layering pigment in both oils and en-

caustics works to obscure the image, to disrupt the legibility of detail. The atmospheric images

explore what is forgotten, and what still demands our attention despite the passage of time.”


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CeccioWaterways oil on canvas, 73x37”

CeccioKenosha Pass 32oil on canvas, 37x37”


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CeccioThe Edge of Spring oil on canvas, 53x49”

CeccioDetroit Riveroil on canvas, 49x45”


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CeccioRiver Rouge oil on canvas, 45x43”

CeccioCrater Rim Driveoil on canvas, 35x31”


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CeccioSpring Branches photo and encaustic, 25x25”


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MASYGA

Masyga’s paintings of stacked rectangular forms explore the extremes of scale and sug-

gest the detritus common to industrial sites, such as unruly piles of wood pallets; that

impression is bolstered by his sculptures of wood, plaster, Structo-Lite, and actual detritus

that are surely meant to be his own table-size demolitions.

His meticulous attention to detail, process and craftsmanship is supremely evident in his

intimate, maquette-sized sculptures made of plaster loosely creating architectural ruins or

frozen explosions of building materials. His paintings are equally meticulously executed

and manage to convey a similar sensibility even through such a different approach. Their

diminutive scale draws the viewer to wonder, with a precision that almost looks digitally

rendered.


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MasygaUntitled 1.04.11 oil on paper, 20x16”

MasygaUntitled 1.06.11oil on paper, 20x16”


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MasygaUntitled 8.29.10 oil on canvas, 24x16”



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LANDAU

The “Portals” series and the “Junction” series transform commonplace architectural

elements, such as a doorknob and the elements that surround it, into a study of geometry,

color, and the terrain of life. Each architectural element is unique and holds the memory

of life coming and going. Layers of paint, stray marks imparted to the object over time,

and patinas from weather and quality of use, tell the story of the object’s life.

Nicole Landau digitally produces a translucent layering of a single original photograph to

reveal inherent patterns, geometry, or a new landscape. She uses the entire photograph

to create a study of color and composition. The crisp vertical lines are the edges of the

digital image. This lends an architectural line to the already organic shapes and move-

ment; an element of control within spontaneity.


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Landauphotographyarchival metallic photographic paper

Portals Series: Collection Portals Series: Foggy Day


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LandauJunction Series: Green Bamboophotographyarchival metallic photographic paper

LandauJunction Series: Angel Runningphotographyarchival metallic photographic paper


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LandauCity Scape 22photographyarchival metallic photographic paper


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Landauphotographyarchival metallic photographic paper

City SymbolsArch 1


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LandauJunction Series: Riverphotographyarchival metallic photographic paper


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LandauJunction Series: Towerphotographyarchival metallic photographic paper

LandauJunction Series: WHphotographyarchival metallic photographic paper


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FULLE

“I am a Maximalist and materials oriented abstract artist. I am excited by the alchemical,

physical, and emotive nature of paint itself as a subject, and its interplay with other mate-

rials I use in my work - resin, glass, wood, metals and concrete. My work documents and

expresses emotional states through forms within structures or zones of abstraction. Since

narrative exists within the material context, it is the exploration of physical interplay of

materials that allows me to express emotion, spirituality, impermanence, and other hu-

man conditions

I try to present a global perspective on contemporary abstract art, blending together art

and industry, and minimalism with passion as they relate to the emotional perception of

color, texture and light. By using varied materials and deep optical juxtapositions, I give

the viewer a reason to pause, consider different points of contrast, and bond with the

surroundings.”


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FulleMetropolisepoxy resin, 81x11x9”

FulleStained Glass Towerepoxy resin, 66x10x12”


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FulleForceepoxy resin, 60x5x5”

FulleChurch Towerepoxy resin, 108x20x20”


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KOURY

Koury has traveled extensively throughout the U.S., Canada, Mexico, Italy and Southeast

Asia, exposing her to many cultures and diverse forms of art. This has led to a fascination

with other cultures, both ancient and contemporary.

Her artwork aims to blend both influences of ancient and current cultures. Koury loves the

process of discovering how her own life intersects and is not separate from these

influences. She asserts that we as human beings are not separate from each other or the

earth we inhabit. And no matter what culture or time we are living in, we can find

similarities. Most importantly it is the ‘feeling’ she gets from these experiences and how

she interprets and expresses them. Rich layers of color and textured surfaces based on

patterns from nature, fabric, ancient ruins, written language and symbols are all part of

her painting vocabulary.

