ELEVATING A HIGHER EDUCATION SPACE

     

As art consultants, James Gallery can work directly with clients to find the perfect fit or with an interior designer or in-house design team to ensure every aesthetic and need is addressed through creative solutions.

In this case, a university client sought to create a professional first impression. James Gallery collaborated with the in-house designer to assess the space, reviewing floor plans and visiting in person to photograph and fully understand every aspect of the existing office.

James Gallery identified key needs:

  • Art that would bring color and transform a blank wall into a focus of interest in a large office with neutral tones.

  • Art with proportions that work with the scale of a room with 18-foot ceilings.

  • Art that would complement an existing piece with geometric features.

James Gallery presented several options which the client edited to an ideal choice after a gallery visit to experience the artist’s work. The James Gang brought the selection to the space for final client review.

The result delighted: A vibrant textile piece satisfies every need and highlights a regional artist with international recognition. With graphic and linear elements that work with the existing art, James Gallery artist Jan Myers-Newbury’s textile art creates a focal point in the space, fits the room’s scale and brings colorful aesthetic balance. The textile art also addresses an acoustic need. The art selection now provides a setting that is professional, welcoming and uplifting.


 

SPLICES OF LIFE

Scott Turri’s paintings are inextricably linked to how the information age shapes visual culture. He uses traditional and digital drawing, photography and digital manipulation to iterate through snippets, splicing and transforming those into paintings that seek balances of personal and cultural.

“The concept of synthesis is central to my work,” Turri says. “Because of my natural curiosity and a wide range of interests, there has always been a desire to cobble together an assortment of components by transforming and fusing the parts to create something greater than its sum.”

Scott embraces creativity throughout his life, from punk rock with a performance art band - to writing and working in video - to his current focus on painting. For the last twelve years, he’s applied computer-based methods to create still images that are used as models for larger scaled replicas.

His latest series, “The Longing Ritual,” builds on the concept of synthesis, a product of his cyclical rituals: walking through Frick Park, the Homewood Cemetery, the neighborhoods of Squirrel Hill, and Point Breeze and from weekly trips to rural Washington County.

The paintings are not traditional landscape paintings. Instead, they reflect the ever-pervasive presence of digital devices and their intrusion on our ability for real experience. Although elements of landscape exist in the paintings, there are barriers which interfere with experiencing it, including photographs that have been funneled through digital software. Unlike romantic and impressionist landscape painters, Scott’s approach includes intentional layers of separation via photography and digital manipulation. His paintings contain little to no trace of the human hand in the making.  

“I mimic the screen,” Turri says. “In fact, they are the same height to width ratio as the HD screen and look as though they could be machine made.”

 


 

EXPLORING THE NATURE OF MEMORY

 

Conjured through research of Neolithic and ancient sites, including the sacred, painter Micheal Madigan’s work evokes layered memories of thousands of years of civilizations.

Numerous visits to Ireland, Southern England, Italy, Spain, and the American southwest have influenced the nature and direction of Madigan's painting.

His work conveys patterns of memory, its structure and how it is modeled and changed by time.

“I’ve surrendered the illusion of controlling the evolution of my work," Madigan says. "There are specific sequences of process that are applied to the paintings to bring them into being, evolving color progressions and textural applications that build the physical presence of each piece. I find that through years of refining this process, if I surrender to the unknown early in the painting's evolution, then that surrender strengthens the final underpinnings of the piece. The evocative power of the work is somehow strengthened as my intent is subsumed in its creation.”

Madigan created “The Gate” series from memories of travel experiences in Europe and the American Northwest.

Explorations of ruins in these lands, from medieval fortifications in Ireland, Italy and Spain, to the abandoned 19th century coastal batteries in Washington State, share the forms of guarded portals. These portals, now eroded and exposing the interiors they once guarded, stand as gateways to lost or buried memories, tempting exploration.

Above is one of his "Gate Series" paintings: The Gate V / 60 x 40 / acrylic on panel

 

 

 

A GLASS ACT

Lisa Cahill has been making glass art for more than 20 years, mixing the precise science of glasswork with her appreciation for a sense of place expressed through abstract interpretations. Her pieces reflect built and organic environments, connecting urban architecture, memories, and her passion for natural landscape.

