The imagery in Claudio’s relief woodcuts is inspired by family, nature, and traveling but also has heavy political overtones. Elements of the Italian and English language are woven into his works, drawing viewers in to decipher meanings between the literal and figurative. His woodcuts recognize the urgency of current events and address historical narratives in a bold, unabashed manner that offers a raw interpretation of life experiences.
Masters starts these works by approaching a passage of Bible scripture and interpreting them through automatic drawings. He then creates geometrically rendered forms of paint and canvas over the scripture to form an all enveloping and architectonic container. The final products are three dimensional paintings encompassing Masters’ continual exploration of the physicality of materials and how he uses them to create narratives reflecting his beliefs and struggles.This relationship between the static and dynamic, rigid and organic, speaks directly to the greater truth of our temporal frames and eternal souls.
Meghann Hennen’s new work focuses on the human body as an art making tool. Hennen’s extensive figure skating and dance background have laid the guidelines for much of her art making process, and are still integrated in her recent work. Her performance painting began during her graduate studies at Parsons in New York, and have been part of her definition as an artist for the past ten years.
In this new body of work Pinsky is searching for discoveries. She describes her process with specific goals and strict parameters in mind: “Once the yarns have been woven, pulled, tightened and distorted I'm painting each weaving with dye and then dip the weavings in resin. This is like embalming for me; the natural fiber has such a direct relationship to life. I want these weavings to be beautiful and frightening at the same time.”
Schneider’s current body of work, including printmaking, painting and drawing, explores her love of travel, while also processing memories of her relationship with her father, who had a great impact on her life and choice to be an artist. She recalls road trips throughout Ohio with her family, that led to her desire to travel cross country which she has been doing since 1995, logging approximately 22,000 miles (and counting). She collects soil, rocks, bones, and other natural materials on her journeys which find their way into many of her multi media art works, imbedding memories of place and time.
Featuring works by Justin Brennan, John Carlson, Rebecca Cross, Sarah Curry, Matthew Gallagher, Meghann Hennan, Christopher Kier, David King, Liz Maugans, Brian Mouhlas, Jessica Pinsky, Katy Richards, Dott von Schneider, Nikki Woods, Douglas Max Utter. HEDGE Gallery presents a group exhibition of the roster of 15 represented artists. Paintings, sculpture, printmaking, textiles, and encaustics are included in this show.
Matt explains that, “Meaningful discoveries are made through a willingness to engage with the physical world. Electromagnetic, sonic, and chemical processes exist around us that are constantly experienced but remain invisible. My mission is to deliver representations of these forces as art objects. These objects reveal properties of our environment that wouldn't otherwise be apparent, and it is my hope that they empower people to explore, experiment and engage with their surroundings.”
Cleveland artists Robert Banks and John Carlson. Challenging the idea that the female is a non equal counterpart to man, Banks and Carlson have collaborated on a series of work that boldly addresses inequality and the injustice that prevails in modern society.
The artists state, “From a man's perspective we feel that gender equality is not just an issue for women. Men are also stereotyped by gender roles. We believe that if society as a whole can place women and men on an equal level, the value of the female gender will increase, informing both sides of strengths, capabilities and contributions of the opposite sex. We would hope that as education on gender equality grows, there would be a decrease in the pressure individuals may feel to conform to standard ways of thinking, which often leads to oppressive behavior, abuse, and violence. ”
Rebecca’s techniques are similar to those of Cleveland designers Kevin Busta and Alex Loos, who both repurpose industrial cast offs and scrap metal into sleek, stylized functional pieces.These designers’ recent furniture and other repurposed creations will be paired with Rebecca Cross’ ephemeral installations, allowing two opposite materials, silk and steel, to form a new dialogue and intricate relationship.
David King and Dante Rodriguez will be exhibiting their most recent paintings and drawings in an exhibition titled “NEBULA” on view at the Gallery November 17 through December 29. The two Cleveland artists’ paintings and prints are focused on finding truth in obscurity, whether through historical references or self reflection. King’s vivid oil and pastel works capture memories of family history. Photo and film snippets from the past are translated through bright almost surrealist color into his contemporary paintings. Rodriguez explores symbols of identity through his most recent series of charcoal drawings on yupo paper, creating rich, layered line work and patterns that reference facial features, cultural fashion trends, and imagery of masks.
Nikki’s new work is also a commentary on our society’s ultra glamorous lifestyles and the false impressions they have on the everyday person. Her painting “Manhattan Triplex “ is derived from an image of Donald Trump’s 1985 living room, gaudy yet enticing with its golden candelabra and overflowing bowls of luscious flowers. The setting is an example of the conflicting emotions that exist in our society, and the tensions that are created in a place where things can and cannot be at at once.
Justin is known for his abstract expressionistic style, often combing oil, enamel, and spray paint to create thick, layered works that are energetic and spontaneous. Recently he has been focusing on the human figure, incorporating faces and torsos, while still pushing rich brush strokes and automatic mark-making. The figures are ambiguous, often with no facial features or large marks covering their heads, yet Brennan is still able to capture a raw emotion that is evident through bold color choices and the immediacy of his application.