Her intention is to ‘presence’ the common thread that weaves through all of life. To

inspire the viewer and spark ‘a remembering’ or a ‘familiarity’, whatever that is for them.


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KouryAlexanderiteacrylic, metal leaf on panel, 16x20”

KouryAmethystacrylic, metal leaf on panel, 16x20”


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KourySapphire with Birdacrylic, metal leaf on panel, 16x20”

KouryBlue Topaz with Birdacrylic, metal leaf on panel, 16x20”


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KouryCitrineacrylic on panel, 16x16”

KouryTopazacrylic on panel, 16x16”


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MORSE

Morse is an award-winning fine art photographer and graduate of Rhode Island School

of Design specializing in abstract images of found objects both man-made & natural.

“I am intrigued by observing the collusion of nature & man as it accidentally creates art. I

hunt for this art in the wild; visual landscapes you might overlook, that would be deemed

ugly: erosion, collision, rust, and rot, yet when presented without identification they can

be beautiful, seductive, and emotionally evocative. These compositions have evolved

over a period of years. They seem concrete, permanent, yet they are transitory: freight

cars move and get retagged, the high prices of scrap metals in recent years resulted in

most of the seasoned salvage yards being obliterated. Often I am only days, if not hours,

ahead of the crusher. These pieces of incidental art vanish. I capture the moment of their

existence.”


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Morsephotography

Boshing #100 Browga #15


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MorseOlta #19photography


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MorseLanham Triptychphotography


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MorseVulma #112photography


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D’AGOSTINO

D’Agostino is an artist based in New York. His bodies of work are distinguished by an

ongoing investigation into the expanded possibilities of the photographic medium, citing

diverse strategies such as the threat of abstraction, the rhetoric of the sublime, and the

metaphorical qualities of light & darkness to fuse past and present within imagery of

sustained meditation.

Broken pieces of original Tiffany glass are reconstrcuted into large-scale abstract pho-

tographs of biomorphic form and gestural rhythm. Iridescent whorls of color preseved

within the glass juxtapose with withering foil leaf and detritus on the surface of the glass,

forming a synthesis of decay and rebirth.


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D’AgostinoChaldee of the Whalephotography, 118x60”


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D’AgostinoCities of the Red Nightphotography, 90x42”


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D’AgostinoEarth of the Vitreousphotography, 30x24”


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D’AgostinoLunar Incantationphotography, 24x30” and 44x56”


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D’AgostinoKhan of the Plankphotography, 24x30” and 44x56”

D’AgostinoThe Mythmakersphotography, 24x30” and 44x56”


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D’AgostinoEmpire of Lightphotography, 101x44”


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MENDELS

Mendels is interested in the idea of creating and revealing, which she conveys through

her technique of applying intense layers of color that are encased in a reflective layer ot

resin and white enamel.

The work is characterised by strong determined movements and continuous fluid motions

reminiscent of Abstract Expressionism.


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Mendelsacrylic, resin on canvas, 16x16”

Untitled (multi) Untitled (glitter multi)

Untitled Untitled (cobalt)


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MendelsYellow #14acrylic, resin on canvas, 20x20”

MendelsUntitled (red orange)acrylic, resin on canvas, 20x20”


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MendelsBlue Dark #6acrylic, resin on canvas, 76x48”

MendelsUntitled (large multi)acrylic, resin on canvas, 76x48”


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ZAPPITELL

“My paintings emerge from the emotion I feel in the moment my brush touches a blank

surface. I am a very physical and spontaneous painter. Moving back and forth with

decisive brush strokes and dynamic gestures, I work rapidly to capture that ephemeral

feeling in tangible form.

I begin without expectations and work on a subconscious level that disregards logic.

Guided by a primal inner voice, I surrender control to the paint, the brush and a visceral

process of creative discovery. I apply many layers to my paintings leaving evidence of

early marks as a sense of my progression.

I observe everything in my life in great detail and am heavily influenced by nature,

in particular the sky. My mark-making, though serendipitous, reflects these influences. I

want the viewer to believe that my vision expands beyond the work itself to a universe

I have created.

