The Lavit Gallery
The Lavit Gallery
exhibition report
Annual Members exhibition
27 February- 22 March
this exhibition is of artwork by the Lavit Gallery artist members.
It includes work with; print, painting, sculpture, photography, ceramics and textiles.
it has a wide range of artists from amateur to professionals
out of the 134 artists only 69 are exhibiting.
there is not distinct theme in this exhibition
Curator: unknown
location: Wandesford Quay, Clarke's Bridge, Cork
Installation and display: the installation was very traditional, large open space with white walls and everything was hung our put on a plint. the Lavit Gallery is a commercial galllery aswell so I imagine that the works where hung in a way to not only displayed but also sold.
some artists in the show are: pauline Angew, Jo Ashby, Patty Atkinson, Patricia Beran, Toni Boris.
More Posts from Skipieohhhhh and Others
Sam Gillan
Watercolour, 4 1969
Watercolor, and aluminum powder on fiberglass paper 23 3/4 x 18 1/8" (60.3 x 45.9 cm)
Blurring the boundaries between painting, sculpture, and installation, Sam Gilliam wrestles with the physicality of the art object and its relationship to the viewer.
he moved to Washington, DC, during the formation of Color Field painting, which emphasized the use of flat planes of color and novel paint application techniques.
Gilliam soon experimented with color, form, and technique, pouring pigments and folding canvases while still wet.
remove his canvases from their stretchers entirely, and, inspired by laundry on clotheslines, hang them from the ceiling or walls.
Gilliam transformed painting into something sculptural and three-dimensional, disrupting traditional modes of presentation and viewing.
He also incorporated metal forms, alternative materials like yarn and glitter, varied applications of paint, and quilt-inspired patterning into his practice.
“the expressive act of making a mark and hanging it in space is always political. My work is as political as it is formal.”
Sam Gilliam, Green April, 1969,
acrylic on canvas, 98 x 271 x 3 7/8 inches (248.9 x 688.3 x 9.8 cm), Collection of Kunstmuseum Basel, Basel, Switzerland, Courtesy of David Kordansky Gallery, Los Angeles, photography by Lee Thompson.
his lyrical abstractions took on an increasing variety of forms, moods, and materials.
Buckling of paper
Watercolour paper warping occurs when the fibres in the paper absorb moisture unevenly, causing it to expand and contract in different places. The flat surface becomes warped and it dries stuck in this position
Let’s imagine that when you paint on your paper, you’re adding water to the top of it. Those fibres will expand, yet the underneath of the paper will be dry. This causes the top of the paper to lift up as it grows, while the bottom pulls under, creating an arch.
And if you create puddles of really wet patches when you paint, the surface will be wetter and drier in different areas, creating uneven warping.
As the paper dries, the fibres will decrease in size again, but the paper may remain a little warped.
Bonus: How to stretch your watercolour paper
Prep your paper by thoroughly wetting both sides in a layer of clean water. Lay out on a flat surface like a wooden board and pull and stretch the paper tight. Tape down the edges with strong painters tape, or staple it down. Allow to dry completely before painting on it.
Some artists swear by stretching their papers, but I find it difficult and fiddly to lift them off the board. You’d probably have to just cut the edges off next to the tape because it won’t peel, and this is too faffy for my impatient brain. But if stretching works for you, go for it and enjoy warp-free painting!
Muriel Napoli
Nature 391 painting
Acrylic on Canvas 100 by 140 cm
Nature 377 Painting
Acrylic on canvas 160 by 100 cm
Nature 362 painting
Acrylic on canvas 80 by 80 cm
My paintings are a tribute to nature's unwavering spirit of transformation, untouched by human intervention, from the dawn of time to the present day. The mighty oceans and their formation, the arrival of life-sustaining water, the laying down of sediment, the fiery fury of magma, the creation of coal, the birth of celestial bodies, accretion, geological wonders...these are but a few of the subjects I seek to illuminate. Through the harmonious blending of organic and mineral elements, I strive to evoke nature's symphony of change. In my art, I aspire to strip away all that is artificial, the vestiges of human tampering, and present a celestial vision of the natural world, pure and unblemished.
