The art of Full Circle – a one-person exhibit

ARTBAR Gallery presented “Full Circle,” a one-person exhibit featuring Laura Gurton’s artworks inspired by the genesis of nature in all forms. The exhibit includes paintings, digital works on paper, reliefs, and sculpture relating to the continued exploration of her series, “Unknown Species.” Gurton focuses her vision on examining nature at the microscopic level using her signature circular forms. The artworks contain the common thread of concentric circular lines and colors that mimic pieces of agate, rings inside of trees, mold and other patterns in nature.

“Full Circle” is a perfect example of the value of a one-person exhibit, allowing viewers an opportunity to fully appreciate the artist’s vision. Gurton’s signature style comes through in all her artwork, echoing naturally occurring shapes that provide the rhythms of existence and life. For instance, Gurton’s paintings from the “Unknown Species” feature shimmering concentric circles with complex colors with organically shaped interiors. As in nature, all designs begin with the genome but manifest themselves in unique forms. These shapes and designs respond to artworks in three dimensions as the artist begins to expand the designs with dimensionality, recently expanding into sculptural objects and paintings.

ENJOY_In Three Dimensions.no.3, 300dpi (1)For instance, in “Three Dimensions, No. 3,” Gurton creates patterns that appear to be floating in space. The shapes have grown off the surface of the painting and could be a pearlescent colony of dwellings in another universe. Looking closer, viewers could see an influence of the traditional Australian Aborigine artwork with patterns of dots. In the “Mandala” series on paper, the artist has selected designs from her works to create a new circular form on paper, and similarly, created new compositions in the “Bits and Pieces” series using sections and details from previous paintings, creating artworks reminiscent of African trade cloth.

Visitors to the show could get lost in the dreamy paintings, some which seem like a vision of another universe. Enjoy_Unknown Species #198, Laura Gurton, 30_ x 60_ Oil. Alkyd, Ink on Linen,3oodpi“Unknown Species, No. 198” could be an unexplored galaxy or a microcosm under a slide. The lavender and blue in the background make the centered design in warm colors pop out of the painting. In “Unknown Species, No. 247,” shades of green, the horizontal composition, and elegant patterning bring to mind Gustav Klimt.Enjoy_Gurton, Unknown Species no. 247, Oil, Alkyd, Ink on Panel 36_ x 48_, 2018, 300DPI (1)

In “Unknown Species, No. 269” Gurton paints a mandala in more somber tones of black, white, and touches of brown, showing her artistic sense goes beyond color. The hypnotic design is painted on a 36” canvas with a larger than life presence. Viewers may have their own interpretation of the image, but the artist commented that she “sees the shapes with their concentric circles as a representative for time itself, displaying their growth like the rings in a tree which comes with age. When they overlap each other, they display the passage of time in layers.”Enjoy_Gurtron, Unknown Species no. 269, 36_ diameter, Oil, Alkyd, Ink on Canvas 300dpi (1)

Ultimately, “Full Circle” demonstrates that Laura Gurton has hit her stride. She continues to enlarge her vision using a highly expressive representation of nature’s beauty and captures the primary essence of these elements.

Full Circle: works by Laura Gurton was on exhibit at ARTBAR Gallery May 5 through May 26, 2018. ARTBAR Gallery is located at 674 Broadway, Kingston, New York

This article appeared originally in the May 4, 2018, Poughkeepsie Journal Enjoy! edition. 

Photo Credits: Unknown Species #198, Debra DeGraffenreid, Photographer; Unknown Species #247,  Robert Hansen-Sturm, Storm Photo Inc., Unknown Species #269, Robert Hansen-Sturm, Storm Photo Inc.

 

 

Art and the Byrd

For over a century, the Byrdcliffe Arts Colony has a history of providing a place for artists to create work. Today, the Woodstock Byrdcliffe Guild sustains that creative work through an integrated program of exhibitions, performances, classes, workshops, symposia, summer residences, and artist housing. The annual Members’ exhibition demonstrates the sustainability of founders Jane and Ralph Whitehead’s multi-disciplined model that welcomed artists and craftspeople to work collaboratively and without restrictions.

This year’s member’s exhibit, Byrd & Image, provides a glimpse of the immense amount of talent showing in a broad array of media. Artist and curator, Linda Weintraub designed the installation of the exhibit with over 100 pieces of artworks on display. She commented, “Debra Priestly was honored with this year’s ‘curator’s choice’ award for her meticulously constructed print, but those eligible as runners-up are plentiful. Other impressive works include emotionally expressive abstractions, masterfully constructed sculptures, beautifully crafted collages, and hauntingly intimate photographs.”

 

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Laura Gurton – Unknown Species #215

Visitors to the exhibit will notice Weintraub arranged the exhibit works in groupings, allowing each work to be appreciated on its own merits. The larger pieces of work that are standouts include Calvin Grimm’s “Clearing Out the Stories,” an exuberant oil on canvas, and Laura Gurton’s “Unknown Species #215,” a beautiful composition of patterning, reminiscent of Aboriginal designs. The exacting designs of dots and drawn lines are enhanced by the luminescent depth of the painting’s surface. Mary Anne Erickson’s “Binger’s Rocket Gas” painting reminds us of the nostalgic roadside attractions seen during the mid-century era. Similar in mood to Edward Hopper’s work, the image depicts a place where the architecture, signage, and vehicles dominate the world. In direct opposition to this feeling is Marjorie Grinnell’s portrait of a man lying on a fainting couch, fully dressed in evening wear, which is both a beautiful portrait and a narrative painting.

 

 

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Carole P. Kunstadt, Interlude No. 4 

The smaller artworks really shine in this setting, surrounded by other works on their own scale. For instance, Debra Priestly’s modest-sized pieces have a delicate beauty and convey a personal story about memory, ancestral knowledge, and historic events. Carole P. Kunstadt’s “Interlude” series are small artworks that have a large presence. Utilizing an old music manuscript found in a thrift store, Kunstadt cut and wove the papers followed by repetitively knotting linen threads into the fragmented surface of musical notations and lyrics, resulting in a meditative artwork. Viewers of these artworks could consider that these small framed pieces also serve as sacred objects.

 

Byrdcliffe Arts Colony was founded with the idea of venerating the handmade, fostering an artistic community and creating beautiful objects for everyday use. In this exhibit, there are ceramic pieces on exhibit that reflect this ideal including work by Megan Dayl, and Deirdre Puleo’s “Creepy Forest,” a wood-fired pot with branch embellishments. The exhibit also includes bronze sculptures by Philip Monteleoni, Alex Kveton, and Jean Newburg.

Weintraub commented on the artworks and artists in the region; “They each provide evidence of the artistic vitality that endures, to this day, in the historic Hudson Valley.”

This article was originally published in the Poughkeepsie Journal Enjoy!, January 13, 2017.