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July 2018 | PORTRAIT REVOLUTION

A collaborative juried exhibition
with
Idea Fab Labs Chico

100 VARIATIONS ON PORTRAITURE // 61 ARTISTS // 2 GALLERIES

July 6 - 27, 2018

PORTRAIT REVOLUTION RECEPTION

Reception at both Galleries Saturday, July 14th, 5:00 - 8:00 PM

*Best of Show awards announced 5:30 @ CAC and 7:00 @ IFLC
*Pick up Disc Its at CAC and construct a collaborative sculpture at IFLC

Press

Directions

Idea Fab Labs Chico   603 Orange St.
Open MWF 12-4       
(530) 592-0609

 

Chico Art Center 450 Orange St.
Open M-F 12-4, Sa-Su 10-4 
(530) 895-8726 

 

 

Schwerin_Caitlin_BadHabitsandaColanderBrain
NormDillinger_Ladieswalkinginfield
Runel_Martin_04
Runel_Martin_01
schofield_glen_3amigos
JoshuaOlivera_Shit-tweet-repeat
GHISLAINE FREMAUX
Erin, 2017
Pastel, resin on paper. NFS

This drawing belongs to a body of work examining the practice of nudism among senior citizens. My subjects' participation was voluntary, and they were not posed. Rather, their very agency instructed my portrayal of them. This work intends to retrieve nakedness and aging from a culture that exploits and maligns both, and to exalt the embodied experiences of older people. Drawing is my means of palpating, charting, and experimenting within corporeality. The portrait begins when my subject and I become visible and thus also responsible to one another. I mine excruciating color from their skin, disclosing it in brittle chalk with my fingers. I make them huge because they are huge. In the intractability of trying to see or know somebody, in the wilds of flesh and gazes, they are huge. I put them into paper because paper is mutable, and can suffer like skin can. I terminate our encounter when I fossilize them there under glossy resin.
GHISLAINE FREMAUX Erin, 2017 Pastel, resin on paper. NFS This drawing belongs to a body of work examining the practice of nudism among senior citizens. My subjects' participation was voluntary, and they were not posed. Rather, their very agency instructed my portrayal of them. This work intends to retrieve nakedness and aging from a culture that exploits and maligns both, and to exalt the embodied experiences of older people. Drawing is my means of palpating, charting, and experimenting within corporeality. The portrait begins when my subject and I become visible and thus also responsible to one another. I mine excruciating color from their skin, disclosing it in brittle chalk with my fingers. I make them huge because they are huge. In the intractability of trying to see or know somebody, in the wilds of flesh and gazes, they are huge. I put them into paper because paper is mutable, and can suffer like skin can. I terminate our encounter when I fossilize them there under glossy resin.
schofield_glen_John Wayne
tombanwell_black_rhino_mask
ZE TREASURE TROLL
Pain defines me/Pain doesn't define me. I'm not weak/I'm just in pain. It's ok., 2018
Ceramic, $5000

This series is a reaction to being lumped into an accustomed and normalized system of living, a system that views abnormalities as wrong. In truth, the human body is fragile and only a fraction away from exhibiting a deformity or disability. Rather than subscribing to ordinary, everyday customs, these sculptures represent the personal growth it has taken to look beyond the typical state of being. This is a portrait of my truest, rawest self, in pain.
ZE TREASURE TROLL Pain defines me/Pain doesn't define me. I'm not weak/I'm just in pain. It's ok., 2018 Ceramic, $5000 This series is a reaction to being lumped into an accustomed and normalized system of living, a system that views abnormalities as wrong. In truth, the human body is fragile and only a fraction away from exhibiting a deformity or disability. Rather than subscribing to ordinary, everyday customs, these sculptures represent the personal growth it has taken to look beyond the typical state of being. This is a portrait of my truest, rawest self, in pain.
ELAINE DAVIS
Waiting to Go Home, 2018
Oil on canvas, $350

This was a homeless gentleman who came to draw portraits in the workshop with us one Friday afternoon here at Chico Art Center. He had been invited by Mark Gailey, who met him and was impressed by his artistic aptitude, at the Jesus Center. He graciously agreed to model for us part of the afternoon. I saw in his face, weariness, longing and a resigned acceptance.
ELAINE DAVIS Waiting to Go Home, 2018 Oil on canvas, $350 This was a homeless gentleman who came to draw portraits in the workshop with us one Friday afternoon here at Chico Art Center. He had been invited by Mark Gailey, who met him and was impressed by his artistic aptitude, at the Jesus Center. He graciously agreed to model for us part of the afternoon. I saw in his face, weariness, longing and a resigned acceptance.
ELAINE DAVIS
That Thing with Feathers, 2018
Oil on panel-mounted linen, $350

I love painting and drawing the human face and form. Expression in each, or both, is completely open to our interpretation, both in viewing a piece of art, and in real life. In this painting, I use the bird as the classic metaphor for hope (as in the Emily Dickinson poem). The subject's wry look toward the bird speaks to her relationship with the concept of hope.
ELAINE DAVIS That Thing with Feathers, 2018 Oil on panel-mounted linen, $350 I love painting and drawing the human face and form. Expression in each, or both, is completely open to our interpretation, both in viewing a piece of art, and in real life. In this painting, I use the bird as the classic metaphor for hope (as in the Emily Dickinson poem). The subject's wry look toward the bird speaks to her relationship with the concept of hope.
AVERY CANTRELL
From the Inside Out, 2018
Paper clay bust, Wooden base, NFS

Far too often, we take things at face value. This piece is a personal investigation of my own identity, beyond the external. "From the Inside Out" is the literal translation of the ASL sign for transgender, addressing two parts of myself, which I further explored throughout the making of this piece.
AVERY CANTRELL From the Inside Out, 2018 Paper clay bust, Wooden base, NFS Far too often, we take things at face value. This piece is a personal investigation of my own identity, beyond the external. "From the Inside Out" is the literal translation of the ASL sign for transgender, addressing two parts of myself, which I further explored throughout the making of this piece.
Christine Mac Shane, Emergence, 2018, Acrylic on Canvas, 30"x 40", $1800
Christine Mac Shane, Emergence, 2018, Acrylic on Canvas, 30"x 40", $1800
schofield_glen_Jack
JAMES GOULDTHORPE
Senior, 2014-16
Ink, watercolor and gouache, NFS

Particles: A Painting in Ten Chapters. Each chapter examines a different moment in a lifetime. Seniors is a painting of my entire senior high school class, including their senior statements.
JAMES GOULDTHORPE Senior, 2014-16 Ink, watercolor and gouache, NFS Particles: A Painting in Ten Chapters. Each chapter examines a different moment in a lifetime. Seniors is a painting of my entire senior high school class, including their senior statements.
schofield_glen_Mick

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