Cahill grew up with an affinity for glass and ceramic, which solidified when she spent time with family in Denmark, where beautifully designed glass bowls graced most homes. Much of her work evokes textures and tones of Nordic landforms and vast Australian landscapes.  

Cahill's dreamlike art allows viewers to draw associations with their own remembered landscapes, resulting in a meditative and emotional response. Working on a variety of scales and building art from a series of panels allows Cahill to create pieces for internal and external domestic settings as well as large public art.

Cahill exhibits nationally and internationally and has been awarded numerous grants and prizes, including multiple Australia Council for the Arts New Work grants. After establishing several artist group studios in Sydney and Melbourne, she now works from a glass studio in Canberra, Australia.

Here’s what Cahill has to say about the transfer of sentiment from artist to end user: “I really hope the viewer gets joy from my work. I aim to create works that can be abstract enough that it reminds them of a place they love. It's a little bit like how the scent of a perfume might conjure a memory of a person. I hope my artwork takes the viewer somewhere that they remember fondly.”

 


 

CONNECTING WITH NATURE

As a child, Fred Danziger happily drew elephants or clowns with crayons for his mother, who would delight over the finished pictures and reward him with milk and cookies. Today, his intricately detailed paintings are included in over 100 public collections and he still gets a rush when someone appreciates the feelings he’s captured.

“When I see my work installed in someone’s home and know they love having that piece as part of their life, I feel that we share a certain bond,” he says. “It’s a connection with someone. They get it; they love nature the same way I do. When you find people who are moved and the painting speaks to them, it’s very gratifying.”

Fred draws inspiration from walks in the woods, working to depict three-dimensional form as accurately as possible and achieving near photorealism with broad landscapes and up-close depictions of the natural environment. A master of details, his paintings of leaves, water - even dew-dappled blades of grass - become almost abstract compositions that combine nuances of light, texture and color to give the sense of being present in the scene.

“I don’t try to emulate photography in my paintings; I try to go way beyond what a camera sees,” he says. “A lot of it is just a feeling you get. You’re trying to express that sense of air and light and sunlight, just letting nature wash over you.”

Those sensations were impressed on him from his early childhood in Pittsburgh’s Chartiers Terrace, where he and his friends spent days wandering through nearby farms and orchards, hiking in the woods and fishing in meandering streams.

Over the years, Fred has been honored with several major awards, including the Southern Alleghenies Museum of Art’s 2018 Award for Artistic Distinction, recognizing him for an extraordinary body of work. He was educated at the Pennsylvania Academy of Fine Arts in Philadelphia, where he later shared his passion for painting as an adjunct professor. He counts masters like John Singer Sargent, Winslow Homer and Edgar Degas as influencers, along with his high school art teacher in Crafton, John Dropcho, who gave him the confidence to pursue painting as a career.

After immersing himself in painting the natural world - scenes of streams, leaves, water - Fred has expanded his work to include cityscapes and people.

 

“There’s an artist named George Bellows who inspires me in that he was an amazing landscapist, but he also did paintings with boxers in a boxing ring and cityscapes,” Fred says. “I like the idea that an artist has a range, not just a ‘one-note’ kind of artist. At the moment, I’m interested in neighborhoods and people.”

 

His work has been a longtime favorite among James Gallery clients, our founder, James Frederick, says.

 

“He loves nature and nuance, from mist to light filtering through leaves,” he says. “He’s an artist who came from a place when he was younger of paintings that were almost photosurreal. As he evolved, his paintings were much more about what he saw. Fred paints with infinite detail.”

 

His ability to depict even sublevel details - leaves that have slipped underneath a stream surface in “November Rain,” for example - are part of what make his paintings a wonder.

 

“November Rain” happened unexpectedly, a moment where Fred was surprised and delighted by what unfolded before him. He was heading out to paint on a gray day but was interrupted by wet weather. Instead of heading back to his studio, he paused.

 

“I was watching these ellipses, spreading out and out, dotting all over the stream and colliding,” he says. “It appeared beautiful to me. I thought, I’ve got to try to do a painting of this.”

 

Here's a look at the result, set to music and poetry.