Works by Kathy Butterly
Dave Hardy
Untitled, Blue Coconut, 2016
coconut, glass, cedar, cement, tint, ink, poluyrethane foam, vinyl, tape
49 x 25 x 19 3/4 inches
Tom Burckhardt
Sour Doubt, 2015
oil on cast plastic
16 x 20 inches
John Newman
Self-Reflection in Bright Yellow, 2016
stones, mirrored mylar, aluminum armature wire, wood, lead, rubber, wood putty, papier-mâché, styrofoam, acqua resin, acrylic and enamel paint
19 x 15 1/2 x 12 inches
Joshua Marsh
Glass, 2016
oil on board
16 x 20 inches
Joshua Marsh
Too, 2016
oil on board
14 x 16 inches
John Newman
Many entries, 2016
rope, wood, aluminum screen, plexiglas, Japanese paper, pâpier maché, wood putty, acqua resin, acrylic and interference paints
22 1/2 x 15 x 18 inches
Elliott Green
Light Buried Underground, 2008
oil on linen
12 x 18 inches
signed & dated verso
Jen Mazza
Untitled (Archipenko), 2015
oil on canvas
11 x 9 inches
signed & date verso
Jen Mazza
Untitled (Vallotton), 2015
oil on canvas
13 x 10 inches
signed & date verso
Tamara Zahaykevich
Ovals lay eggs, 2016
Foam board, paper and acrylic paint
13 1/2 x 10 x 5 1/2 inches
Trevor Winkfield
Frolic 2, 2009
oil on linen
12 x 12 inches
Trevor Winkfield
Ladders, 2016
oil on linen
12 x 12 inches
Trevor Winkfield
Easter, 2016
oil on linen
12 x 12 inches
Tom Burckhardt
Masked Manhat, 2015
oil on cast plastic
20 x 16 inches
signed verso
Trevor Winkfield
Absent Mud, 2015
oil on linen
28 x 31 1/2 inches
Ian Pedigo
The Limitless Subjective at the Periphery, 2016
wood, plaster, marble dust, acrylic, aluminum, shoe lace
58 x 12 x 34 inches
Elliott Green
Jarring Start, 2008
oil on linen
12 x 18 inches
Randy Wray
Goddess, 2016
Papier-mâché, foam, wood, plastic, gesso, glitter, resin
32 1/2 x 20 x 16 inches
Kathy Butterly
Pour, 2016
nail polish on paper
10 1/2 x 8 3/4 inches
signed & dated lower right recto
Dave Hardy
Untitled, Medium Wall, 2016
polyurethane foam, cement, glass, tint, aluminum, tape, china markers, pen, pencil
35 1/2 x 19 3/4 x 15 inches
Ian Pedigo
Where Relative Beginnings are End, Ends, 2016
wood, plaster, marble dust, acrylic, aluminum, shoe lace
45 x 18 x 28 inches
Trevor Winkfield
Podium Blooms, 2014
oil on linen
19 1/4 x 23 1/2 inches
Alan Wiener
Untitled, 2016
aquaresin and brick
5 1/2 x 6 x 3 1/2 inches
Kathy Butterly
Co-, 2014
Clay, glaze
6 x 6 x 3 3/4 inches
Kathy Butterly
Blushing, 1994
porcelain, earthenware and glaze
8 1/4 x 4 1/4 x 3 inches
Tamara Zahaykevich
Oblique Freak, 2016
foam board and acrylic paint
11 1/2 X 14 1/2 X 9 1/2 inches
Dave Hardy
Untitled, Orange Highlighter, 2016
aluminum, polyurethane foam, cement, glass, ink, tint, clay
11 x 9 x 9 inches
Alan Wiener
Untitled, 2009
aquaresin
7 1/2 x 8 1/2 x 5 3/4 inches
Randy Wray
Sprout, 2016
Papier-mâché, wood, metal, foam, glass, macramé cord, resin
11 1/2 x 13 x 11 inches
Alan Wiener
Untitled, 2014
aquaresin
8 x 10 x 8 inches
The Tibor de Nagy Gallery is pleased to present a group exhibition of twelve contemporary painters and sculptors. The paintings, mostly of a modest easel size, will vary in mediums from the traditional oil and acrylic to the exotic such as nail polish or gold leaf. Scaling from the intimate tabletop or wall-mounted reliefs to large floor sized assemblages, the sculptures will also present a wide array of materials from clay, wood and stone to aqua-resin, polyurethane foam and shoelaces.
The exhibited works toy with the notion of ‘still life’ not so much in a literal sense or as a rethinking of the representation of objects, but more as an abstract and magical reflection of qualities that make up objects. The artists as ‘object makers’ imbue these things with a life of their own liberating them from the confines of the specifically definable. In the end, they no longer share a relationship to still life in the historical sense as a presentation of wealth or position, but strive to cast light on new verisimilitudes.
With an ego all their own, these works bare an inherent power by way of their materials and dimensionality. The intimate can become large-scale and the dense can become airy as these handmade objects give way to a visual sensibility that is uniquely their own. All these objects share a collaged painterly language which calls into question the definition of objectivity.
