Hobbes Vincent, the enigmatic sculptor who is rarely seen without a mischievous grin and a tall tale on his lips, premiers a collection of new works at Jen Mauldin Gallery on December 1. At the Circus will be Hobbes first headlining show at the gallery and will feature extraordinary works of surrealist whimsy and imagination. And don’t let the title of the show fool you… come fully expecting the unexpected as neither Hobbes nor his work will ever fit into any mold but their own. The “Circus” could just as easily reference the artist’s mindset at the time of creation as it could a dream he had one night when he was 12 years old. Suffice it to say, with his stunning attention to detail and eccentric imagination, Hobbes’ work is certain to leave you in awe.
Fire and Peace: an Observation of Anger Through the Lens of Nature is an exhibition by Dallas-based artist Kelly Clemons. For this exhibition, Kelly has created mixed-media installations that combine elements of nature with porcelain to portray a journey of embracing her anger as a behavior that could be better understood when viewing it through the lens of self-preservation or even basic instinct. She hopes to break away her bindings of understanding anger as purely an emotion and strives to embrace it as an integral part of her nature that can be expressed both positively and negatively. Kelly identifies with nature’s ability to be fully unaware of it’s seemingly violent behavior, but not in the sense that she ignores her anger. Instead, she wants to comprehend her anger as something native; something that must be accepted and even celebrated before it can be harnessed. The Roman Philosopher Boethius once said, “In other living creatures the ignorance of themselves is nature, but in men it is a vice.” Observing the “ignorance” of nature in regards to anger and portraying that ignorance as beauty and peace is a large element of this exhibition. However, Kelly ultimately strives for this exhibition to reveal her on-going identification with anger as moving from struggle to acceptance, from fire to peace.
Jen Mauldin Gallery’s first fall exhibition features Elsewhere, a dual exhibition by artists Danny Rose and Haylee Ryan. The opening reception will take place in presence of the artists on Saturday, September 9 from 6 – 10 pm. The exhibition is on view through October 14, 2017.
Travel is an important part of Rose’s creative process and keeps him connected to the colors and shapes he observes in nature and existence. His work is driven by the magic and mystery found in the changing landscapes he’s experienced through his travels. Rose’s collection for Elsewhere elucidates the dynamics he sees in places, both real and imagined, residing in the refuge of his mind. To bring his vision to life for his audience, Rose’s paintings emerge through a form of automatic drawing and painting. This process enables Rose to pull shapes into being, from a subconscious level. “As I paint, I allow shapes and colors to evolve, keeping an openness to change.” Rose is constantly seeking beauty, understanding and originality, and his art provides him an expressive way to explore these concepts both privately and anthropologically.
Ryan’s fascination with humankind and her intrinsic inclination to see beauty in every face and every body has gifted her with the rare ability to paint people vibrantly and provocatively. For Elsewhere, her focus is on the body and the undulating colors of the skin in light and shadow. The dancing hues are so luminous, you can almost feel the heat of the sun and the coolness of dusk. Ryan is fascinated by the coexistence of abstract and realism; thus, for this collection she has isolated the backgrounds into color blocks and blurred the personage of her subjects to juxtapose the realism of the bodies thereby drawing the viewer’s attention away from identity and directly to the figure. As with her portraiture, Ryan’s work for Elsewhere is stunning in its intriguing exploration of the intricacies of the human form.
Turk believes that no personal story can be told without mentioning 'others'. Every single person in our lives, whether it's a serendipitous encounter or a lifetime partnership, is an aspect of our true selves. The degree of acceptance, honesty, emotion, compatibility and depth in those relationships may be used as a tool to ultimately find one's purpose in life.
Courtney Miles’ artwork observes all of us through the lens of our society’s obsessive hyperawareness. This obsession fascinates her so much that for over a decade, Courtney — through her hedonistic, materialistic alter-ego Neon Courtney – has been incorporating the notions of social identity and the cult of fame into her art.
