June 8, 2017
Jayme Odgers, Tough Decisions (9.20.2014), 2014, Derwent colored pencil on Arches paper, 30” x 20”
Karen Sikie, The Abundant Crown, 2014, collage on panel, 18” x 24”
When I turned 50 I decided to do a self-portrait expressing the most important things I have learned. This piece shares that I am the source of my abundance! I figured out that I am beautiful and powerful.
Patssi Valdez, The Little Girl in the Yellow Dress, 1995, acrylic on canvas, 36” x 36”, Collection of Cheech Marin
Elizabeth Bloom, Self Portrait as a Child, 2005, oil on canvas, 24” x 18” each of two panels
“Self Portrait as a Child” is a reflection of my feelings and memory of childhood. I used the diptych format to present two separate views of myself reflecting the divided self that I was. The distance over time--the passing and blurring of many years--has not diminished my sense of myself as I was then and at bottom still am. I have painted the image of a shadow figure kneeling in prayer in each panel. She prays for me.
Mark Bryan, Monkeys in my Head, 2008, oil on panel, 15” x 11”
Ann Mills, self portrait, 2016, gouache on paper, 16” x 20”
Jeffrey O'Connell, oil on canvas
Constance Mallinson, Self portrait on trashed plastic fast food container, 2017, oil on plastic 9” x 9”
The current work is a critique of consumer throwaway culture in which we attach no value whatsoever to many of the items we use in our daily lives. With dark humor, I used this plastic fast food plate, flattened by cars in the street, as the "canvas" for a portrait, both putting a human face on consumption but also having a bit of fun with the tradition of portraiture and how it is meant to immortalize the sitter. Can we throw away indiscriminately and immortalize at the same time? I suggest we are discarding more than a plastic plate.
Theresa DeSalvio, Double Vision, 2013, acrylic medium, willow stick, oil paint on Arches oil paint paper, 22” x 30”
Cynthiel Thiel, I ask myself, 2016, oil on canvas, 9” x 12"
Darlene Mellein, Reality, 2017, mixed media, 26 x 20
An Urban/Primitive theme underlies most of my work. My paintings are my commentary on societal dysfunction. Although I flirt with the dark side and have a fleeting affection for it, humor infuses my view of life and informs my art, resulting in an intuitive style.
Myron Kaufman, Pushing Up Daisies, 2013, acrylic on cardboard, 30" x 40"
Skip Snow, Self Portrait or (Ambition), 2013, mixed media on paper, 12" x 9"
Midge Lynn, untitled (self portrait), 2014, acrylic and graphite on panel, 12” x 12”
Gregory Weir-Quiton, self portrait (left/opposite hand drawing), 1997, oil on paper with prisma, 18” x 24”
What was I thinking at the time? I do self-portraits when I want to draw someone, and there is no one else around. The trick is to love what you see, without changing it. I love the arm!
Mahara T. Sinclaire, November 2016, 2016, India ink on watercolor paper, 29” x 21”
Thinh Nguyen/Long Long, I Am Free, 2017, digital print, 24” x 36”
I Am Free is a response to the rise of religious extremists. Long Long defiantly declares, "Your God is not my God, I am my own power. I am super non-binary consciousness."
Yvonne Westbrook, untitled, 2015, digital photograph
Jean-Francois Lanthier, Self-portrait with chains or denial becomes image, 2017, photography, 24" x 16"
What I seek to do in this photographic series is a non-elitist conceptual art, and I would venture to qualify it as naive. This is in contrast to the "traditional" conceptual art that often requires the public to be introduced to the world of art to understand. I want to create a feeling of freshness with the audience. The understanding of the work is done only by considering the photo or by reading the title, not more. The main theme is inner life and self-knowledge, all on a white background to really put the concept in the foreground. The premise of this series is quite simple, to make staging where people interact with an object, an object that is used for its primary function, but which is diverted from its context. This is what I call the metaphorical function of the object, and the use of this diverted object creates new subtleties in the feeling. As if the emotions were the colors out of a tube of paint and spread out on a palette of colors and that one could make infinite variations from these basic colors. I am inspired by Nelson Goodman's theories on cognitivism, that is, I try to bring to life new emotions or new sensitivity variants that will enlarge the emotional palette and thereby enrich the viewer.