July 22nd, 2017
Gallery MAR Blog
July 15th, 2017
Written by Shawna Moore, gallery artist
The myth of the artist alone in the studio either in blissful inspiration or brooding despair fails to address the more common ailment of boredom with one’s own work. Creativity is an exploration, a pursuit and a journey that requires substantial effort to find and unfold. Artists often change their location, their materials and even friends in order to stir the pot and create new insights and artistic recipes.
A recent residency at Atelier 6000 in Bend, Oregon with master printer Pat Clark and printer Julie Winter, helped lock down and elaborate on the division of the picture plane (top, bottom, hinging, framing, colors, etc.) of the abstracted landscape paintings I have worked on for the last several years. The rapid exploration of using ink, plate, and paper with two experts created a fast paced dive into smaller less planned work. This experience propelled me back into the studio to resolve these dynamics using much larger panels and the painting materials of wax, resin and pigment.
When I returned to my Montana painting studio, I was craving printing for its immediacy. As I unpacked the bound paper bundles of prints from me week of work, I found tidbits that I could imagine translated into large colorful wax surfaces. So rather than leaving the print studio behind, I constantly referenced these small paper works to bring a freshness to the more formal and time intensive paintings. In fact the color scheme that I had used in the prints, were derived from the paintings in the studio earlier in the year, so there was a consistency that made sense to me.
Some of my newest paintings are direct responses to the print work. From the irregularity in the ink on the paper, I am struck my new textural opportunities. Watch for a new direction in the paintings to come and a return to the print studio in the future. For more information on Atelier 6000: https://bendartcenter.org
Shawna Moore enjoyed temporarily switching gears to print-making and the reciprocal work that came out of the residency—some of the new encaustic pieces she will be showing at Gallatin River Gallery were inspired by the smaller prints she made in Oregon. Print-making allowed for a little more chaos and clutter in the frame—a sense of overlapping windows and doorways—than working in wax, she said. But Moore is always drawn back to expressing complexity as simply as possible.
June 28th, 2017
Straight from Vice.com, we are pleased to re-post this piece on Matt Flint.
Wyoming artist Matt Flint spreads a message of conservation through dreamy animal portraits.
Nature-Loving Artist Translates Wild Encounters onto Canvas
By Sean Neumann, June 2017
Wildlife painter Matt Flint‘s memories have a profound impact on his work. He remembers exploring the snowy woodlands surrounding his rural Missouri home as a young boy when he came across a pack of coyotes on a ridge in front of him. He watched the animals cross in front of him from a distance and they noticed him, too—probably before he ever did—yet, they weren’t bothered by his presence and he wasn’t by theirs. In a moment of coexistence, Flint felt an existential connection to nature that, as he grew older, blossomed into love.
“Just being able to see their eyes and be that close to them, that connection stuck with me everywhere I’ve gone,” says Flint, who now lives and paints in Wyoming. “I keep seeking those kinds of encounters and to see nature in its raw, primal state in the way it’s supposed to be.”
Matt Flint, Moving Through Winter.
Flint’s paintings reflect the way he remembers moments like the one with the pack of coyotes. With the imagery unfocused and the subjects untamed, the wild animals Flint paints evoke a calming beauty and a sense of wondrous mystery. There’s a foggy patina to each of Flint’s paintings—they look a bit hazy, like his memory recounting the wildlife he encounters—yet vivid when it comes to the details that create a connection between beings, like the eyes of a coyote searing through the frame.
“When we view things in nature, most of the time that’s what we get: We get a glimpse. We get a few seconds,” Flint says of his work, which often features animals like horses or wolves barely in focus, while the environment around them is scratched or faded away. “I don’t spend a lot of time setting things in an environment. It’s a completely abstracted or non-objective environment. I want that to be more about the connection between the animal and the viewer.”
That connection has always been meaningful to Flint, especially when he realized how endangered the environment and its inhabitants are at the hands of human development. When he was about 10 years old, Flint remembers feeling angry and confused when woodlands and farmlands around his home began being destroyed and replaced with housing developments.
“It was sort of like a suburban sprawl,” he remembers. “That really hit me when I saw the bulldozers come in and start to knock down the trees. It really bothered me that something I was familiar with and seemed complete could be leveled and turned into something else. It didn’t take much time.”
Now, Flint says he aims to document his natural surroundings, reminding viewers that there’s beauty in the environment and not only in the allure of his, or someone else’s, brush strokes replicating the scenery. If human beings aren’t conscious of the natural world around them, he says, then it could disappear as quickly as the woodland surrounding his childhood home.
“As a species, we keep forgetting that everything that we use or consume comes from this environment and we’re not the only inhabitants of it,” Flint says. “Some of that has to be around for us to exist.”
June 28th, 2017
By Veronica Vale, Fine Art Consultant
With resplendently textured paint layers, Pamela Murphy and Sarah Winkler give the surface of their work its own individualized history, all the while giving elegant insight into a time in our collective past. Please join Gallery MAR in welcoming both artists for an artist reception on Friday, June 30th at 6pm. Both artists will be in attendance. Their paintings carry with them a feeling of quiet significance, as if each work holds within its layers a treasured account of the history of the world.
Pamela Murphy collects and chooses figures from old photographs for her paintings. The people whose lives are recorded in those pictures are strangers, yet they are familiar in a nostalgic way and remind us of ourselves and our families. Many layers of paint reveal the history of the canvas and create a space that serves to isolate the form of each figure. The figures in her paintings exist in situations – or as objects – in which Murphy hopes the viewer will find a little of themselves.
Sarah Winkler’s work focuses primarily on the Western American landscape – specifically the geology of mountain and desert environments and how these terrains intersect and overlap. Beginning her works with a layer of matte acrylic paint, Winkler then uses resists such as solvents, ground water, salt, carving, heat, and sanding tools to mimic the kinetic processes of erosion and deposition, thereby building layered landscapes rendered in mineral-rich shards and swells of luminous color with a history of gestures and actions that form into naturalistic abstracted landscapes.
“Past | Present” by Pamela Murphy and Sarah Winkler show card
June 17th, 2017
A story by artist Maura Allen
The painting titled “Reign It In” has a sweet story… I was on a ranch last summer and saw this young cowboy.
I started talking to him and said — “Hey. I know that hat. That’s Carl’s hat.”
“Yes ma’am,” he replied. “He’s my grandpa.”
Generations on a ranch. That’s what I love.
Now in the gallery, new works by Maura Allen below.