Deon Duncan is a graduate from “The Art Institute of Chicago” (1991) where she obtained her masters in painting and post-modern critical theory. For a number of years Duncan made painting the focus of her work, however never truly connected with it as her medium of passion. Some years ago, she made a drastic shift from painting into the art of sculpture. For four years she laboriously invested thousands of hours acquiring the skills necessary for a figurative sculptor. Today we are witness to the fruits of her labor, for Duncan is a proficient and highly skilled sculptor.
There is a certain “quietude” which can be found in her work, which is both naturally subtle, as well as expressive. This quietude engages the viewer to something deeper than simply a surface impression. Delicate gestural nuances impart a sensitivity which is required to make the human figure personable and believable. What is also apparent in her work is Duncan’s appreciation for the aesthetic beauty of line. It is a consistent strength throughout her work, and expressed through works which range from being regal in stature to fluid and organic. An interesting element to her work, is her attention to the finished surface. Duncan utilizes a variety of patina’s, or finishes to the metal surface which transforms them into sculptures which are beautiful, and more conceptual at times.
The artist has shown nationally, and her work is included in both public as well as private collections. She is the recipient of numerous awards which include the “C. Percival Dietsch Award” (award of excellence), “The National Sculptural Society” (2 bronze medals), “The Portrait Society of America - International Competition” (award of exceptional merit), and “The International Art Renewal Center Salon” (second place). Duncan’s work can best be described as possessing a tenderness, dignity and modern sophisticated elegance.
Clarity (bronze) 34h
Mark Freedman (b 1949 New York, NY) attended the Rhode Island College where he studied art. He has exhibited regularly since 1980, and today lives and works in Providence, RI. He paints a variety of subjects; however throughout his career he has developed a deep fascination with the urban landscape. It is the fast movement and pace of the city with it’s gritty labyrinth of buildings and transportation systems which tends to be a reoccurring theme for the painter. The artist states, “I started looking for things I considered to be the most soul crushing and ugly, and said to myself: Taken into the right context this could be an interesting painting.”
Working in a variety of mediums, his paintings are characterized by loose, and bold expressive strokes, drips, and gestural marks which are imbued with a sense of energy in themselves. At times he incorporates various materials into his compositions to keep them interesting and from getting too static. His paintings are original, and unorthodox perspectives on our world, and possess a striking and haunting beauty all of their own. Mark Freedman has appropriately been described as the modern day Edward Hopper of Providence, Rhode Island.
Beavertail #8 (oil on panel) 24 x 36
Presque Peripherique (oil on panel) 80 x 36
Summer Shower (mixed media) 80 x 36
Beavertail #10 (acrylic on panel) 24 x 48
Untitled (oil on panel) 24 x 48
Journey (oil on panel) 24 x 48
Beavertail Study #2 (acrylic on panel) 12 x 25
Beavertail Study #1 (acrylic on panel) 12 x 25
Frank Gregory (b.1962 Brockton, MA) is a graduate of the Massachusetts College of Art. A mid-career artist, Gregory initially began his painting career with his focus on the landscape, before moving on to large scale public art commissions for state and federal agencies. Today, the artist has several permanent installations nationwide.
Working in oils, his paintings find their individual characters from highly intuitive color interactions, or relationships. He builds his painting surface up with brushy, confident strokes, which echo the skill of the artist himself, while at the same time, engaging the viewer with a variety of unexpected subject matter. Light tends to be a key element throughout his painting, as the artist explores it’s effect upon different surfaces and in different settings. Characteristic of Gregory’s work is a balance between levity and weight within his compositions. His work is a refreshing reprieve from ambiguity, to that which is straightforward and beautiful.
Gregory has received numerous awards, and was a recipient of the Lillian Orlowsky and William Freed Grant. Today the artist maintains a studio in Greenfield, Massachusetts.
