The Female Perspective works by Karen Bonanno
Jan 19 – April 20
“I am most interested in the figure, specifically the female figure. Each work starts with a figurative gesture that is either invented from memory or interpreted from sketches of the figure. Through expressive mark making and color choice, the figure is formed and solidified in its environment, whether it be an interior, exterior or ambiguous atmospheric space. My intention is not so much to create a likeness of a particular person but rather to capture a gesture or mood that contributes to the narrative of the painting. My main influences are the artists of the Bay Area Figurative movement including David Park, Richard Deibenkorn and Elmer Bischoff as well as Cezanne, Bonnard and Matisse.”
FACES with Works by Larry Morse
May 4 – July 27
“My art challenges complacency. It identifies with those who are alone or alien, at the same time reflecting my own resistance to labeling or stereotypes. A self is unique. As an artist, I process the world around me through physical, emotional, and psychological self-determination.”
EMERGE works by Hannah Munroe
Aug 10- Nov 9
Fine Art Photographer Hannah Munroe uses her camera and Photoshop to create and compose painting-like images. Hannah discovered the creative expression that composite photography offered and fused it with her love of photographing people and her imaginative storytelling abilities. She has won over twelve awards in local and regional competitions. Her collection Emerge conveys individuals struggling with identity and realizing their courage to experience joy.
All Experience is An Arch works by Megan Marden
Nov 16 – Feb 2, 2019
“In my paintings, I try to communicate a specificity of place that is non-visual—the musty, attic-like smell, the sounds of an old building and a framing shop next-door. The sense of being in the center of a small city, but also feeling isolated and disconnected from it.
Many of my recent paintings have been very small. Small paintings contain their own admissions about the enormity of painting. They invite intimate viewing in a way that larger pieces do not. A viewer can observe one section of a large painting from a close distance but is able to see the entirety of a small painting from an equal distance. In that sense, a small painting is quite vulnerable.
Some of these paintings have taken me months to complete. They have been re-drawn, re-organized, and seen numerous changes in color and light. I labor over such decisions with the ultimate goal of conveying aspects of the space that are not contained by the purely visual.”