Archive for September, 2010


Read Full Post »

A Little Twisted by Kevin LePrince

This October, the Wells Gallery located in downtown Charleston, SC, will present a show titled Elements & Atmosphere. The show immortalizes the Carolinas in rich oil paint, the most forgiving and often frustrating medium. Both feature artists, Wendy Whitson and Kevin LePrince, tell a different story of the same land, their respective perspectives emerging in style, process, palette and detail. The exclusive Collectors Preview will take place on Sept. 30. Artist reception open to public will be on Friday, October 1 from 5 to 8 p.m. at 125 Meeting Street.

Whitson, an Asheville-based artist, has a background in graphic design and photography, thus her painting process is no surprise. All of her works begin with a grid in the under-painting to instill the structure she feels is evident in nature. However, after securing the placement of her subjects with the grid, she then builds layers of paint, even occasionally using natural elements like mica, to add further texture and natural organic shapes in her work. Embracing an earth toned palette, Wendy’s paintings bring a new aspect to what the Wells Gallery typically offers, hinting at the seasonal changes within the North Carolina landscapes.

Harvest Moon by Wendy Whitson

A Charleston native, LePrince grew up surrounded by Lowcountry landscapes. Yet this artist began his career working as the Vice President of investments at a well-known national bank before returning to his roots and honing his painting skills; LePrince’s ancestors have works hanging in the Louvre and Getty museums. When he puts brush to canvas, LePrince exhibits his inherited talents, creating compositions that please the eye as well as beg a laugh.

Read Full Post »

Please join Carolina Galleries for the first French Quarter Gallery Association Art Walk of the year on October 1, 2010Johnson Hagood, artist and owner of Carolina Galleries will unveil his show Preview, a sneak peek at work that is being created for his 2011 show at the Greenville County Museum of Art (GCMA) in Greenville, SC. The opening of Preview will be on Friday, October 1, 2010 from 5 – 8 pm at Carolina Galleries, located at 106 A Church Street in downtown Charleston.  The artist will be present for this reception, which is free and all are invited.

Hagood, a resident of Charleston since childhood, studied Studio Art at the College of Charleston under renowned artists like Michael Tyzack, John Michel, William Halsey, and Corrie McCallum.  The vanishing landscapes of the South, such as barrier islands, sunsets or the ever-evolving urban settings of downtown Charleston inspire this talented artist.  As a dealer, Hagood specializes in American Southern artwork, particularly work of the Charleston Renaissance (1915-1940) artists like Alice Ravenel Huger Smith, Alfred Heber Hutty, Anna Heyward Taylor and Elizabeth O’Neill Verner.

His recent exploration of nocturnal cityscapes drew the attention of Greenville County Museum of Art director Tom Styron.  Hagood’s show is scheduled for 2011; exact dates are still to be determined.  The work will explore the decaying nooks and crannies of Greenville’s urban landscape.

Carolina Galleries is a member of Charleston Fine Art Dealers’ Association.  Hagood is the current President of CFADA.

For more information about the Greenville County Museum of Art, please visit www.greenvillemuseum.org or 420 College Street, Greenville, SC 29601.  For more information or to request images, please contact Carolina Galleries at 843.720.8622 or info@carolinagalleries.com.

Read Full Post »

Luck Chalm by J. Christian Snedeker

Ella Walton Richardson Fine Art is pleased to host a stunning show by J. Christian Snedeker, one of our extraordinarily talented local artists. More than 15 new works by Snedeker will be on exhibition September 30 through the end of October, with the public reception on October 1 from 5-8 pm at the gallery.

Sunlit marshlands and harbors with fatigued fishing boats are Snedekerâ?Ts forte, and he captures Charlestonâ?Ts surrounding areas beautifully. Of his artwork, Snedeker says, â?oThe event that definitely ignited in me the realization of the power of painting, and a desire to explore it, was the Andrew Wyeth retrospective exhibit at The Boston Museum in 1970. I was simply awed by the power of an artistic vision that sought to delve deeply into the reality of one manâ?Ts world. It is this searching that compels me to put paint to canvas.â?

Quiet Evening on the Creek by J. Christian Snedeker

Originally from New York, Chris was born in 1952 and lived on the South Shore of Long Island until 1967. He attended the Boston Museum School of Art in the early 70â?Ts, where he studied painting, drawing, and photography. Upon completion of his studies, he moved to Charleston, SC, and began a career in furniture making. Though creatively satisfying, it was painting rather than furniture making that was his passion. In the 1990â?Ts Snedeker returned to a more intensive study of painting and joined the Charleston Artist Guild and became an associate member of Oil Painters of America.