Artist Statement What is found in my pictures is nature's ability to change independently of the action of humanity, from its origins to today. The formation of the oceans, the origin of water on Earth, sedimentation, fire, magma, formation of coal, of planets, accretion, geological phenomenon ...I mix organic, mineral, the elements and various displays of these elements. I eliminate, as much as possible, everything that humanity has added to the world, all the changes introduced, everything which is artificial. My work tends to connect the world to beings and things, to form a whole, an entirety.
Muriel Napoli is a talented French painter whose works have been exhibited in USA, Italy and France. Seeking to remove elements of pure superficiality or attractiveness, she creates impactful abstract works marked by a unique colour combination, sweeping shapes and a striking sense of space.
What is found in the paintings of Muriel Napoli is the capacity that the nature of transforming independently of the action of man, from origin to the present. Formation of oceans, origin of water on earth, sedimentation, fire, magma, coal formation, planets, accretion, geological phenomena ... "I mix the plant, the mineral, the elements and the different manifestations of these elements. I make the most of everything that man added to the world, all the transformations brought by him, which is artificial. My work tends to link the universe to beings and things, to form a whole, a whole. "
lyrical abstraction
Passing on her emotions, feelings, transitional ideas that materialize on canvas through flat tints of the material, oil, knife directly positioned on the floor, on the frame, without any reference to reality itself.
"My ambition is to lead the viewer to think, to meditate, perhaps to dream"
Installation view 2021
Muriel Napoli, an abstract painter with a passion for the beauty of nature, recently embarked on a remarkable artistic adventure in Vietnam. During her one-month artist residency program in Ho Chi Minh City, she was captivated by the astonishing richness of Vietnamese nature. Today, we invite you to join us on a three-minute artistic exploration with Muriel as she shares her techniques and the deep inspiration she drew from this awe-inspiring environment.
Muriel’s artistic process is a harmonious blend of instinct and technique. She meticulously selects her materials, ensuring they can capture the essence of the natural world she seeks to convey on her canvas. With a palette of fluid and vibrant colors, she sets out to create a visual symphony that celebrates the simplicity and beauty of the Vietnamese landscape.
Muriel’s dedication to capturing the essence of nature goes beyond the visual realm. She strives to infuse her paintings with the very essence of the flowers, fruits, and vegetation that so inspired her. Through texture, layering, and the interplay of light and shadow, Muriel breathes life into her art, inviting viewers to immerse themselves in the beauty and serenity of the natural world.
Nature 326
Using gestural brushstrokes or stains across the medium, Benvenuto focuses on line and detail to build a narration of the life around her. She draws back to significant events, the people she’s met, or the changing landscape. Fundamentally, the artist surprises herself every day, shocking herself with what’s not familiar. From the changing seasons to the sweeping ocean — she is ever surrounded by inspiration, in awe of its beauty.
Benvenuto found her calling within abstract works, focusing on what cannot be represented. In her artworks, the artist wants to explore and create new imagery to navigate the current world. Working from the mind, using memories to shape her composition, Benvenuto connects with her audience through visual representation; a soft curve becoming a wave, or gestural mark-making turning into long grass dancing in the wind.
Her works narrate an exploration of textile, material and technique, probing the viewer to move closer to the works, at times leaving the linen raw inviting an organic aesthetic. Geometric shapes, sharp lines, or paint gestures activate the viewer’s eye in an array of multi-colour.
What would you like people to notice in your artwork?
Ultimately, I wish for my artwork to spark conversations and introspection. Whether it's the boldness of colors, the rhythm of lines, or the unexpected combinations in my sculptures, I hope my creations leave a lasting impression that lingers in the hearts and minds of those who encounter them. By capturing attention and evoking emotions, I aim to create a bridge between my inner artistic world and the diverse experiences of my audience. The interplay of vibrant colors and intricate forms is meant to prompt viewers to explore their own interpretations and connect with the stories I'm weaving through each piece. I hope that as people engage with my art, they find moments of reflection.
Sediment
Rock salt, also known as halite, forms as oceans evaporate. Oceans are made of salt water. When the water enters the atmosphere as vapor, it leaves the salt behind. The Bonneville Salt Flats, in the U.S. state of Utah, are flat desert areas covered by a layer of rock salt sediment. Lake Bonneville, the ancient seathat once covered the area, has long since evaporated.
