As he approaches 30 years of exhibiting his vernacular, street-influenced paintings in galleries and museums, Casey McGlynn returns to one of his earliest metaphors in his new collection I Am the Horse. Grazing and at rest, the horses appear in herds and as silhouettes, their interiors filled with a cacophony of symbols and color that bristle with a fervent, raw energy.
When Tony Angell walked into Richard White's office to share his artwork in 1972, it was the beginning of a 50-year journey in art and nature that Foster/White proudly continues to celebrate with Angell's new exhibition of sculptures, Aloft and At Rest. For half a century, Angell's representations of birds have dazzled viewers with scientific accuracy and a virtuoso sense for the inner temperament of his subjects that conveys their intangible spirit and resilience.
Foster/White Gallery announces the debut of Ritual Vessels, a new collection of ceramic sculptures by George Rodriguez. Varying from human faces peering out of animal costumes, to a pack of small dogs, to conjoined and single figures, to planter pots large and small, Ritual Vessels celebrates Rodriguez's vibrant imagination as he nears 20 years as an artist.
Sheri Bakes has been painting the natural world with an ethereal intensity for more than 20 years. Her new collection of landscape paintings draws inspiration from a close friend's challenging circumnavigation of Mt. Rainier on the Wonderland Trail. Highly attuned to atmospheric conditions that border on the non-visual, such as fine mist in the air or thin veils of fog lifting in morning sun, Bakes seeks to represent subtle qualities of being alive and present in time and space.
Foster/White Gallery returns to its series of group exhibitions focused on the classical elements with Elements: Water, featuring a range of media from photography and collage to painting, textile, and sculpture. Following its predecessors Elements: Earth (2020) and Elements: Fire (2021), the latest thematic collection draws from both new and prior work by many of the gallery's artists spread across the North American continent and Australia, including locals Tony Angell, John de Wit, Eva Isaksen, and Cameron Anne Mason. Representations of water alternate from figurative to abstract, and while the color blue is a popular choice, especially for painters, there are wonderful departures from expectation.
Sarah McRae Morton stands with one foot firmly in the tradition of Western figural art and the other in a hauntingly beautiful dreamscape of her own unique imagination. Often referencing literature, natural history, and memory, her paintings convey myth-like narratives that blend reality with dreaming, while highlighting her mastery of paint. McRae Morton's animal menagerie in Fair, Hail includes some of her favorites like whales, boars, and horses as well as some that are less familiar such as alewives, and snow crabs. People in 19th century attire are integrated with the animals often with a sense of blurred movement that the artist is recognized for. Many of the new paintings are presented on panel, and some are as small as 10 x 10 inches, contrasting with the large new canvas of a whale, Fulton's Last Bow.
Guy Laramée's longstanding fascination with Brasil inspires his new Foster/White exhibitions, where he probes questions of belonging and estrangement in a series of atmospheric landscape paintings as well as a group of new sculptures sourced from second-hand bookstores in Florianopolis. Often with mountains or coastlines shrouded in mist, the paintings form a loose, narrative sequence closely associated with the ambiguity between dreaming and waking.
Shar Coulson's exhibition Rhythmic Reflections: Pursuit of Nature's Pulsing Heart distills the essence of the natural world through gestural abstraction, revealing core truths that resist categorization beyond her longstanding tripartite series title of Fauna, Flora, and Figure. Her paintings convey a profound physicality and texture while also establishing a dynamic range of contrast and color. With formal training in figurative realism, she perceives nature's underlying patterns in wonderfully surprising ways. She often works from accumulated memories and incorporates earlier plein-air experiments.
The dreamscape landlines are the counterpoint to the patchwork. Bright colored windows contrast with the soft colors of distant lands. The movement is scattered or smooth, rhythmic. In my studio I can find a balance between painting and dreaming. - Allison Collins
Blend In: Between the Lines is a continuation of my Blend In series, reflecting on experiences with social anxiety. This show focuses more on the feeling of being and not being somewhere at the same time. I encounter this often in social settings and it’s something I can’t quite overcome. Each piece in the exhibition touches on this theme in its own unique way. - Calvin Ma
Seasoned stone sculptor Will Robinson’s nuanced sensibilities with his material have become highly instinctual throughout the three decades his career has spanned. Achieving warmth and softness with unforgiving stone, Robinson breathes life into each piece, revealing the innate qualities of the natural medium he works with. His sculptures are as much about discovery as they are reflections of the artist’s intuition.
Cameron Anne Mason came to fiber art through another passion; performance and installation art. She has since worked in a variety of textile processes, from dyeing techniques to surface treatments and intricate stitching. Largely inspired by nature, Mason utilizes nearby plants in her work, either in dyeing or as forms for printing processes. Often mistaken for paintings from afar, Mason’s textile sculptures are lushly detailed and attractively tactile.