Read Full Post »

The Corrigan Gallery is pleased to present “Sex and Death” a show of works by Richard (Duke) Hagerty opening October 1 with a reception from 5pm to 8:00pm at 62 Queen Street, Charleston.  The work will hang through October 31.  This is his first solo show since the artist’s Piccolo Spoleto 2008 commissioned poster celebration.  This opening is in conjunction with the French Quarter Gallery Association quarterly artwalk.

Happy Man by Duke Hagerty

“Sex and Death” are both words that many prefer not to discuss in any form.  Richard Hagerty is entering his role as an artist completely in his desire to bring these often ignored words to the table.  Discussing the title of this solo show, Hagerty states “Creation comes out of destruction.  Sex and death are polarities of the natural cycle.  Intellectual explanations recede in importance; the power of mystery is enough.  The constant violent struggles inherent in creation and destruction are played out on the canvases.  The paintings invite not so much analysis as visceral experience.”  He goes on to explain pieces in the show such as “Happy Man” saying that this is a Buddhist concept.  A man or woman is only happy when others are happy as well.  Happy Man can face death courageously when s/he can catapult ego into the universe and embrace all.  Planets and stars orbit around Happy Man’s head.  Happy Man is spinning through time and space with Nataraja (Shiva), the Lord of the Dance.”  To even introduce the very idea that the word happy can be used in relationship to death could be considered astonishing, particularly in western religion and philosophy.  There is also the play on words that might be referenced.

Hagerty also says “In the deepest meditative state, it may be possible to confront one’s own DNA.  The helix of the DNA is represented by the serpent.”  The yogic Kundalini practice uses the serpent as the representation of energy, life force and sex.  Hagerty uses the serpent in several paintings, some very personal, some geographical — all relating to energy whether in play or latent. Confronting one’s DNA may just bring the individual to the state of the “Happy Man” with the ability to let go of “ego … and embrace all.”

Repeated references to spine and temporality as well as the serpent (coiled ready to spring up the spine in Kundalini visuals) put the viewer in the mindset to gain strength from the paintings. Whether the fragmented shapes of the “Happy Man” or the serpent full of vitality or the spine of mountain ranges, the strength and potential freedom gained from facing destruction, death and finality.

Richard (Duke) Hagerty began painting while in medical school utilizing the surgical training that enhanced his eye-hand coordination. He is a self-taught artist who draws his surreal, fantasy based imagery from dreams, mythology, religion, history and science. The language of the unconscious and the act of dreaming in the conscious state define his work.  He paints in a variety of media, including pen and ink, watercolor and oil.  He has been a working artist for several decades.  This former councilman and practicing surgeon is widely acclaimed for his fantasy paintings in which he crafts psychologically potent dreamscapes. The tableaus recall those of Dali, Bosch, Brueghel, Kandinsky, Miro, Klee, Calder and Chagall.  The symbolic art movement’s preceding World War II influence and the iconographic mark making of the Latin American and Asian cultures are evident in his work.

Hagerty has created several posters for Piccolo Spoleto throughout its three plus decades. His paintings have appeared in numerous solo and group exhibitions since 1979 throughout the southeastern region and in New York. His work is in the collections of the Gibbes Museum of Art and Chapin –Burroughs Museum.  He had a solo show at the Gibbes Art Gallery (now Museum of Art) in 1991.

Corrigan Gallery, now in its fifth year, is a culmination of 22 years of experience in the Charleston art market.  The gallery represents more than a dozen artists in an intimate space and presents 6 to 10 shows per year with the gallery being refreshed every month.  Visiting artists are included in the yearly roster with most of the artists either being Charleston natives or individuals living in Charleston.  A gallery of contemporary works exploring the depth and intellect behind the drive to create, Corrigan Gallery provides a breathing space around the historic city’s traditional bent. There are visiting artists included throughout the year and daily works are shown by Manning Williams, John Hull, Joe Walters, Mary Walker, Kristi Ryba, Lynne Riding, John Moore, Gordon Nicholson, Sue Simons Wallace, Kevin Bruce Parent, Daphne vom Baur, Paul Mardikian, Max Miller, Sally Bennett, Michael Slattery, Tim Fensch, Richard Hartnett and Lese Corrigan. Open six days a week and other times by appointment, the gallery can be viewed 24 hours a day at http://www.corrigangallery.com, contacted by phone 843 722 9868 or email art@lesecorrigan.com.

Read Full Post »

Robert Lange Studios upcoming exhibit, The Soft Embrace of a Porcelain Night, features the work of contemporary painter Nathan Durfee. The Soft Embrace of a Porcelain Night is a striking body of narrative paintings and one very large suggestive dreamscape. Durfee will be at the October 1 event from 5:00 – 8:00 and the work will hang until October 28 at the 2 Queen Street location.