Double Hangers (oil on canvas) 25 x 21
Empty Nest (diptych-oil on canvas) 31 x 63
Last Scene at the Gardner (oil on canvas) 24 x 30
Lighting Louis (oil on canvas) 14 x 14
Cordless Drill (oil on canvas) 9 x 9
Cast Iron (oil on canvas) 9 x 9
Old School 35 (oil on canvas) 9 x 9
Frankenthaler Focus (oil on canvas) 14 x 11
Geoffrey Johnson (b.1965, Greensboro, North Carolina) graduated from the Pennsylvania Academy of Fine Arts. A mid career artist, Johnson has exhibited broadly since 1995. Working in oils on both canvas and panel, he interprets the world through a twenty-first century lens, creating works which are skillfully thought out, and poetic in their nature. The focus of his work is broad, and influenced to a large degree upon his travels, and personal relationships to time and place. Constant, and reoccurring themes tend to be the city landscape, equestrian works, and interiors. Working with a restrained neutral palette, color is implemented subtly, and at times more boldly for emotional impact. What is apparent, is that the artist is walking a visual tightrope between the representational and the abstract in which spatial relationships and scale are central. He is a prolific artist and his work is included in corporate as well as private collections. Among these are Coca-Cola, Turner Broadcasting, Bell South, and Wells Fargo. Whatever it is that Geoffrey Johnson paints, it is imbued with a sense of quiet, and elegant sophistication. His work is less about what changes with time, and more about what endures.
City Center (oil on panel) 18 x12
Rick Legge (b.1954) attended the Massachusetts College of Art and Design. Working in a variety of mediums, he explores techniques and the conceptualizing of different ways to express an idea. At times, for example: his paintings are simply the traditional paint applied to canvas or panel, while at other times they may begin with scraps of European billboards, (which the artist collects) as the base, and are layered with a variety of materials which echo through to the finished piece.
Characteristic of his work, is a “bird’s eye” like perspective which he employes. This unusual perspective creates a voyeuristic feeling in which the viewer is witness to his accidental choreography of people on the pavement below.
Texture, lighting and pattern are all key components which Legge incorporates beautifully into his work. His color palette is restrained and typically neutral, which results in a quiet, relaxing work of art. While entertaining to the eye, the viewer is always left with a sense of curiosity as to who his subjects are, and where they are going. Rick Legge maintains a studio today in the Boston area.
Gray Flannel Suit (acrylic on canvas) 24 x 24
Shadow Crossing (acrylic on canvas) 24 x 30
Safety Cop (acrylic on panel) 16 x 16
Ned Martin (b: 1954) is an artist who’s paintings broach the conceptual question of representation and perception. Martin attended Towson University where he studied fine art, and finished with a formal training in art at the Schuler School of Art, in Baltimore. His work touches on the subjects of nature and community, and are an exploration of the natural world and the cellular connection to our psychic equilibrium. They are a balance between that which is obvious, and that which is abstract.
A unique aspect to his work, is his technique. The artist paints on reclaimed aluminum printing plates which were previously used in the production of newspapers and magazines. He meticulously builds his paint up into varying degrees of rich and luminous colors, while allowing residual imagery of the plates to show through in areas. This combination of both paint and residual plate imagery, forms a symbiotic composition which imbues the picture plane with considerable depth and allure.
Martin’s skill as a painter cannot be denied. Nothing is left to accident, and all aspects are carefully thought out. His ability to paint that which is literal and combine it with the abstract results in a visual language which is poetic in nature. Colors, shapes, and images collide and unite to create something greater as a whole. The overall result are paintings which are stunning, dynamic, and elegant in nature. In one sense; they could also be regarded as artistic time capsules. Today the artist maintains a studio in Brooklyn.
An accomplished mid-career artist, Jordan Mejias divides his time between studios in New York City, the Hamptons and Germany.
The nude male figure is often seen as mysterious and shocking to today’s society. Mejias embraces this challenge with images that draw strength upon traces of Greco-Roman and Renaissance figures, coupled with contemporary influences. Unabashedly he leads the viewer into a seductive and dizzying sensual otherworld.
Working in the challenging medium of watercolor, he incorporates a bold, confident skill which possesses an air of spontaneity and immediacy. His art emphasizes the transitory beauty of light and form of the figure, while extraneous composition elements are left to the viewer’s imagination. The artist works exclusively from live models, (many of whom are connected to the Broadway stage and dance world). His nuanced portrayals and talent have made him a highly collected artist internationally.
