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Hello, Goodbye
15 artists respond to the concept of impermanence

December 12, 2013—February 1, 2014


Opening Reception: Thursday, December 12th, 5:30—7:30pm
The gallery will be closed December 22—January 1, 2014
Alex Kanevsky I Figure with Landscape, 2013 I Oil on panel I 20 x 40 inches
Dolby Chadwick Gallery is pleased to announce Hello, Goodbye, a group exhibition featuring art by Travis Collinson, Stephen De Staebler, John DiPaolo, Edwige Fouvry, Ann Gale, Hollis Heichemer, Shelley Hoyt, Katina Huston, Alex Kanevsky, Jerome Lagarrigue, Danae Mattes, Joshua Meyer, Ada Sadler, Kai Samuels-Davis, and Forrest Williams.
Katina Huston I Christina's World, 2013 I Ink on mylar I 42 x 84 inches
Opening in December, a month that marks the close of one year while also signifying the start of another, Hello, Goodbye explores themes of impermanence and transience broadly. What does it mean, for example, to live and die, to experience change, to let go of attachments, to have faith, and to find liberation? While each artist approaches these and other questions differently, they share a common understanding that all life is indelibly linked and constantly changing, nothing ever repeats itself, and each moment is always different than the next.
Ann Gale I Peter Turning2013 I Oil on linen covered masonite I 14 x 11 inches
Several of the artists featured in Hello, Goodbye focus their explorations almost exclusively on the human subject. Not only are Jerome Lagarrigue and Kai Samuels-Davis both known for their tightly-cropped paintings of faces, both also use a technique—one that relies on facets of colors—that reinforces motion and the passage of time. And while Ann Gale and Joshua Meyer also play with discrete brushstrokes to build up faces and bodies, the atomic-like quality of their markings produces an energy that’s more electrical than cinematic. Despite these differences, the works are united by a preoccupation with the liminal: their subjects exist on the edge and in between. 
Stephen De Staebler I Standing Man with Winged Head & Seated Woman with Oval Head, 1/4, 1981 I Bronze I 68 x 48 x 26 and 67 x 23 x 26 inches
These curiosities are picked up by Stephen De Staebler, whose sculptures directly confront the intermediary states touched upon by much of the art included in the exhibition. His monumental bronze sculpture of winged figures embody conflicting characteristics: Are they of this world, or another? Human or spirit? Modern or primordial? 
Left: Travis Collinson I Untitled Tree (detail)2011 I Graphite on paper I 30 x 22 inches
Right: Edwige Fouvry I Daniel2013 I Oil on canvas I 47 x 41 inches
Although Alex Kanevsky and Edwige Fouvry are both noted for their paintings of human figures, they are also accomplished landscape painters. Rendered in heightened colors, these uninhabited, atmospheric worlds could just as easily be interpreted as coded explorations of psychological space. Travis Collinson’s meditations on wide-eyed subjects lost in thought, Shelley Hoyt’s ukiyo-e-inspired landscapes, Ada Sadler’s hyper-realistic oil paintings of empty chairs, and Forrest Williams’s use of the body to interpret the architecture of our inner lives also invoke a certain pathos, though one that is more meditative than somber. The union of the existential and the natural is brought full circle by Danae Mattes’s mixed media artworks, which recall geological phenomena such as cracked riverbeds, marshes, and stalagmites. The organic and prehistoric qualities of her art are visceral reminders of where we come from and where we go. 
Top: Shelley Hoyt I Glacier Park I, 2013 I Graphite on vintage paper I 25.25 x 38 inches
Bottom Left:  Ada Sadler I Evelyn's Chair #2, 2013 I Oil on panel I 6 x 6 inches
Bottom Right: Joshua Meyer I
 Just After2011 I Oil on canvas I 14 x 14 inches
A hallmark of many of the works is their tendency to straddle naturalism and abstraction. For some of her most recent pieces, Katina Huston works directly from the shadows cast by human skeletons hanging from her studio ceiling. In Christina’s World  (2013), the impression of a skeleton lies buried beneath the shadows of a fast-growing spring weed—fennel. The intersecting forms move in and out of coherency thanks to the contrast offered by three strategically-placed swatches of striped fabric.
Left: Kai Samuels-Davis I On Darkened Stages2013 I Oil on panel I 48 x 40 inches
Right: Hollis Heichemer I
 Road Closed2013 I Oil on canvas I 52 x 40 inches
John DiPaolo I A Change of Heart: Goodbye, Hello2013 I Oil on panel I 63 x 70 inches
Hollis Heichemer’s exuberantly painted, synaptic forms encourage a visual- and neural-frenzy that pushes Hello, Goodbye even further toward abstraction, an agenda shared by John DiPaolo. Though deeply inspired by nature, DiPaolo moves beyond the visible world to uncover universals that exist, according to the artist, in the spirit of each painting. By pulling the viewer into an all-encompassing deluge of energy and light, DiPaolo’s paintings exceed the experience of one individual and, in so doing, show us that our joy, suffering, and losses are shared. 
 
Left: Jerome Lagarrigue I Transition2013 I Oil on linen I 59 x 59 inches
Right: Danae Mattes I
 Interior, 2012 I Clay, paper, and pigment on canvas I 24 x 24 inches
For more information on the exhibition, please visit our website or email info@dolbychadwickgallery.com
Forrest Williams I No. 429, 2010 I Oil on panel I 46 x 66 inches
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Copyright © 2013, Dolby Chadwick Gallery, All rights reserved.

Gallery Hours:
Tuesday—Friday 10—6, Saturday 11—5
The gallery will be closed December 22—January 1, 2014

210 Post Street, Suite 205
San Francisco, CA 94108
(415) 956-3560

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