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Sarah Winkler is fascinated by the environmental factors that shape the natural world and seek to imitate their destructive and constructive qualities in an artistic technique. She translates her experiences walking into landscapes and the subsequent geology research of these locations into small collages constructed from papers of magnified organic textures which she designs and prints. The collages are the working sketches from which she scales up and paints the finished pieces in acrylic on wood panel. The materials she uses are mixed with natural minerals such as marble, mica and iron oxide, cementing the narrative connection of the works to their subject. This year, she has been influenced by the gilded radiance of 13th Century altarpiece paintings from Florence and Venice. Their multi-panel storytelling format and use of rare pigments and gold leaf to create iconic imagery made her consider how surrounding landscapes out West are a sacred place of worship of a different nature.

Unlike many other artists self-taught Greek artist Yianni Mellios started working out of his living room. His inspiration has been the Mediterranean landscape of his homeland that is characterized by tones of lush earth colors and brilliant blues. As a paragliding pilot, he has captured images of flying over Greece’s dry mountains, hills and unforgettable stretches of beach coasts in the summer. In addition, the earth and its living creatures are a favorite subject. Yianni frequently applies paint in thick layers and then makes cuts into it to produce paradoxical images in an existential style, whether they depict animals or abstracts. One of his favorite methods is taking his aluminum skimmer and pulling translucent color across the surface, varying the pressure slightly as he moves along the panel. His techniques are constantly evolving and changing, as are the world and its inhabitants.

A licensed architect, Ault has always considered himself an artist and has used painting and sketching as part of the design process. Inspired by the writings and work of Robert Motherwell, Cy Twombly and Robert Rauschenberg, Ault began devoting more time topainting in 1999. Since then, he has won awards with the Art Students League in Denver and the Curtis Arts and Humanities Center in Greenwood Village, received a public art commission from the City of Denver and shows regularly at Space Gallery in the Santa Fe Arts District in Denver. Named one of ENR’s ‘Top 20 under 40’ in 2012, Robin Ault is a visiting critic to the University of Colorado, College of Architecture and Planning.

“Painting quickly is a calculated act to stimulate the imagination. The object is knowing when the painting is done: when I’ve gone far enough. Sometimes I catch myself at just the right moment, or I walk away for a minute and realize it’s complete. Sometimes, after going too far, I wipe the surface clean and with a few strokes, suddenly there it is: a familiar but unanticipated presence that didn’t desert me after all.”-Robin Ault

For more than twenty-five years Leopoldo Cuspinera has been focused on the dynamic relationship between landscape and memory as a painter and academic. He says he does not want to lose his memory, so he uses many objects to trigger it. He takes what is already there, in different places, and transforms it. He has memories collected while on intense journeys, starting in his home country of Mexico; later in Europe, and currently in the United States. In this way, he gives the landscape back what it has given and what he needs to remember .

His paintings function as memorial artifacts, in some way they show veiled and unveiled segments of reality or aspects of life: fascinating, mysterious, complex and sometimes also dramatic. These segments permit him to observe details which otherwise would be lost in the immensity.

Stephen Shachtman is constantly seeking to find something new and stimulating in either a physical or cerebral sense. The sculptures he creates circulate with aesthetics in contemporary forms with influences and inspiration from, science, architecture, and techniques. These inspirations inform him to create series’ with specific dialogue due to process‘s, dimensions, material usage, and overall presence.
Depending on the sculptural forms and concepts, a few primary materials employed are; copper, glass, and steel. Some of the elements in Stephen’s work range from; hammered surfaces which have an organic aesthetic while overall forms tend to have clean lines with a minimalistic approach yet are monolithic in presence. Some aesthetics are large-scale filigree in the metal that allows a viewer to see through the organic forms, while similar manipulation of glass elements are stacked to create positive and negative spaces. All pieces are affected by the orientation of light to unveil the personality of the sculptures, which create a 4th dimension of shadows and reflection as they emerge to produce an element of surprise.





Check out this great write-up about our exhibition Nature’s line in Westword!


Nature’s Line, the lyrical group show now at Space Gallery, is a worthy followup to the impressive Pattern, which was presented there earlier this summer. In Pattern, the theme was repeated imagery, as the title suggests. This time, the subject is the organic line, which is also conveyed in the title.

Both shows were organized by gallery director Michael Burnett, who brought together abstract artists — mostly painters — from inside and outside Colorado. And it’s important to point out that the artists in the current show aren’t abstracting flowers, plants or animals. Rather, they are using free-flowing lines and rounded shapes, which hint at natural things but do not ape them. Each artist has been given a separate section, so that each has a sort of mini-solo within the group.”


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Check out this great write-up about our art work in Westword!

Space Gallery owner Michael Burnett believes that the impressive Pattern: Geometric / Organic, now on display at the gallery, is his best effort yet. I have to say, though, that I’ve been checking out exhibits at Space for years, and there have been many solid shows presented there. It’s true that Pattern is more ambitious than most; there’s even a handsome catalogue that accompanies it — and that’s something that almost never happens with a show at a commercial gallery like this one.”

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Check out this great write-up about our new exhibition in Westword!


“It used to be that the art world in Denver took a breather in August, to mark the close of one season and allow galleries to gear up for the next one, which started after Labor Day — but that’s clearly not the case anymore. This month has seen a raft of great shows that have opened just as the schedule was supposed to be winding down. This week, I caught up with a quartet of exhibits that are linked by a shared interest among the participating artists in conveying forms and colors with minimal narrative or conceptual content.”


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From Pre-fab to Fabulous


 Space Gallery Grand Opening


Check out this great write-up about our new Space in Westword!

Though Denver’s art world can trace its roots back to the late nineteenth century — the Denver Art Museum, for example, was founded in 1893 — it has only reached critical mass since the dawn of the 21st. The most obvious evidence of this was the construction of the DAM’s Hamilton Building and of MCA Denver’s new home in the mid-2000s; both were momentous events that raised the city’s art profile nationally and internationally.”

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Westword’s ‘Best of’ Award

…and Westword’s ‘Best of’ award for Best Gallery Group Show goes to ‘The Other Primary Colors – White Black Grey’ which was featured at Space Gallery 09.07.12 – 10.20.12. A special thanks to Marks Aardsma for her vision! If you missed the exhibit you can see images of the work by clicking on the photos link above and finding the folder marked with the show title.

Marks Aardsma’s next curatorial endeavor ‘Lines and Grids’ will open this fall on 08.16.13 and run through 09.28.13 at the Space Gallery. Mark your calendars because this will be another one not to miss.