SALT OF THE BAY
“I’m fascinated and drawn to these shapes and colors at sunset,” says Your Shot member Jassen T., who captured this aerial image of a salt marsh in northern California’s San Francisco Bay. “It’s a very unique and photogenic area.”
Marbling
The quality of a surface that has streaks of color, like marble
The patterns are formed by first floating the colors on the surface of a liquid, and then laying the paper or fabric onto the colors to absorb them.
looking through ancient volumes full of arcane recipes for mixing such exotic ingredients as Irish moss seaweed, spirits of green soap, and distilled bile from the gall bladder of an ox.
They were used for decorative purposes, and also as a background for official documents and signatures, to prevent erasure and forgery.
The traditional marbling inks were just not durable enough to stand up to washing. Now, though, fine marbling can be done just as easily on cloth as on paper with these new paints, and modern colors are much more vivid and brilliant and long-lasting than ever in the past.
Stone Marble: Gives the effect of real marble. Stone marbles are the simplest patterns, but they often take longer to make than the more complex combed patterns, because so many thousands of tiny droplets of color must be applied.
Marble
Marble is metamorphosed limestone, quartzite is metamorphosed sandstone, and gneiss, another common metamorphic rock, sometimes begins as granite.
Metamorphic rocks are sedimentary or igneous rocks that have been transformed by pressure, heat, or the intrusion of fluids. The heat may come from nearby magma or hot water intruding via hot springs. It can also come from subduction, when tectonic forces draw rocks deep beneath the Earth's surface.
Exhibition
23rd of October
They have a private collection upstairs, They also have on going o'Malley collection that is on show.
Ciara Roche, The 'honeymoon' exhibition
12th oct- 1st Dec
This exhibition takes place in there largest area, the main gallery.
Butler Gallery is very pleased to present an exhibition of new paintings by Wexford-born artist Ciara Roche. This is the artist’s first large-scale museum exhibition in Ireland.
This suite of paintings on canvas and paper refer to domestic scenes and public places with source imagery derived from the artist’s own photography, film stills and found imagery. Roche continues to explore representational image-making using wet and quickly applied oil paint to create a sense of luminosity and movement on the surface. The paintings explore places and themes that range from exclusive anonymous hotels to empty 24-hour cafés.
For this exhibition, Roche has embraced new challenges and created her largest paintings to date. The process, she says, was akin to learning a new language. The paintings were realised by translating her smaller sketchbook sized works onto a substantially larger framework. Figuring out materials and brushes that worked well for this new format took a while to master but the resultant paintings have been achieved with great skill and an acute awareness on how far to push things.
The Late Lounge, Roche’s largest painting to date, is both an interior and a window out to a city scape. We are invited to step into a high end restaurant, or perhaps it is a bar, complete with grand piano, and insulated against what might be happening in a corporate blue city beyond. Glass Table, like many of the paintings on view, presents more questions than answers: who sits here and what schemes are conjured up around this glass table? People are purposely missing from these paintings; the viewer is encouraged to insert themselves into the scene and create their own narrative.
There is frequently an unease in Roche’s paintings, a sort of critique of this hugely capitalistic world we live in. She is often struck by the dark side of scenarios and says that her solution is ‘to paint those fears, acknowledging the things that might happen, like exploring different versions of my life’. Viewing the works in this exhibition is like entering an uncanny world of suspense made up of light and shadow. These lushly rendered paintings, either small or large, capture timeless moments for the viewer to ponder. The rewards are wonderful.
curated by: Claire Keegan
"I don't paint people into my paintings because if I were to put a figure in them, then it would feel like the viewers couldn't go in and imagine themselves in that space... I like the idea of being able to let your mind wander and fill in the empty spaces".
Alice baber
“When I first conceive of a painting, I must feel it, I hear it, I taste it, and I want to eat it. I start from the driving force of color (color hunger); then comes to a second color to provide light, luminous light. It will be the glow to reinforce the first color. I then discover the need of one, two, three, or more colors which will indicate and make movement, establish the psychodynamic balance in midair, allow freedom to take place, add weight at the top and bottom of painting, and create mythical whirlpools between larger forms.”
Alice Baber, Color, 1972
Alice Baber (1928-1982) was an American abstract expressionist painter, best known for the organic, biomorphic forms she painted using a staining technique which allowed her to explore pure color and elicit a sense of radiant light.
