“The Colors I Am Inside”
June 18 – July 18 , 2016

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 Darren Francis McManus “I’m focused on the creation of a mythic cosmology developed through imagery culled from sacred, scientific and cultural systems both past and present. Rooted in a micro versus macro framework, my paintings contain both recognizable and idiosyncratic imagery that is manipulated and reconfigured, merging fact with fiction to create new relationships and meaning. By concealing any visible trace of my hand (brushstrokes or surface flaws) and through extending the painted surface over all edges of the work, the viewer is naturally inclined to question the work and its creation. “What is this object or painting?” “How is this made by machine, through digital means or by hand?” “What is the work ultimately concerned with?” This curiosity and introspection creates a dynamic between work and viewer prompted by the seductive aesthetic (surface / external) while leading to an internal, meditative or contemplative dialogue about beauty, mystery and notions concerning the sublime. My paintings are meticulously executed in acrylic paint on beveled wood constructions resulting in what appears to be a machined aesthetic. The gathering, planning and creation of my source material involves both traditional methods (book research and sketching) and technological practices (graphic manipulation and creation of imagery through design software) while the end results are painstakingly painted. Although tedious and demanding, my creative process fosters introspection that allows the abstract theories and concepts within to become experiential, offering personal insight to the possibilities of a world beyond the material plane. This journey offers endless questions and few concrete answers but it nonetheless provides a sense of purpose and security in a world in flux.” D. M.

 Jason Rohlf “My current body of work “ Field Guides” is my ongoing effort as an artist to collect and preserve my visual sensibilities, with each piece being the field for continued exploration as countless layers of collage, mediums and acrylic paint coalesce to become a finished painting.  In a confluence of forms, I will develop lines and planes of color to delineate an intuitively created space. Almost in an effort to stamp some order in the chaos, geometric shapes will blanket the underpainting’s more organic textures. Relief pushes up from the underpainting, betraying the order, and light raking the surface reveals tension between the two. By drawing geometric maps into the work in ballpoint pen, I can assume the role of cartographer as well. The ink has the amazing ability to migrate up through multiple layers of acrylic, and, even if covered, will later reveal an earlier intention. Like a recalled memory, a once obscure thing, hidden elements from the piece’s past will form an essential role on the surface, often as relief, while the most hardfought details will likely earn a swift opaque top coat as a result of each day’s fits and starts. By conveying an urban palimpsest, many of the most thoughtful moments occur as these conflicting efforts achieve harmony and then begin to recede, resulting in the melding of competing ideas. Hopefully over many years, this process will allow me to imagine the body of work as a stopaction timeline slowly revealing the newly favored elements, only to see them diminish and evolve again as my changing guides and exposure leave their mark on my art making.”

 Hilary White  “I am a Belfast, Maine native, born from the salty depths of a bubbling cauldron overflowing with ’80s pop culture, classical art, and Alice in Wonderland. I spend most of my time painting classical art and pop culture mashups, and designing Tshirts. There are times in our lives when we must make choices based more on instinct than intellect. Often, the soul recognizes its choice before the rational mind has time to process the information.” H. White Her mixed media wall pieces and sculptures are a beautiful, chaotic, neon and colorful interpretation of her instincts as a creative soul.

Troy Gua “I produce Popinfused conceptual work in a wide range of media, marrying commerciality to contemporary with a glossy design aesthetic and a keen wit. My subject matter addresses contemporary culture and the ways in which media, iconography, identity, cultural selfcritique, and the universal human need for recognition play parts within it. My methods of fabrication are as eclectic as the results, and my media of choice is whatever best serves the piece, whether it be paint, print, plaster, photography, cast resin, found object, sculptural intervention, video, etc.” I’m both fascinated with and repelled by our contemporary culture. That ambiguity is reflected in the work I make. Is it exalting or condemning its subject matter? Can it do both simultaneously?” T. Gua

Hunter Stabler “My work explores notions of psychedelic awakening, lucidity through paranoia, doomsday fearmongering, conspiracy theories surrounding the government’s relationship to the occult, and the artist’s and the art audience’s relationship to the political right. Visually the work in conjunction with the exhibition space, present multiple dualisms, inversions and transgressions. The 2D and 3D works are created to be seen from various perspectivesinverted in mirrors or front to back. These visual games also serve to illuminate the esoteric implications of inverting sigils. The formal elements of my work involve a play between the illusion of space, actual 3 dimensional space and the twodimensionality of paper. In my cut paperworks I use perspectival patterning that creates the illusion of form, flatpatterning, and a physical cast shadow to show the actual space and thinness of the paper. I aim to create pieces that are in conversation with ancient, canonical, modernist, and contemporary ideas of spatiality in art making. My sculptures are semi functional, made from existing objects. They allude to a narrative or fictional narrative about the psyche of their creator. They are two faced objects of preparedness and paranoia that are also inspired by the readymades of Duchamp and sculptures of Tom Burr.”

