Trialogue A Selection of New Works by Jennifer Kloth, Linda Risso, And Melissa Sugar

Paintings of Joan Cox

Scooter Parking Only
Sampling of pieces available at the gallery

 

Antique Vespa (2008)
Acrylic on Canvas 40x50
$1200
Green Scooter at Cafe du Monde (2008)
Oil & Acrylic on canvas 30x40
$1500
Tuxedo Scooter on Red Swirls (2008)
Oil & Acrylic on Canvas 30x40
$1200
Lime Green Scooter with Swirls (2008)
Oil & Acrylic on Canvas 16x20
$400
Red & Blue Scooters (2009)
Oil & Acrylic on Canvas 16x20
$400
Red Scooter (2008)
Oil & Acrylic on Canvas 20x20
$400

 

Scooter Tails (2008)
Acrylic on Canvas 20x20
$400
Three Handlebars (2008)
Acrylic on Canvas 20x20
$400
Scooter Parking (Orange)--(2008)
Acrylic on Canvas 40x50
$1200
Scooters Lined Up (2008)
Acrylic on Canvas 40x50
$1200
Blue & Green Scooters (2008)
Acrylic on Canvas 40x50
$1200
Italian Scooter (2008)
Acrylic on Canvas 40x60
$1800

 

 Sample of Jennifer Kloth's Works (click on image for larger view):

Blue Room
Archival Inkjet Print
24X30
2008--$450
Red Crate
Archival Inkjet Print
24X30
2008--$450

Sample of Linda Risso's Works (click on image for larger view):

 

Deviant
Mixed Media
3X3 Piece in 12X15 Frame
2006--$375
Winged
mixed Media
3X3 Piece in 12X15 Frame
2006--$375

Sample of Melissa Sugar's Work (click on image for larger view):

   
Melissa Sugar
2008--$850
 

Artemis Herber--Threshold 

The following is a sample of Ms. Herber's works.

Lost Space (2006)
36x60
Acrylic on Canvas
$2800
Harbor (2005)
36x48
Acrylic on Canvas
$1800
Gas Station (2006)
48x60
Acrylic on Canvas
$3600



Yellow Pole (2006)
11x9
Acrylic on Canvas
$500
Top Level(2006)
36x48
Acrylic on Canvas
$2000
Electricity Poles (2006)
30x40
Acrylic on Canvas
$1800



Intersection (2006)
48x60
Acrylic on Canvas
$4000
District (2006)
48x60
Acrylic on Canvas
$3400
Bridge (2006)
30x40
Acrylic on Canvas
$2000


Artist Statement & Bio:
Ms. Herber's paintings evoke the passage to time with sparse architectural elements and evocative use of light and unpredictable color. Ms. Herber’s sculpture is comprised of single sheets of cardboard that has been scored and cut into sculptural “walls”  and “smokestacks” that are then painted in coordination with her paintings. 

“Transitory in nature, these lost spaces incorporate driveways, streets, and bridges, driving the viewer in and out of the composition. Therein lies just a moment, a short break before the viewer continues traveling through a distant, deep space, and time.  This vision expresses the character of transitory moments in a world of restlessness and the hurry of mobility.  The emptiness evolves to an artistic concept, where the paintings display a paradox of sorts:  they are filled to the brim with image yet, they depict deserted spaces, devoid of people,” notes Ms. Herber.                                                                                                
 

A native of Germany, Ms. Herber has exhibited widely throughout the United States and on an international scale.  Most recently her work was featured at the San Jose Museum of Art, Cleveland Public Art, Inc., and the Luke & Eloy Gallery in Pittsburgh.  Ms. Herber was also a featured artist in the juried “Beyond/In Western New York 2007” at the Albright-Knox Gallery in Buffalo, New York.  
 

(A)Waiting
Portraits of Baltimore's Industrial Waterfront  (November 15th-January 3rd)

The Photography of Andy Herbick (click on image for enlarged view)


Dry Dock Drain
20x30
Edition of 25
Framed Print: $625
Unframed: $450
Three Yellow Cranes
20x30
Edition of 25
Framed Print: $625
Unframed: $450
Anchor [12M]
20x30
Edition of 25
Framed Print: $625
Unframed: $450

Fine Bow
20x30
Edition of 25
Framed Print: $625
Unframed: $450
Runsty Bow
20x30
Edition of 25
Framed Print: $625
Unframed: $450
Sunset Cranes
20x30
Edition of 25
Framed Print: $625
Unframed: $450


