Carl White was born in Liverpool, England in 1969. Carl studied at the Alberta College of Art & Design from 1989-1992 in Calgary, Alberta. His paintings and drawings have been featured in many solo and group exhibitions across Canada since 1992 and reside in numerous private collections nationally and internationally. White currently lives and works in Calgary, Alberta where he is exceedingly active in the art scene, as well as the community.
Born in 1969 in Pennsylvania, Eric received a Bachelors of Science in Art Education from Millersville University of Pennsylvania in 1992. He continued his education at The University of the Arts, Philadelphia, and the Pennsylvania Academy of Fine Arts. During this time he began an interest in the study of the strength and textures of birds, especially domestic fowl for which he has become well-known.
My paintings, and now soft sculptures, bring out the magical wonder of the humble rooster and rabbit. The rooster/chicken has always been my spirit animal. I love the colors, textures, and glorious strength of such a common bird. But is it such a common bird? They feed us with their eggs and meat, decorate us with their beautiful feathers, and are used as a religious spirit throughout the world. They are clever and brave, fast and strong. Their colors, pattern, and textures show brilliance and shine that I love to try and repeat in my painting.
My paintings, and now soft sculptures, bring out the magical wonder of the humble rooster and rabbit. The rooster/chicken has always been my spirit animal. I love the colors, textures, and glorious strength of such a common bird. But is it such a common bird? They feed us with their eggs and meat, decorate us with their beautiful feathers, and are used as a religious spirit throughout the world. They are clever and brave, fast and strong. Their colors, pattern, and textures show brilliance and shine that I love to try and repeat in my painting.
"My process begins long before any paint hits the canvas." ~ Michael Bartmann
Michael studied from 1982 -1987 at The State University of New York, Syracuse, NY, where he received his BA in Landscape Architecture. From 1995 -1999 he continued at Pennsylvania Academy of the Fine Arts, Philadelphia, PA, in the Certificate Program.
Artist Spotlight: MICHAEL BARTMANN
I begin by exploring an inspirational location and visit many times before starting. I am drawn to non-designed, left-over places. When I was young, I spent a greater amount of time playing in and exploring the vacant lots rather than the professionally designed playgrounds. As an artist, I am still drawn to those abandoned, derelict spaces where the imagination is free to roam. It's the lack of obvious beauty and not knowing where these spaces will lead me artistically that draws me to them. After visiting several times I paint on site and explore the site through the lens of a camera. I also research the history of the site and look for any old photographs. I do all of this "getting to know the site" in order to allow a more personal artistic vision to develop rather than just capturing its essence.
After getting to know the site, I then move the ideas into the studio to further remove myself from its innate meaning. I like the idea of the painting being "site-specific", but I want it to evolve into something more personal with a new "sense of place." In the studio, my process starts with a drafted line drawing in which a new place is constructed- much the same way that an architect would create. However, many times the drawing is a combination of several different places and possibilities overlaying and overlapping each other that will be further explored, changed or decided during the painting process. The drawing creates the underlying structure. This underlying drawing eventually gives way to the paint. I am more of a searcher with paint. Often the paint is doing one thing and the drawing doing another with a precarious connection between the two. I enjoy this tension. I paint as much for paint sake instead of for just the image. There is a fine line between the love of paint, the material itself, the mark making versus the definition of the image. My painting process involves scraping, staining, dragging, and a re-invention of the space. A new space evolves from the process. My paintings are as much about the architecture of the paint as it is about an architectural scene.
I want the entire process to show through in the final painting. The residue of the previous drawing/painting comes through in final version.
The painting titled Passages has a “sense of place” inspired by an actual location which then evolves through ideas that come from multiple sources, real and imagined as well as through the process of painting. This process is a dynamic interaction with the surface, the space, the layering and taking away of paint.
Tension exists between the use of traditional one-point perspective, the flat abstract two-dimensional canvas world and the surface world of paint.
Like many artists, I use light to turn the ordinary and everyday into something more, something greater.
