Partial panorama of Radical Chrome at Kenise Barnes Fine Art: two by me, three by Audrey Stone, tondo by Julie Maren, three by Jenny Kemp, one by Mary Judge
What's the antidote to the waning light of the season? Color! I'm delighted to be sharing the walls at Kenise Barnes Fine Art with four other artists, all of whom are engaged with the power of pigment. The opening of Radical Chrome took place a couple of weeks ago, but the show is up through January 15.
The gallery is located in Kent, Connecticut, in a cultural enclave that consists of contemporary structures and some restored barns that house art galleries, design and antique businesses, and artisanal food shops—the aptly named Kent Barns. Kent is in the far western part of the state, just under two hours from Manhattan. Let me take you on a clockwise tour from the entrance, which you see below.
Entrance to Kenise Barnes Fine Art
These images offer a more inclusive view of the show. Starting from the far left: a small work by me and two by Mary Judge
Joanne Mattera, Tutto 5, 2022, oil and oil pastel on panel, 16 x 12 inches
Opposite the entrance, these two gorgeous pieces by Mary Judge, who is known for her symmetrical, often mandala-like paintings and works on paper. She uses the Italian Renaissance technique of spolvero to delineate the composition
Historically spolvero was used to transfer a design from a perforated paper template to a canvas by pouncing a small bag filled with fine charcoal dust. Contemporary master Judge uses the technique not as an intermediary element but to create the actual drawing using pigment powder
Above: Mary Judge, Primavera Pop 14, 2022, powdered pigment on paper, 34.5 x 34.5 inches framed
Below: Primavera Pop 28B, 2022, powdered pigment on paper, 34.5 x 34.5 inches framed
Continuing around the gallery: Joanne Mattera, Audrey Stone
Above: Joanne Mattera, Tutto 9, 2022, acrylic on canvas, 48 x 36 inches
My new series, Tutto, continues the themes I have been working with for some time: a divided field, emphasis on the horizontal, and saturated color
Below: Tutto 8, 2022, acrylic on canvas, 48 x 36 inches
Audrey Stone, Julie Maren
Audrey Stone, Coast to Coast 7, 2022, acrylic and flashe on canvas, 40 x 30 inches
Often inspired by personal events, Audrey Stone's vibrational works are by turns meditative and retinally stimulating, the result of minute shifts in color progression. Each band of color may represent a single days work
Passing Through, 2022, acrylic on canvas, 50 x 40 inches
Coast to Coast 6, 2022, acrylic and flashe on canvas, 40 x 30 inches
Audrey Stone, Julie Maren, Jenny Kemp
Maren's connection to the natural world is direct, as she uses acorn tops as the repository for color. Installations are dimensional, jumping the boundaries between painting and sculpture
Detail below
Jenny Kemp, Midsection, 2022, acrylic on linen mounted on canvas, 40 x 32 inches
Kemp's biologically inspired paintings employ pattern and rhythm, suggesting organic growth. Gradations of hue deepen the sense of accretion and development.
Tandem, 2022, acrylic on linen mounted on canvas, 18 x 14 inches
Braid, 2022, acrylic on linen mounted on canvas, 25 x 22 inches
Continuing around the gallery: Jenny Kemp, Mary Judge
Mary Judge, Primavera Pop 03, 2022, powdered pigment on paper, 34.5 x 34.5 inches framed
Pollinator, 2020, oil on linen, framed 9.5 x 9.5 inches
Yellow Gemelli, 2020, oil on linen, 7.5 x 7.5 framed
Pink Kiss, 2020, oil on linen, 7.5 x 7.5 framed
Radical Chrome is up through January 15.
More info about the gallery
More info about the show
More info about Kent Barns
Tutto is magnificent. I like Braid, too, Kemp? Handsome show.
ReplyDeleteThank you. The Tutto series by Joanne Mattera is the newest in her exploration of lush minimalism and saturated color - a gorgeous development in her long snd distinguished career. Braid is a stunning and complex painting by Jenny Kemp. This show is such a joy!
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