Dolphin Tryptych #1
8x14
Edition of 50
Framed Print: $350
Unframed: $225
Dolphin Tryptych #2
8x14
Edition of 50
Framed Print: $350
Unframed: $225
Dolphin Tryptych #3
8x14
Edition of 50
Framed Print: $350
Unframed: $225
Dock at Night
12x18
Edition of 50
Framed Print: $350
Unframed: $225
Superstructure #1
12x18
Edition of 50
Framed Print: $350
Unframed: $225
Bow Bulb
12x18
Edition of 50
Framed Print: $350
Unframed: $225


Superstructure #2
12x18
Edition of 50
Framed Print: $350
Unframed: $225
Anchor [14]
12x18
Edition of 50
Framed Print: $350
Unframed: $225
Runsted Hull Drains
12x18
Edition of 50
Framed Print: $350
Unframed: $225
Superstructure #3
6x18
Edition of 50
Framed Print: $350
Unframed: $225
Ancho [342]
12x18
Edition of 50
Framed Print: $350
Unframed: $225
Four Blue Cranes
12x18
Edition of 50
Framed Print: $350
Unframed: $225

Anchor & Chains
28x42
Edition of 12
Framed: $1175
Unframed: $900
Bow #1
28x42
Edition of 12
Framed: $1175
Unframed: $900
Four Red Cranes
28x42
Edition of 12
Framed: $1175
Unframed: $900
Orange Crane
28x42
Edition of 12
Framed: $1175
Unframed: $900
Anchor [Y]
20x30
Edition of 25
Framed: $625
Unframed: $450
Dolphin Piling
20x30
Edition of 25
Framed: $625
Unframed: $450

How Old is Your Broken Heart-October 4th-November 8th 2008
Works by Lance Rautzhan

Scribble Poet 42x58 SOLD Leaving Bars
54x46 (2006)Acrylic on Canvas
Blank is the New Black 44x32 (2007)Acrylic on Canvas $900

Cults are for Romantics 56x40 (2007) Acrylic on Canvas $1100 Religious Disco
31x8 Acrylic on Glass SOLD
The Price 56x20 (2008)
Acrylic on Wood

The original oil paintings of Ms. Najwa Al-Amin
From Baghdad to Baltimore

Artist Statement
I love colors. They make life brighter. Pablo Picasso said" Every child is an artist. The problem is how to remain an artist once he grows up". Growing up I forgot about the artist me. One day I decided to look deep into my own self for that forgotten artist, I found her, and the artist became my whole being, ever since.
Biography
Ms. Al-Amin is an Iraqi artist living near Baltimore, Maryland. She was born and raised in Baghdad and lived in the capital until the late 1990s. When she was a child, she often traveled alongside her father, who was a university teacher and administrator, to Egypt, Morocco, Lebanon and United Arab Emirates. Ms. Al-Amin graduated from the American High School in Baghdad and later earned an Engineering degree at the University of Baghdad.
One of her mentors is the Iraqi artist, Nathira al-Kuttab, who now lives in Spain. Another mentor was her late father, Mohamed Jasim al-Amin, an Iraqi poet who introduced her to the milieu of art and literature when she was sixteen.
Ms. Al-Amin's medium is oil on paper, board and canvas. The work celebrates a boundless world of images and figures in soft as well as strong tones. "Wars and conflicts left no colors in the Middle East desert's life", she says. "So I put them into my art, to turn sadness into happiness and replace anger with peace." Her paintings express the passion of an ancient culture, and her techniques are as diverse and elegant as the artist herself.
Click on image for larger view

A Village 40x30 (Najwa Al-Amin) SOLD A Kite Over A City I & II 15x30 (Najw Al-Amin) $375 per painting(#I-SOLD) Baltimore 24x36 (Najw Al-Amin) $400

Kids Flying Kites 16x20 (Najwa Al-Amin) SOLD Magical City 24x36 (Najwa Al-Amin) SOLD Meadow 40x30 (Najwa Al-Amin) SOLD

Orange Orchards in Dyala 22x28 (Najwa Al-Amin) $475 Riding A Kite Looking Down 36x32 (Najwa Al-Amin $750  Windows I & II 16x24 (Najwa Al-Amin) $600 per painting

 

 

Carlo Van Grieken

Structures of the Past—The Legacy of the Future 
 

“My art comes from the things I see around me; it comes from nature; and it comes from my own background.”

--Carlo Van Grieken 
 

Why towers?  Towers and turrets, for me, have a significance of strength and protection in the built urban environment.  They suggest security, power, and beauty.  This is why we love romantic castles and fortress towns.  This show focuses on my interest of how the structure, movement, and volume of towers and turrets interplay with each other and connect with the intangible sky.
 