Courtney’s glamorously mundane self-portraits (the series pre-dates the “selfie”) require the audience to face the meaning of vanity and ask: Which parts of us are really real? Beyond the canvas, Courtney further blurs the line with photography, video, performance and neon lights.
Courtney lives and works in Dallas, TX. She received her BFA from Texas Christian University and her MA and MFA from The University of Dallas. She was an Artist-in-Resident at The Fairmont Hotel in Dallas and a three-time Hunting Art Prize Finalist.
Shoby Modjarrad deeply values the beauty that exists all around her and is increasingly mindful of her impact on nature and the environment. As an artist, she invites her audience to see the world through her discerning eyes. Her love for the colors and details in nature serves as a constant teacher and perhaps most heavily influences what and how she chooses to create. Yet, there is another aspect to her process that is unapologetically shaped by several years of experience in architecture.
Her first developing series—called 1DAY—which is heavily influenced by her awareness of our impact on the environment and her love of nature, is based on post-consumer goods and objects and calls attention to the waste of one individual in One Day. She is acutely aware of the effects of consumer plastic on everything from our nation’s physical health to the world’s ecosystem.
“We’ve worked so hard to make our lives convenient and efficient; yet, we haven’t thought much past that... about the price that we will have to pay one day. I’ve realized that the price of convenience is lots and lots of PLASTIC; which exists in everyday products, from shipping containers, kid’s toys and kitchen appliances to car parts - the earth is getting full.”
1 DAY is based on a series of small hand-crafted drawings, based on the objects that we encounter on a daily basis. Shoby has distorted the size and perspective of these objects as to create a unique point of view because their impact is much larger than meets the eye, so it’s necessary to shift our perspective while looking at these objects. A vast amount of energy, thought, and engineering exists behind such innovations; yet we use them for a fraction of their lifetime. We have become so dependent on many of these items, if not all of them. In fact, they are nothing but disposable, everyday items to us. Imagine seven billion people using these plastic objects every day in the world. Even if some were being recycled, there is a lot of energy involved to incinerate those that can be melted and reused, most of these do not get recycled.
The pieces that make up this collection were gathered from the lakeside, off the street and out of her own usage. They are drawn as they were found.
Talking to Kyle about his work and his art inevitably involves more philosophy than technique. He is humble but not deprecatingly so… art is just something that makes sense to him. For as long as he can remember, Kyle has known his life would be one of creation and creativity. From breathtaking photographs of his beloved wife and daughters or an interesting light pattern fallen across a geometric surface to a mural welcoming Dallasites to the city’s illustrious Design District to a series of faded old photographs manipulated into colorful mysteries… art isn’t something he does… it’s who he is.
Growing isn't always an upward trajectory. Sometimes, or rather most times, true growth feels a lot like falling, sinking, shrinking, and even dying.
In order to grow outward we must first start, and dig, inward. Down, down, down. Remembering memories. Feeling our feelings. Allowing everything to belong in perfect harmony.
For me, the stark contrast of black on natural canvas expresses the strong religious bias/immaturity that I have experienced growing up in the South. The negative space binds and fills in the gaps just like our silence and apathy fills up our garages and homes with stuff. While the black doesn't have to force itself on you, only presents itself as what it is. So in a way I feel exploring my own inner sanctuary allows me to connect my past with my present in a way that feels confusing and frustrating and beautiful and redeeming. Connected and disconnected.
Paxton Maroney’s surreal photography invites the outside world to step inside
snapshots of her dreams. For several years, she has woken up from vivid
dreams, often in the middle of the night, and drawn the images composed on
the backs of her eyelids. At times, she even engages in lucid dreaming
throughout the day as she’s “trained her brain” to create new chimera for her
portraiture. Then, when she has scouted out the perfect location, she begins
reconstructing the scenes of her subliminal imagination.
To Paxton, dreams aren’t so much stories as they are symbolic images that
tend to hold deep meaning for the dreamer. But don’t bother asking her what
her art means… she’d rather you step inside and find the meaning for yourself.