Visual Extirpation in the Paintings of Armin Muhsam

There is a visual mystery to the sparse landscapes painted by Armin Mühsam. The works are austere, yet achingly beautiful, capturing the light and shadows of what might be America or a place entirely fictive. Some paintings feature landscapes with odd industrial objects, structural forms, mechanical or concrete foundations, tanks or overpasses without visible human…

Trine Bumiller Profile from Art Ltd. Magazine, March/April 2012

Big Bang 2012 Oil on panels, attached 36″x 54″ Photo: courtesy Zg Gallery, Chicago Trine Bumiller’s background in printmaking is evident in her paintings: wood panels combined together like building blocks to create a composite form of square and rectangular shapes. On each panel, a different organic, flat, geometric element suggests nature or botany. The…

The Aspen Zone: Veryl Goodnight’s Inspiration from Arts Perspective

Goodnight and her husband, Roger Brooks, live between the brow of Mesa Verde and the La Plata mountain range, near Helmet Peak. Within a 30-minute drive, Goodnight can explore groves of aspen trees, the headwaters of the La Plata River, the barren alpine tundra above timberline, or the red rock canyons to the south. Herds of elk and deer are abundant, joined by the occasional bear, mountain lion or coyote.

Regan Rosburg: The Understory exhibition essay for David B. Smith Gallery

Regan Rosburg is inspired by the humble network of life that proliferates on the forest floor, in the shade, beneath the canopy of trees that sore above, blocking out the precious sunlight. The artist collects objects and insects from the deciduous forest of Northeastern Tennessee where she lives on a small farm with her fiancé. Regan left her native Colorado for Tennessee a little more than a year ago. Sheʼs inspired by her surroundings and the sound of her rooster talking to his hens. These recent works created for “Understory” reflect how those changes in her life are influencing her creative work.

Roland Bernier artist profile from Art Ltd. magazine

Bernier intentionally did not affiliate with the early conceptual artists using text to make art, such as Ed Ruscha or Lawrence Weiner, or with Pop Art, for that matter. Bernier considers himself an original, unaffiliated with any movement or group. His work contains limited thematic content; one of the most striking elements of his practice is that he does not use words to make sense or to reference contemporary culture. “Initially I felt I had to break down the barriers of making sense by just listing words taken at random from the dictionary and putting them on canvas and board, sometimes by themselves, at other times with designed or familiar images in which the words were covered.”