- Seven Hundred Seven
- acrylic on canvas
- 70" x 42"
Conor O'Donnell, Talk to You, Pigment Ink on Paper, 40'' x 40''
Lewis McInnis, Pods, Oil on Canvas, 72'' x 60''
Regula Onstad, Kapok 6, Monotype on Paper, 18'' x 18''
- Exhibition: HOLDING PATTERN
- Showing: April 7th 2017 - May 13th 2017
Holding Pattern, featuring SPACE Gallery artists Heather Bentz, Lewis McInnis, Conor O’Donnell, and Regula Onstad, explores the use of pattern to create rhythm and order, even in the midst of seeming chaos. Whether pattern is established via a traditional method, like repetition of a particular motif, or contrived with a slightly less conventional technique, Holding Pattern explores our need for orderliness and the many ways it can be achieved.
The work of Heather Bentz investigates the interplay of relationships that occur in layered pattern through the transformation of ordinary found materials. Her process preserves the history of surface with clues to its meaning and content. As process is central to Bentz’s work, she begins with the pedestrian activity of gathering. Picking up dirty cardboard, paper scraps, and rusted metal pieces establishes the source materials for patterns in her work. In the studio, her process involves hand drawing and hand cutting stencils and templates, embracing imperfections of the hand and mis-measurements, while representing the inherent structure and repeat of pattern. Bentz’s templates are binary, simple, flattened guides which allow her to investigate the edges between objects and space.
Lewis McInnis begins his paintings with visual ideas inspired by his daily interactions, often with architecture and landscape. Color, shadow, and scale can play a role in his inspiration, but often it’s the mundane things that influence him the most – the positive or accidental shapes found in architecture and other human-created geometric environments. McInnis typically begins with oil paint on canvas or small study gouaches on board, building up his paintings, layer by layer, working intuitively as his vision comes together. Charcoal or colored pencil might be used to break up the images or add boundaries. Geometric forms develop, are painted over, and reappear as the final composition comes in to focus. Each work develops as an individual statement, but often common themes appear from piece to piece. With the paint leading the way, color and composition are continually refined as his works progress. In the end, McInnis’ paintings are an effort to make order out of chaos with colors that have personal resonance and allow self expression.
Conor O’Donnell’s work is a cumulation of decisions, revisions and adjustments. His process begins with the same questions over and over again: What should I do today? What will it look like this time? O’Donnell is engaged with developing a modular way of working that incorporates both intuitive and conscious decision making. The making leads the way. His intention is to achieve a perceptual experience where tension exists between surface and illusory space. He seeks density and surprise and is interested in the moment a dialogue begins to emerge between form and space.
Growing up in Switzerland, Regula Onstad has always been captivated by form, color and architecture. Her career choices have been varied and have taken her from dental technician to interior designer to recognized pastry chef and on to fine artist. In addition to living in Switzerland, Onstad has also lived in multiple locations in the United States, including Denver and the Roaring Fork Valley, Colorado, Phoenix, Arizona, and New York City. In 2005, Onstad and her husband relocated to Santa Fe, New Mexico. It was then and there that she discovered her passion for fine arts. She enrolled in classes at the Santa Fe Community College Fine Arts Center and attended workshops with established local artists. Her adventure continues today…