Mejias holds a BFA from Parsons School of Design in New York. His full-color book of nudes, “Of Art And Men” (Saggro Press, 2017), is available online (www.jordanmejias.com) and at the gallery.
falling for you (acrylic on canvas) 48 x 22
#YOU (mixed media on canvas) 16 x 19
tomorrow, i promise (watercolor on paper) 22 x 30
say nothing again (watercolor on paper) 30 x 22
nothing to worry (watercolor on paper) 14 x 11
i mean you (watercolor on paper) 14 x 11
sure you know (watercolor on paper) 18 x 24
see? it’s easy (watercolor on paper) 24 x 18
it’s my turn (watercolor on paper) 24 x 18
body bouquet (watercolor on paper) 11 x 14
one more thing (watercolor on paper) 11 x 14
tinted solo (watercolor on paper) 12 x 9 1/2
should i? (watercolor on paper) 12 1/2 x 9 1/2
no time to wait any longer (watercolor on paper)
one more step (watercolor on paper)
a pair of twins in new york (watercolor on paper) 30 x 22
for the moment (watercolor on paper) 15 x 11
it’s a stretch (mixed-media on canvas) 36 x 24
i tat it (mixed-media on canvas) 36 x 24
Loretta Petraitis (b.1964) Graduated from the Zilmius Art Academy in Kaumas, Lithuania with a masters of fine art. Originally from Lithuania, she relocated to the United States; where she first settled in Chicago. Working in oils, she paints a variety of subjects, however she is best known for her dynamic compositions of the urban landscape and industrial settings. Her paintings are characterized by a dynamic use of line, (which effectively carries the viewer’s eye throughout the painting), and a richly textured surface, which makes even the grittiest subject lush and gorgeous. Petraitis typically utilizes a limited palette, in which middle tones are reduced to create more contrast and drama within the composition.
Although the artist’s paintings result from intense, and careful observation the overall effect is a complete sensation of place at a particular moment. The viewer experiences the quietude of her paintings directly. That in itself is refreshing. Her paintings are a reinterpretation on what can be perceived as elegant and beautiful. Today Petraitis maintains a studio in St. Petersburg, Florida, and travels extensively for her work.
The Ell (oil on canvas) 30 x 48
Green Bridge (oil on canvas) 36 x 48
Summers at Sandy Hook, New Jersey, Provincetown, Massachusetts, as well as travels to Paris have afforded the artist Richard Stabbert a trove of inspiration for his paintings. Stabbert, (a self taught artist) creates small intimate paintings built on memories of people (past and present) who have left some impression upon his psyche. His work is very much along the path of the naive artists.
Working in acrylic on canvas, his paintings capture a sentimentality of lustful innocence. Typical of this style of painting, there is a certain distortion, and whimsical quality which is both lighthearted and childlike. This naivety takes the ordinary into a world of enchantment.
Stabbert works in a limited palette in which the color blue dominates. Areas are flattened and it’s overall strength rests purely in it’s innocence. At times the artist seems to blur the lines between the feminine side of what is masculine. Richard Stabbert’s work is included in the permanent collection of the Leslie Lohman Museum.
Pierre (acrylic on panel) 17.75x13.75
Bad Boy (acrylic on canvas) 13x8
Rue des Mau Vais Garcons (acrylic on canvas) 8 x 13
William Thompson (b.1978 Champagne, IL) attended the New York Academy of Fine Art where he obtained his masters of fine art degree. Working primarily in oils on canvas and panels, he creates conceptual, narrative works which are appealing on both a visceral, as well as intellectual level. The figure tends to be a reoccurring subject, with much of his compositions utilizing the self portrait. Through his painting, he rips down the veil between the artist and the viewer, allowing his audience to experience those things at heart, while at the same time challenging them to look deeper within themselves. Thompson is rooted in traditional representation, while simultaneously implementing an intuitive originality to his painting. Working as an assistant to the artist Jeff Koons for seven years; instilled in him a high standard for his own work.
Emotions, relationships, and world affairs are just some issues he addresses. Many of his works are apparent in their intent of execution, whereas others are subtle and rely on more interpretation from the viewer. He states, “I am not necessarily concerned with painting something which is pretty. I am rather more interested in making something beautiful. Beauty is something which at times can be unattractive; however if it comes from somewhere honest, it can be beautiful.”
Today William Thompson lives and works in the Manhattan area, where he maintains a studio. He is a unique emerging artist, who is one to keep your eye on.
