Our latest exhibition, Chromatic Shift, explores visual variations of line and color by six artists: Marcy Gregg, Audrey Stone, Jeff Erickson, Michael Barringer, and Ken Tate. Each artist employs a unique approach to the inclusion of chroma and differs in method of distinguishing line; while Michael Barringer arranges several canvases to physically create linear barriers between each component within his compositions, Ken Tate actively inflicts color onto the editorial black and white images that reminisce those in catalogues.
All of the artists featured here are brilliant in their activation of color and composition, as well as their refinement in constructing multi-dimensional surfaces that envelop the viewer and beckon them to stare on.
Read on to learn more about each of these artists, and their work!
A Texas native and remarkable woman, Marcy describes her work as “puzzles”. The use of line and color in her work magnifies the movement of entering an unresolved space, the details falling into place as you experience the composition, similar to how the artist experiences the new founding in the seemingly familiar.
Take Flight, 60×48
Full of Belief, 48×48
Joe’s latest work involves the heavy application of paint in cohesion with the action of layering these thicknesses upon one another, with keen eye to detail and precision. The outcome is an enveloping grid-locked texture that holds strain like that of a basket weave. The surface of these works are so deep that truly to see them with one’s own eye is the best.
Big Box, 30×30
Two Toned, 24×24
Michael Barringer is a Carolina native whose most recent work depicts a combination of sheer and heavy layers, inclusive geometric collage with pristine detail to sharp edges. His use of vibrant color along side artificial shapes and natural inspired lines, creates an interesting composition throughout the viewers experience. His abstracts develop from a pattern of boundaries or thresholds using oil paint as a patina or veil. Contrasts of soft, faded color against bands of heavily brushed, solid color allows the work to gradually reveal itself, illuminating more the longer you look.
Bloomstone (The Wine Dark See), 48×44
Bloomstone Fragment (Strange Fruit), 27×18
Audrey Stone, a Brooklyn-based artist, encourages viewers to look very closely in order to see details in her surface, colors, and materials. She uses layers of paint applied to unprimed canvas and linen to develop smooth and velvety surfaces of color. Fascinated by edges, she uses tape to form boundaries between her colors and expose the built up layers involved in each work.
I’ll Have What She’s Having, 24×18
Happy For Her, 20×16
Ken Tate is known for his unconventional painting methods that herald back to the deliberately chaotic style of Abstract Expressionism. His Intervention Series superimposes vibrant and raw layers of acrylic paint onto photographs of high-fashion advertisements and celebrity icons. Tate transforms the original image and adds layers of his own intervention. Whether squeegee, smeared, finger-painted, brushed, or squirted, it is easy to recognize the physicality of Tate’s active marks as the “shift” the original image into his own.
Jeff Erickson often leaves the paintbrush behind preferring a set of unconventional tools such as whisk brooms, drywall knives, bbq skewers, wax paper, tissue paper, and more to achieve a strong sense of texture and depth in his abstract paintings. He begins with thin, transparent layers of color, making marks with his tools between each layer. Gradually, the surface creates a complex variation of color built up by 40 – 50 layers of paint and marks. Finally, Jeff scratches, scrapes, and dissolves back through the many layers to reveal what was once hidden.
Crossing Paths, 48×48
Grand Finale, 12×12