Nicks Slow Morning by Nathan Durfee

Durfee’s unique style was recently recognized when he received the award for Best Visual Artist in Charleston from the City Paper (2009).  Embraced as a favorite by the community, Durfee’s presence in the Charleston art scene has grown since being picked up by Robert Lange Studios in 2007.  The charismatic painter was the featured Piccolo Spoleto Jazz Series artist and recently on the cover of Charleston Art Magazine. His latest group of paintings created a stir when the seven-panel dreamscape was unveiled at the beginning of August to a select group of collectors.

“As soon as it leaked out that the dreamscape was finished,” said gallery owner Robert Lange, “people were calling wanting to take a look at it.”  The piece will be unveiled to the public during the October 1 opening.

In describing the work, Durfee says, “The show is about contrast – dark moments in colorful packages. The title, The Soft Embrace of a Porcelain Night, gives a bit of insight as to what I’ve discovered through painting the

series. In each work, undertones of endearment show through despite the character’s obviously uncomfortable predicaments.”

There is a dark humor in Durfee’s paintings, macabre in their staging yet whimsical in their overall presentation.  The artist, born in 1983, studied traditional portrait painting and received his Bachelor of Fine Arts degree from the Savannah College of Art and Design. As his current work intrepidly exhibits, Durfee decided to take his art in a different, less traditional direction. “I’m transfixed by the idea of creating worlds we can only dream of.  I thought I would be a traditional, realistic painter when I first went to art school…but I quickly discovered that if I’m able to create a reality, why do I need to adhere to the one we live in now?” Durfee said.  This ability to create both conventional and alternative realities allowed him to push and pull his work from the realistic to the abstract with imaginative skill, gaining attention amongst his peers in the art community.

“I was amazed when I saw one of Nathan’s traditional works,” said gallery owner Robert Lange. “The idea that Nathan made a choice and was never hindered by his ability to render gives an added level of understanding to his


The Dreamscape by Nathan Durfee

The seven panel panorama, ‘The Dreamscape’ 114” x 36” oil on canvas, depicts moments found in the imagination, yet is still referencing the artist’s reality.  ‘The Dreamscape’ is anchored by a decapitated self-portrait of Durfee as Frieda Kahlo holding an ego driven #1 foam finger. Yet another panel depicts Chicago artist Nick Cave’s costume/sculptures, consisting of brightly colored fabrics and elaborate embroidery.   Durfee consistently intrigues the viewer; leaving them searching within the narrative for more hidden clues while illustrating his insecurity with his own skill.

In the painting “Michael Tries to Fly in Style,” Durfee makes reference to the De Stijl art movement.  A giant pink elephant adorned with a set of wings designed by the likes

of Mondrian and Rietveld, sits precariously on the edge of a cliff reading the wing’s instructions. The overtly cheerful, yet in some regards somber painting challenges the viewer to question whether the subject is ready to fly: is he satisfied with what De Stijl has created for him? In this piece, the elephant, which embodies both Durfee and the art movement’s spirit, must take the leap. In many of Durfee’s paintings, the characters are at the mercy of their created situations.

“Many of the works hold a tinge of sweet melancholy. The characters long for something, caught in their own internal conflict of love or growth,” said Durfee. “This is set against beautiful backdrops, which remind the viewer that despite the small trials, they live in a wondrous world.” The mood of each piece is affected by both the different color tones the artist chooses as well as the subjects’ varied gestures. While a narrative is suggested in all of these works, it is left to the viewer to ultimately complete each story.

“The show brings out life’s soft moments of happiness, sadness, and sometimes the darkness that lies below the surface, embracing the full spectrum of emotion,” said Durfee.

Digital images are available upon request. Contact Megan Lange at (843) 805-8052 or info@robertlangestudios.com.

Read Full Post »

Horton Hayes Fine Art in downtown Charleston is pleased to present an exhibition of new paintings by Chris Groves entitledReflection.  An opening reception will take place on Thursday, September 30, from 5-8pm and the show will run through October 24th.

Hanging Fruit by Chris Groves

This grouping is inspired by both Groves’ fascination with the reflective nature of light as well as the contemplative sensibility he aims to elicit through his work.   The pieces demonstrate Groves’ keen attention to the illumination of the objects and landscapes he portrays as he captures the angle and intensity of light and the specific luster of surfaces with exquisite precision.

Groves studied painting at the Florence Academy in Italy.   He excels in the Tonal style of painting which employs a limited palette of mostly neutral hues from which the value ranges of colors are developed.  The technique builds layers of atmosphere, texture and depth in a painting.  Groves works hang in numerous private and corporate collections.

Horton Hayes Fine Art is located at 30 State Street in downtown Charleston.  Gallery hours are Monday through Saturday 10:00am-5:30pm and Sunday 12:30pm to 5:00pm.  For more information visit hortonhayes.com or call (843) 958-0014.

Read Full Post »

Older Posts »