Self Portrait (oil on panel)
Thaw (oil on panel) 17 3/4 x 5 1/2
Drag (oil on canvas) 18 3/4 x 43
Narcissus (oil on panel) 10 1/4 x 13 3/4
First Union (oil on panel) 10.5 x 14
Transfixed (oil on panel) 10 3/4 x 7
Disintegrous (oil on panel) 10 1/4 x 13 3/4
Emergence (oil on panel)
Burning Too (oil on canvas) 44 x 53
Clay Wagstaff is a Utah based artist with a restless spirit for travel. Reflected in his travels is a diversity of landscapes which range from those of mountain ranges, coastal seascapes, moonscapes, and ambiguous locals. There is a quiet sober drama that asserts itself within the structured, unsentimental worlds which he creates.
Painting primarily in oils on panels, he creates paintings with a technique which he has developed over the years. “I use a layering technique: a layering of ideas, a layering of meaning, and a layering of the paint”, he says. An interesting element to the artist’s work, is that he embeds his paintings with conscious traces of his painting process. This is evidenced by exposed grids or lines that are allowed to show through the paint, and which harmonize with the composition. There is a relationship which is set up of “order and control”, against the naturalness of nature. This is all the more heightened when one steps away from his work. Much attention is given to detail in areas, while at the same time allowing for expressive, artistic overtones. Wagstaff is skillfully able to strike a chord between that which is perfect, and that which is flawed. Whatever it is he paints, it is his skill and fresh take which results in works which are original, straightforward, and sophisticated. The artist has received numerous awards for his work, and was the recipient of the “ Lillian Orlowsky and William Freed grant”.
Ocean #43 (oil on panel) 30 x 30
Palms #17 (oil on panel) 30 x 30
Ocean #29 (oil on panel) 44 x 39
California Cypress (oil on panel) 36 x 36
Moon #11 (oil on panel) 22 x 22
Birds with Crescent Moon (oil on panel) 36 x 36
Patrick Webb attended the “Maryland Institute/College of Art”. He went on to obtain his masters from “Yale University” (1979). A mid career artist, he could be considered a figurative narrative painter. His work situates roughly mid-way along the stylistic spectrum from representation to abstract. His paintings are very much a visual choreography in which objects and people are placed in relation to one another to create a sort of tension.
A common thread which runs throughout his work is the inclusion of a central character with an over-sized, “beak-like” nose and dunce cape; referencing the comedic Italian character Punchenello. This is a narrative device to discuss the gay experience in all it’s aspects. Working in oils his paintings range from compositions which are somber, and contemplative, tender to heroic, and even comical at times. As a narrative artist, some works are clear cut and apparent in their meaning, while at other times they appear more clouded and invite speculation. Despite any ambiguity, the artist seamlessly folds his imagery into compositions which are entertaining and visually sumptuous to the eye. His colors are muted and lines softened to heighten the “dream-like” quality to his work. Of interest, is that he choreographs his figures in enigmatic relationships without referring to live models.
In a time such as ours when artists seem content to skirt the surface of issues which effect our society (primarily because they may seem a bit uncomfortable) Webb faces them head on. His work is not only beautiful to look at, but engaging and courageous as well. The artist is the recipient of numerous awards, which include a Guggenheim fellowship. He has been reviewed in a number of publications including: “Provincetown Arts”, “Art and Understanding”, and “The New Yorker” to mention a few. His work is collected broadly, and included in the permanent collections of the Provincetown Art Association and Museum (Provincetown, MA) The Jane Voorhees Zimmerli Art Museum (New Brunswick), University of Wisconsin (Oskosh, WI), and Queensboro College Museum (Queens, NY). Today the artist lives in New York, where he is a tenured professor with Pratt Institute, and where he maintains a studio.
Ray Wiggs (b 1957) is an American artist/painter, living and working in Provincetown, Massachusetts. Wiggs attended L’Accademia Belle Arti in Perugia, Italy where he obtained a classical training. He is a confident artist who enjoys stretching his limits and employing his talents to a variety of subjects ranging from the figure, to the marine-scape and landscape.
Working in oils, his palette is alluring and ranges from moody darks to sensuously saturated reds, yellows and blues. He builds his paints up in multiple layers and glazes to achieve a richness of tone. At times his work has a narrative context, while at other times the artist focuses on subjects which hold his aesthetic attention. His compositional skills are highly refined, and balanced, reflecting a mature artist who relies on solid structure and one who is in full command of his skill.