Warm Waters has opened at the ANFA Gallery. The exhibition which celebrates the sixth anniversary of the ANFA Gallery, features the work of artists Kerry Hays, Dusty Griffith, Judith Judy, Allison Luce, Jonathan Smith and Daniela Schweitzer. The exhibition which opened on on May 18th runs through July 3rd.
Allison Luce explores the ephemeral nature of existence and the mystery of eternity through her ceramic sculptures and monoprints. Luce graduated with dual BFA degrees in Painting and Art History from Ohio University and her MFA from Hunter College, City University of New York. She currently lives in Charlotte, North Carolina and on Hilton Head Island, South Carolina where she is a studio artist and an art instructor. She has shown her work in solo and group exhibitions nationally and internationally and her work is included in private and corporate collections.
Kerry’s predominantly abstract work is a reflection on the channels between human, nature, community, and God. Each mark or stroke is shaped by her pursuit to invoke imagery into these musings on the interconnectedness of our seen and unseen world. Some of her work is marked by the convergence of hard lines with flowing, sculptural values and very rich in layer and texture. Other pieces are stark in their minimalism both in shape and color and are designed for the viewer to find rest in the simplicity. Her chosen mediums are acrylic, gouache, oil stick and collage on stretched canvas, raw linen and cut canvas sheets designed for framing. She works from her studio in the heart of Midtown Atlanta, at The Biltmore, an Atlanta landmark built in 1924 and welcomes visitors by appointment.
Johnathan one of the newest artists to be represented by the ANFA Gallery. Johnathan is originally from the UK but now lives in Brooklyn, NYC.
Jonathan spent the early years of his career assisting and printing for renowned photographer Joel Meyerowitz, and has had solo exhibitions both in the United States and Internationally. His work consists of large scale, highly nuanced color photographs of the stark natural beauty and inherent impermanence of landscapes.
Born and raised in Argentina, Daniela Schweitzer now resides in Los Angeles. She is classically trained with a focus on figurative and non-representational abstract paintings. Daniela draws inspiration from the energetic and vibrant colors of her upbringing in South America. She enjoys the simplicity of everyday happenings and relishes the importance of the human connection. These experiences along with the real, and at times, imagined narratives bring her to an emotional process and technique that defines a familial pathway culminating in each of her paintings at a specific moment in time. Daniela’s current figurative abstractions do not emphasize classical figure or portrait making, but rather reflect the appreciation for human existence and the internal feelings of the people around her. The gestural part of her art resides more in the core of emotions and feelings toward the subject. Daniela looks for the balance in everyday life that transports her back to a less hectic lifestyle.
In a review of Judith Judy’s work, Mark Jenkins, art critic for the Washington Post, wrote: “The Northern Virginia painter is not an abstractionist, yet her warm, radiant landscapes aren’t modeled on particular places. Indeed, they seem designed as portals, visual entrances into the world of light. Soft-textured trees and grass define the foreground and vaporous sky the background, but the action transpires between the two, on the plane where sunlight bleeds into a rich, indistinct glow.”
My goal as an artist is to have the viewer become aware that through a three dimensional world we have access to a world that can’t be seen, the spiritual world, where there is a creator who loves and wants to know us more intimately. There is more than just surface in my work reflecting this idea. Often there is a depth beyond the visible surface that can lead the viewer into the piece itself mirroring the dimensional world we live in.
Most of my works are very symbolic of time, events, stories and emotions. All of the symbols, sketches and found objects are layered into beeswax, Plexiglas and underneath plexi or tracing paper surfaces, causing the images or symbols to become “a part of” the whole picture not just a “piece of it”. I prefer wax, plexi and tracing paper because of their translucent qualities. I layer the work over and over until layer upon layer create the desired depth, surface texture and color. The colors and composition I choose tend to leave the viewer with a sense of peace or calm. The strokes are loose and gestural but at the same time deliberate.