I evoke emotion using spatial dimension, atmosphere and defining architecture. There are many paintings within the painting. Typically there is not just one straightforward view, but many spatial directions and abstractions of space to move through. I am interested more in a journey through the space and paint than a particular fixed image. I create a space that the viewer is free to roam around in. There are no figures in the paintings because I want the figures in the paintings to be the viewer.
Michael studied from 1982 -1987 at The State University of New York, Syracuse, NY, where he received his BA in Landscape Architecture. From 1995 -1999 he continued at Pennsylvania Academy of the Fine Arts, Philadelphia, PA, in the Certificate Program.
Artist Spotlight: MICHAEL BARTMANN
I begin by exploring an inspirational location and visit many times before starting. I am drawn to non-designed, left-over places. When I was young, I spent a greater amount of time playing in and exploring the vacant lots rather than the professionally designed playgrounds. As an artist, I am still drawn to those abandoned, derelict spaces where the imagination is free to roam. It's the lack of obvious beauty and not knowing where these spaces will lead me artistically that draws me to them. After visiting several times I paint on site and explore the site through the lens of a camera. I also research the history of the site and look for any old photographs. I do all of this "getting to know the site" in order to allow a more personal artistic vision to develop rather than just capturing its essence.
After getting to know the site, I then move the ideas into the studio to further remove myself from its innate meaning. I like the idea of the painting being "site-specific", but I want it to evolve into something more personal with a new "sense of place." In the studio, my process starts with a drafted line drawing in which a new place is constructed- much the same way that an architect would create. However, many times the drawing is a combination of several different places and possibilities overlaying and overlapping each other that will be further explored, changed or decided during the painting process. The drawing creates the underlying structure. This underlying drawing eventually gives way to the paint. I am more of a searcher with paint. Often the paint is doing one thing and the drawing doing another with a precarious connection between the two. I enjoy this tension. I paint as much for paint sake instead of for just the image. There is a fine line between the love of paint, the material itself, the mark making versus the definition of the image. My painting process involves scraping, staining, dragging, and a re-invention of the space. A new space evolves from the process. My paintings are as much about the architecture of the paint as it is about an architectural scene.
I want the entire process to show through in the final painting. The residue of the previous drawing/painting comes through in final version.
The painting titled Passages has a “sense of place” inspired by an actual location which then evolves through ideas that come from multiple sources, real and imagined as well as through the process of painting. This process is a dynamic interaction with the surface, the space, the layering and taking away of paint.
Tension exists between the use of traditional one-point perspective, the flat abstract two-dimensional canvas world and the surface world of paint.
Like many artists, I use light to turn the ordinary and everyday into something more, something greater.
I evoke emotion using spatial dimension, atmosphere and defining architecture. There are many paintings within the painting. Typically there is not just one straightforward view, but many spatial directions and abstractions of space to move through. I am interested more in a journey through the space and paint than a particular fixed image. I create a space that the viewer is free to roam around in. There are no figures in the paintings because I want the figures in the paintings to be the viewer.
René Romero Schuler is one of the most important and well-collected, contemporary artists to emerge out of the Midwestern United States. Now living in both Chicago, IL and Carmel, CA, this artist is creating powerful images of strength and vulnerability that speak to the heart of the human condition: love, sorrow, solitude, and heartbreak; yet, through these depictions of difficult subjects, she inspires her viewers with hope, fortitude, and ultimately, enduring strength. The figures Schuler captures are equal parts self-portraiture and portraits of the range of human emotions that she has experienced in her all-too-colorful life. Her approach is personal yet universal, and essentially intimate. The work is visually and emotionally affecting; it powerfully reveals her appreciation for the struggle and triumph of the human condition and speaks to global and societal issues that continue to impact daily lives.
Schuler’s work is in the permanent collections of The Union League Club of Chicago, Loyola University Museum of Art (LUMA) in Chicago, Grand Valley State University in Michigan, Coral Springs Museum of Art, and St. Thomas University Museum of Art – Sardiñas Gallery in Miami. Her work is in public and private collections around the world and has exhibited internationally in Paris, Rome, Paxos, Singapore, and Beirut. A musical production, Jolere, was wholly inspired by Schuler’s works, with five original scores composed by Lee Kesselman and accompanying contemporary dance choreographed by Joanna Lees. Jolere performed to sold-out audiences in Minneapolis, 2013 and Chicago, 2015.