Painting in the genre of Abstract Expressionism, I feel a strong affinity for artists such as

Joan Mitchell and Willem De Kooning, whose work also emphasizes action and emotion

over ideas. Like these artists, I strive to capture the fleeting, spontaneous quality of ‘alla

prima’ painting in my work.”


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Zappitellacrylic with cold wax on panel36x36” each

Part of the Path Attempting UnfilteredWondering


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Zappitellacrylic with cold wax on panel48x48” each

Engaged in Conversation A Matter of Perception


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KNIGHT

“Today my focus is on ecological water issues ranging from; the devastating breakdown

of the ecosystem in the Great Lakes to worldwide nitrate contamination in groundwater.

I loosely reference issues such as the Spiny Tail Water Flea, a microscopic alien species

that causes deteriorating food webs.

Using common materials like paper and Mylar in repetitive ways, I cut, fold, tie, and

stretch to create visual forms for dramatic ecological issues and transform perception..”


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KnightFusion Burstlayered hand-cut paper and Tibetan prayer paper30x40”

KnightRustling Waterlayered hand-cut paper, acrylic, ink30x40”


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KnightWater Courseshand-cut Tyvek on paper144x96”

detail


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KnightUnder Protectionhand cut white tape drawings on four 12’ rounds of plastic

detail


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KnightWater Spirallayered hand-cut paper, applied Mylar dots96x72”

KnightWave IIrolled hand cut Tyvek on paper, applied Mylar dots38x28x6”


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BATES

“I predominantly work with the human figure and facial expression. Our capacity to

articulate so much with our bodies fascinates me. We are capable of making over three

thousand facial expressions. The imagery that I incorporate within each portrait is my

response to the sitter’s expression, placed there to emphasize the way I have read that

person in that moment.

For the past few years, I have been experimenting with cut paper and relief drawings.

With these ‘drawings’ I have strived to capture the fluidity and energy that I am to

achieve in my graphite drawings.”


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BatesHemlocklayered hand-cut paper16x22”

BatesPoaceaelayered hand-cut paper16x22”


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BatesPlicationgraphite, gouache on toned paper22x30”


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BatesUntitledgouache on toned paper9x13”

BatesUntitledgouache on toned paper12x9”

BatesUntitled 3gouache on toned paper9x12”


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JACKSON

Jackson creates artwork with focus on layers of memory, prompted and culled from pho-

tographs of common scenes and history. The images are altered and edited in various

media, painting and drawing until the story is told.


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JacksonA Misunderstandingoil on panel


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JacksonBather IIoil on panel24x24”

JacksonSometimes a Great Notionoil on panel


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JacksonThree Women (Mexico)oil on canvas


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BOYLE

“Collections, objects, spaces and chance arrangements are the elements that influence

my photography. My approach combines street photography, still life, scultpture and

found objects as one unified body. I then explore the new ideas that form when the

pairing of unlikely subjects occurs. Whether arranging a tableau of my own sculptures

or capturing a found scenario, my photographs reorganize the focus on the

components to conjure a new narrative guided by the tonality, texture and contrast

within the scene.”


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BoyleUntitled 1photography


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BoyleUntitled 2photography


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BoyleUntitled 3 and 4photography


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SAUNDERS

“Abstract Photography: I use the camera as a tool to swirl, layer and combine what I see

in this world. I am influenced by a family of artists and by a former career as a classical

dancer. Like a child at play, this approach to abstract photography eliminates me the

“artist” in a fusion of subject and object.

It can be likened to a snapshot performance or hitsuzendo (Japanese ink brush) painting

rather than a permanently constructed artistic statement. If the images had words they

would be strung together like poetry and if the images had movement the arc of their path

would reveal a constant renascence from chronic pain.

Most artistic decisions are implemented in selection, post-processing and printing. I am

striving for unique color schemes, textures, geometry and fluidity of line and movement.

Each collection is grouped into one year and prefaced with the title, “Despite the Pain.”

Sub-groups for the “New Papillon 2010 Series” include a cocooned stage, emergence

stage and culmination stage. The “Migration 2011 Series” includes sub-groups; stirrings,

evolution and terrain stages.”


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SaundersBeauty of Deathphotography


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Saundersphotography

La Vie Paris She Breeze


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Saundersphotography

Weighted Lifted Two Tracks


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Saundersphotography

Stolvent Evolving 2


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NEW ARTISTS | SUMMER 2012


OPPORTUNITY SURROUNDS YOU

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New Artists Summer 2012 Sm