Baber’s stylistic development during the period between 1958 and the mid-1970s is characterized by a series of experiments with color and technique. Having turned to abstraction in 1958, she began exploring a monochromatic approach to painting, primarily using shades of red. By 1960 Baber came to add yellows, greens, and lavender to her work. She gradually incorporated a growing variety of colors into her canvases, a process that reached its hiatus by the mid 1970s when she finally introduced black to her work, achieving a new range of effects and subtleties.
Her evolving approach to painting is also characterized by her choice of materials. In the first half of the 1950s she worked primarily in oil, but soon began to dilute her paint in order to emphasize the different shades of color, eventually expanding her practice to include also acrylic on canvas and watercolors on paper as alternatives to oil. Watercolors in particular lent themselves more easily to her growing interest in transparency and luminosity, as well as her interests in joining light and color in a kinetic fusion. Baber also worked with acrylic. Working in both mediums in parallel led to discoveries that altered the course of Baber’s painting, a method of ‘sinking’ (or ‘staining’) and ‘lifting’ to create abstract, organic forms – a visual style that has since become her signature. Color would remain central to the artist’s practice throughout her career, a theme on which she wrote at length in several publications, and which became the subject of exhibitions the artist curated, including Color Forum, a large-scale group exhibition held at the University of Texas, Austin, 1972.
Post-war feminist artist and lithographer Alice Baber produced brilliantly colored abstract expressionist oil and watercolor paintings by staining her canvases with rounded biomorphic forms. Using a technique of pouringdiluted oil paint onto a canvas in layers, she sometimes experimented with variations of a single hue and at other times created a purposeful interplay of different tones, as in The Song of the Wind (1977). Baber referred to her attempts to relay feelings through color as a “color hunger,” and exploration of “the infinite range of possibilities.” A member of the cooperative March Gallery in downtown New York, where she held her first solo exhibition in 1958, Baber was married to noted Abstract Expressionist painter Paul Jenkins. Baber’s work can be found in the collections of the Met, the Whitney, the Guggenheim, and the National Museum of Women in the Arts.
Wheel of Jaguar, 1982
Watercolor on Paper 12 × 11 in | 30.5 × 27.9 cm
The Light Inside the Mountain, 1978
Oil on canvas 33 × 55 in | 83.8 × 139.7 cm
Just Arrived, 1962
Oil on canvas 57 × 44 in | 144.8 × 111.8 cm
UNTITLED
watercolor on paper, 22 x 30 IN unframed, 33.5 x 41.5 IN unframed
Andreas Eriksson
Hovering between abstraction and figuration, Andreas Eriksson’s meditative works can be interpreted as patchwork topographies or details of organic forms such as trees, earth and rock formations.
Eriksson’s artistic practice encompasses a wide range of media including painting, photography, sculpture, tapestry and installation. Rendered in earthy and botanical hues, his works are understated yet possess a poetic quality which has a lasting effect on the viewer. The emotional intensity of Eriksson’s work is the result of a sustained exploration of his response to the natural world.
Weissensee No. 12, 2018-2019
Linen
94 1/2 × 55 1/2 in | 240 × 141 cm
‘Weissensee No. 12’ is part of a recent series of large-scale handwoven tapestries by Andreas Eriksson. Rendered in subtle hues of undyed yarn, this body of work offers a unique window onto the artist's rural surroundings in Medelplana, Sweden. Eriksson sources the tapestries' linen from multiple sites in Sweden, linking each piece to a specific geographical location. Hovering between abstraction and figuration, this meditative work can be interpreted as a patchwork topography or a detail of an organic form. Tassels and loose threads hang freely from the surface, conjuring up associations with cascading waterfalls, patches of lichen and trees rustling in the wind. Variations in tone and structure between different types of yarn create striking modulations of light and depth, lending the work a painterly quality.
This new body of textiles expands the artist's formal language and demonstrates how he translates his paintings into tapestries
"It is impossible to trace any topography, scenery or perspective in Eriksson’s [works]. They have a strong hallucinatory power in that their lack of north- or southward orientation produces a disjunction, making it hard to understand where the sky and the ground lie."
– Filipa Ramos
Andreas ErikssonWeissensee No. 19, 2019
Linen
222 x 140cm (87 3/8 x 55 1/8in)
