Beth Edwards’ fat headed characters take you by the arm and escort you jauntily into their supersaturated worlds. With their shiny smiles and sideways glances, they are friendly ambassadors of retro furniture and famous art.
Beth Edwards
Happy Day
oil on canvas
32x38
2007
Beth Edwards’ fat headed characters take you by the arm and escort you jauntily into their supersaturated worlds. With their shiny smiles and sideways glances, they are friendly ambassadors of retro furniture and famous art.
Beth Edwards
Lucky Lad
oil on canvas
40x60
2008
Anne Siems, creates worlds of an unknown time and place, strange amalgams of folksy Americana and Dutch Arcadia. Her strange vignettes seem to originate simultaneously from children’s fairy tales, 17th century European painting and your grandmother’s handkerchiefs. Creepy doll heads are propped up on intricate exoskeletons, transparent dresses with no body inside. These are vivid dreams verging on nightmares.
Anne Siems
Swan Song
mixed medis on panel
30x30
2008
Greely Myatt’s work is steeped in the south. Clumsy words lit up with bare light bulbs could be homemade signs for a dive by the side of the road. And his empty speech bubbles seem to say “shucks.”
Greely Myatt
A fool with an idea or two
reclaimed wood and metal, steel, fluorescent light and electricity
20x141x14
2009
Greely Myatt’s work is steeped in the south. Clumsy words lit up with bare light bulbs could be homemade signs for a dive by the side of the road. And his empty speech bubbles seem to say “shucks.”
Greely Myatt
Talking
reclaimed wood & steel
17x20.5x1.75
2006
Jared Small’s houses have voices, some sweet, some gritty, all distinct. Their presence is palpable, even as they dissolve at their edges into brushstrokes, smears and drips.
Jared Small
Untitled Mint
oil on board
48x34
2009
Maysey Craddock’s bony trees and dilapidated structures seem to be metaphors for memory, loss and resilience. She carefully pulls meaning out of these familiar objects, imbuing their brokenness with a delicate grace.
Maysey Craddock
a tree grows in speicherstadt
gouache, silk thread on paper bag
27.25x36.5
2009
Maysey Craddock’s bony trees and dilapidated structures seem to be metaphors for memory, loss and resilience. She carefully pulls meaning out of these familiar objects, imbuing their brokenness with a delicate grace.
Maysey Craddock
Threshold
gouache, silk thread on paper bag
19.75x26.5
2009