A book, René Romero Schuler: Life and Works, showcasing images of the artist’s thick impastos and striking figural canvases in addition to providing readers a look into her artistic process, was released in 2013. A book, simply titled René Romero Schuler, was released in August 2016, and a second hardcover book, also titled René Romero Schuler containing personal essays and poetry alongside her most recent works, shown, was released Summer, 2019. Signed Copies Available.
**Note: Due to the overwhelming response surrounding René 's artwork her valuations increased and therefore pricing was increased in early 2020. You may see price differences from pieces sold before that time.
*** As of late Spring 2020, René is now collected in all 50 of the US states and more than 15 countries.
Schuler’s work is in the permanent collections of The Union League Club of Chicago, Loyola University Museum of Art (LUMA) in Chicago, Grand Valley State University in Michigan, Coral Springs Museum of Art, and St. Thomas University Museum of Art – Sardiñas Gallery in Miami. Her work is in public and private collections around the world and has exhibited internationally in Paris, Rome, Paxos, Singapore, and Beirut. A musical production, Jolere, was wholly inspired by Schuler’s works, with five original scores composed by Lee Kesselman and accompanying contemporary dance choreographed by Joanna Lees. Jolere performed to sold-out audiences in Minneapolis, 2013 and Chicago, 2015.
A book, René Romero Schuler: Life and Works, showcasing images of the artist’s thick impastos and striking figural canvases in addition to providing readers a look into her artistic process, was released in 2013. A book, simply titled René Romero Schuler, was released in August 2016, and a second hardcover book, also titled René Romero Schuler containing personal essays and poetry alongside her most recent works, shown, was released Summer, 2019. Signed Copies Available.
**Note: Due to the overwhelming response surrounding René 's artwork her valuations increased and therefore pricing was increased in early 2020. You may see price differences from pieces sold before that time.
*** As of late Spring 2020, René is now collected in all 50 of the US states and more than 15 countries.
Born in Milwaukee, Wisconsin in 1925; Dr. Nelson studied at the Art Institute of Chicago where he received his B.A.E. degree in 1950, and his M.A.E. degree in 1951. He taught at his Alma mater as well as the University of Manitoba in Winnipeg, and the University of North Dakota, before returning to school at New York University where he received his Education Doctorate in 1971. The next year he began teaching at Cleveland State University, where he stayed until 1975 when he joined the faculty of the University of North Carolina at Chapel Hill. He then joined that of Millersville University and in 1997 Millersville University granted him the rank of professor emeritus. Nelson’s art is included in the permanent collections of many major museums: The Museum of Modern Art, New York, the Smithsonian Institution, Washington, DC, the National Gallery of Art, Washington, DC, the University of Texas, Texas, the Seattle Art Museum, Washington, Ohio University, Ohio, the Walker Art Center, Minneapolis, the DeCordova Museum, Boston, the Brooklyn Museum, New York, the North Carolina Art Museum, North Carolina, the Minneapolis Institute of Art, Minnesota, the University of Minnesota Morris, Minnesota, the Cleveland Museum of Art, Ohio, the University of Maryland, Maryland, the Rourke Art Museum, Minnesota, Millersville University, Pennsylvania, George Mason University, Virginia, the University of Manitoba, Canada, the Plains Art Museum, North Dakota. He was also the recipient of the prestigious Purchase Prize in the 31st National Exhibition of Boston Printmakers and was awarded the Cezanne medal from the government of France, in 1961. You can see the things that influence Bob including past Presidents and historical figures, the Wizard of Oz, Flash Gordon, classic fables, and mythology. You can also find many animals, including some from his homestead in Lakeside, Oregon which he shares with his lovely wife Louise. "Drawing is the First Art- Everything else springs from that." ~ Robert A Nelson. *** Many museums are suspected, both Nationally and Internationally, and we are convinced this list is incomplete. If you would like to add to the list, please contact the Gallery.