 Tom Berenz is an accomplished young painter and professor at University of Wisconsin. His paintings have been exhibited nationally and featured in multiple publications, most notably, New American Paintings and Huffington Post. Tom has received numerous awards and accolades, including Best Painting Award NWC Biennale – National Weather Center, 2013 and MFA Joan Mitchell, University of Wisconsin – Madison, WI, 2012. His work “blurs the line between abstraction and realism” and fuses personal experiences with sociopolitical, environmental and ideological issues. Tom investigates the language and possibilities of twodimensional space through his work, often using  the motif of disaster as a metaphor. His paintings are complex and beautiful, as they delicately balance on the line between organization and chaos. In his statement Tom explains, “By reestablishing a different logic within the painting itself, I investigate how a painting can sit in a place that can only happen in twodimensional space. I explore the inbetween space that is neither real nor artifice, stilllife nor landscape, natural nor artificial, messy nor clean, flat nor deep, and dynamic nor static.” “My work deals with the architecture, patterning and symbols of mythical and theoretical origins. I use multicultural religiously based patterns and naturally occurring patterns to construct images of mythical and biblical creatures, subtle invisible phenomena, theoretical shapes of the universe, and microcosmic vibratory events. The formal aspects of my work involve a play between the illusion of space, actual physical space, and the twodimensionality of the paper. In my cutpaper works I use perspectival patterning that creates the illusion of form, flat patterning, and a physical cast shadow to show the actual space and thinness of the paper. It is my aim to create spacially complex work that is in conversation with ancient, canonical, modernist, and contemporary ideas of spaciality in art making.”T. Berenz

Mister XRay I am a painter, designer and graffiti artist from Florida, now based in Montreal, Quebec. I am represented by Station16 Gallery. When I was young…I watched a lot of T.V. and drank a lot of KoolAid. Growing up, I experienced a mix of military and native cultures eventually sending me on a quest to find a visual language that could express the mix of mythologies in my life. In my early teens, I became involved in skateboarding, graffiti and hiphop culture in general. I use hand techniques but am influenced by the “computergraphics age”. I often work with a combination of brush and spraypainting. Some of my inspirations are military insignia, nature, skateboard and tattoo art, old signs, tarot cards, native cultures, “secret society” symbolism, Japanese art,  propaganda, diagrams, videogames, the 1980’s and 90’s at large, science, action movies and vintage advertising & cartoons.”

 Gomez Bueno is a Dadaesque cipher who is everywhere, here, there, and nowhere at all. Bueno is the antidote to the preciousness of the aesthetic marketing combine. Gomez Bueno’s work encapsulates and overlaps genres. Linking fine art to commerce, his past pieces jumped from the state of spiritual counseling to fashion shows, surf & skateboards, classical art and portraiture. Iconoclastic, tongue in cheek, the ideas in his universe play with the conceptual and the quotidian. Gomez Bueno has exhibited in Spain, Belgium, France, Germany, England, Mexico, Japan and the U.S. Published works include Gomez Bueno Predicador and Gomez Bueno for President. Mia Sevier wrote Gomez is ” playful at heart. He appreciates irony, humour, and novelty and these themes run throughout his extensive body of work. While other artists often find and capitalize on one particular means of expression, Gomez Bueno values wit and innovation, seeking fresh expressions with each project. Paintings of perfectly round enormous black stereo speakers, colourful portraits of loveloran classified ad placers, prestigious gallery logos in the fonts of famous rock bands, a surf shop, stickers of large assemblages of faces on actual cars, and a stint as a priest promising redemption are just a few of Gomez Bueno’s productions. He delights in new creations and experimentation, mixing elements together to create novel and unexpected combinations of popular culture and art, mischievously producing good natured creations that tease and amuse. Crossing genres and boundaries, his work cannot be easily categorized or labelled. Conceptual, pop, commercial, fine, cartoon, surf, skate, street, and classical, it is clearly creative. To understand it, it is best to view it.

 PAU  Raised in suburban Los Angeles, Pau has always had a passion for art as long as she could hold a pencil. At 19 she took classes at La Universidad de Catolica in Chile, but is principally selftaught. She works from her home in Sherman Oaks, where she lives with her dog, Luna and travels the world executing bold and colorful Largescale murals and artworks.

Patrick Dintino Born in San Francisco, California, Patrick Dintino grew up in Sunnyvale, in the south bay area. During the time of his youth the region was covered with cherry and apricot orchards, which were soon replaced by business parks with the advent of the ‘Silcon Valley’ tech boom. He went to college in San Diego earning a BA degree in Industrial Arts from San Diego State University, and cofounded Artists in Motion art collective, a group of artists who created funkart fashion, sculpture and furniture out of reclaimed materials. He also formed a band called ‘Naked Earth,’ and handled the art direction for Ecodisc Records. He moved back to the Bay Area and earned a Masters of Fine Art degree at the California College of Arts and Crafts(CCA) in San Francisco and Oakland in 2001. Dintino was invited as a guest artist to work with Sol LeWitt to create “Sol LeWitt: A Retrospective” at SFMOMA. Since this time he’s been a finalist for SFMOMA’s SECA emerging artist award, a Pollock/Krasner Foundation Grant recipient, and participated in a group show called ‘The Future of Abstraction’ at the Chelsea Art Museum in New York. He currently teaches painting at California College of the Arts

 Ray Geary makes conceptual based art that is thought provoking and/or offensive.  He showed no interest in art at an early age, yet was drawn to it postcollege as a way to create the things he wanted to see. Comprised mostly of cast resin sculpture, Geary’s work deals with encapsulation and the unexpected elevation of commonplace items. A young New York talent, Geary’s work has already been exhibited at Scope NYC and Miami, Helium Cowboy in Hamburg and Shizaru Gallery in London.

Elizabeth Winnel received a BFA from in illustration from Savannah College of Art and Design in Georgia and currently lives in Toronto, Canada. In her paintings she endeavors to make apparent the dichotomy of interior and exterior in relation to her selfimage. Winnel begins each painting with a layer of drips, splashes and bleeding, the ‘associative layer’ binding form and color for emotive effect. The second layer depicts herself in vulnerable and often erotic poses. The aim is not selfobjectification, but reflection and analysis. Her work has been exhibited in Savannah, Georgia, among others.

Kevin Hebb is a graphic designer who lives and works in NYC. “In written form, words can trigger the entire spectrum of human emotions. From the simplest “Stephanie gives good head” bathroom graffiti to the overexposed “HOPE”,  words are still the most direct way to communicate a thought. Words are pretty great, I think I’m going to paint them for a while.”K. Hebb