 

The edifice is an inhabited artifact that embodies the beautiful and diverse history as-well-as romanticized past of Baltimore City.  The solid structures are presented as clean, pure forms that are highly textured yet unblemished by time.  They are not sublime, decaying relics of a tarnished memory.  They encourage the viewer to appreciate the deeper, more-meaningful artistry of Baltimore’s architecture.  For me, the clean representations endorse a spirit of potential and promise here.  The connected geometries of the towers and turrets converge to convey an infinite edge that stretches into the blue sky with limitless imagination.  The solid forms appear to grow up from their solid foundations and join the surreal blue.  Perspective is portrayed from the position of one viewer, myself.  The onlooker is invited to participate in this narrative journey. 

Baltimore’s magnificent architecture made this charged impression on me when I first visited this city.  The rich urban fabric appeared extraordinary not by horizontal lines of white-stepped rowhouses, but by the turreted sentinels that stand guard and point upward to a limitless Baltimore sky.  I now live in a Baltimore townhouse with a corner turret.  I find that tower rooms have a connection with infinity because their unlimited views outside and cornerless internal boundaries make a singular connection with the neighborhood and with my own imagination.         


Past Exhibitions:

Merida, Venezuela
Valencia, Venezuela
Yucaipa, California
Guadalajara, Mexico
Redlands, California
Toulouse, France
Riverside, California 

 

Images of Exhibit (click on images for larger view):

Carlo Van Grieken "The Beginning" Acrylic on Canvas 24"x30" 2008 Carlo Van Grieken "Study I" Acrylic on Canvas 8"x19"2008 SOLD Carlo Van Grieken "1900" Acrylic on Canvas 24"x36" 2008 Carlo Van Grieken "Studies II & III" Acrylic on Canvas 8"x19" 2008 BOTH SOLD Carlo Van Grieken "1820 Turret" Acrylic on Canvas 24"x30" 2008

Carlo Van Grieken "The Sacred Door" Acrylic on Canvas 24"x30" 2008 SOLD Carlo Van Grieken "Red Tower" Acrylic on Canvas 24"x30" 2008 Carlo Van Grieken "Turrets" Acrylic on Canvas 24"x30" 2008 Carlo Van Grieken "The View" Acrylic on Canvas 18"x24" 2008 Carlo Van Grieken "Lady In White" Acrylic on Canvas 24"x30" 2008 SOLD

 

 

 

Scott Gelo & Eric Ehlenberger Neon Exhibit

Ventus
Scott Gelo

Jellyfish
Eric Ehlenberger

 

 

Pilgrimage Series
Scott Gelo

   

 Interior View

 Exterior View

Absence & Presence

Oil Paintings by Johan Lowie
(click on thumbnail to view larger image)

Listener-Oil on Woodboard 24x30 The Burden-Oil on Canvas 24x30 Daydream-Oil on Woodboard 24x28 Sold Look From Outside-Oil on Woodboard 24x28 The Cold Room-Oil on Canvas 24x24 Sold

Transformation-Oil on Woodboard 31x35 The Visit-Oil on Woodboard 31x35 The Dreamer-Oil on Canvas 15x15 The Naturalist-Oil on Canvas 15x15 The Analyst-Oil on Canvas 15x15

 

A native of Belgium, Mr. Lowie was influenced by Flemish expressionist painters at a very young age. His father took him on visits to the studios of painters, which ignited Mr. Lowie’s creative side. From there, Mr. Lowie received classical art training at the acedmie of Ieper & Ghent and the Institute for the Plastic Arts in Kortrijk, Belgium.
                         
Mr. Lowie pursued various artistic fields, taking part with installations in art events such as Fabriek 88 and Metro 89, both in Antwerp, Belgium and Undercover 90 & S&F in Ieper, Belgium. He designed a number of public indoor and park exhibitions for a number of different scientific and cultural projects while having selected shows in New York, Maryland and Belgium.
 

“Since the last years I have been concentrating solely on painting. My work focuses on the human drama, capturing stories and emotions in one image. How do you paint the feeling of waking up in the early hours of the morning with all your negative feelings or pure happiness? How does a first love feel? The loss of a friend the first days of spring, fear of old age. The tale of sorrow or euphoria captured in deep understanding, the theatre of life in a light of color and composition. How do you paint these human travels universally without showing the obvious but the deeper meaning even to abstraction? I do not follow a certain style per se. The most important element for me is finding the right atmosphere that explains the above.”