Arts Night 2015: Washington Pavilion Visual Arts Center

Missing

acrylic on canvas, 2015

29”h x 41”w

This piece was created as a reflection on the longing for things I miss and the simultaneous awareness of the happiness and relief that will ensue when I am reconnected with them.

(b. Sioux Falls, SD, 1988; BA, Fine Arts, Augustana College)

White Butterfly

enameled glass mosaic on tile board, 2015

12”h x 12”w, framed

“My work is an exploration of the emotional impact achieved with the iridescent, tectured and saturated colors unique to glass. I use black and white photographs of Lakota ancestors to honor their beauty and strength.” A. Babby

(b. Everett, WA, 1963; BFA, Montana State University Billings)

*winner, one of three Jurors’ Choice awards

Awaken

mezzotint and chine-colle, 2014

26”h x 20”w, framed

In this double-figurative abstraction, one person is passively sitting still, while the other is ready to make a change, hinted at through the act of cutting branches. The two figures are actually just one woman who is blinded and tied by negativity--perhaps hurtful things she experiences, feelings of guilt, or limits that she knows she can break. Whatever they are, the message is that she can overcome them emotionally and spiritually.

(b. Hanoi, Vietnam, 1992; BA, Art, Augustana College)

ALGORITHM

graphite, acrylic, ink, incandescent varnish on board, 2015

24”h x 18”w

"For me, painting is expansive, writing reductive. I often use painting as a means to explore ideas. ALGORITHM sorts through this definition in an algorithmic manner of painting. Like a snake eating its own tail.” – A. Albright

(b. Cheyenne, WY, 1964; MFA, painting, University of South Dakota; BFA, Printmaking, University of Washington)

(un)seen

ceramic, fabric, wire, and rose hip, 2015

7”h x 3”w

(un)seen represents the deprivation of the senses, particularly sight, in order to reach an altered or enlightened state, as in meditation. The wire sphere above the figure is representative of an altered state of thinking, perhaps a "third eye" which provides perception beyond ordinary sight.

(b. Aberdeen, SD, 1978; BA, Fine art, Northern State University)

Summer Refreshment

watercolor on paper, 2015

26”h x 30”w, framed

“In the midst of winter we long for the warmth of summer. This is a summer refreshment, a beautiful lily pond, rich in color and warmth.” –B. Brahms

(b. Valentine, NE; Self-taught artist)

Into the Woods

acrylic on canvas, 2015

48”h x 36”w

Created just for Arts Night, this new piece features Kringen’s signature use of bold colors, strong sense of line and characteristic black-white contrast elements.

Doe

linocut print, 2014

12”h x 10”w, framed

This piece is part of a series of linocuts of brass figurines that I collect from garage and estate sales; I take inspiration from similar figurines in my photorealistic still-life painting.

(b. Wisconsin, 1984; MFA, Northern Illinois University; BFA, University of Wisconsin)

Nordic Nightsong III

multicolor woodcut print, 2015

38.5”h x 27”w, matted and framed

I create a woodcut from my Nordic Night Song series each year, with the goal of pushing my compositional skills as a printmaker and having a benchmark to gauge my personal growth as an artist.  This image weaves together elements of Nordic mythology. Foremost is Yggdrasil, the tree of life. Its branches spread invisibly though the universe.  The ravens Huginn and Muninn often symbolize thought and memory an important message to live in the moment but be aware and honoring of the past. Mjölnir, the Hammer of Thor also makes an appearance; it’s an ambiguous tool that could be used to destroy or to build.

 (b. Sioux Falls, SD, 1971; Post grad studies in printmaking, Carlton College, Augustana College, Frogman’s Press at USD; BA, art/art education, Augustana College)

*winner, one of three Jurors’ Choice awards

Cocoon

copper wire, circa 1988

60”h x 24”w (variable)

This shape is reminiscent of a life which has lived inside. The viewer can decide if something has left and is never coming back, or if something still lives there. Therefore, an equally important part of the work is something that cannot be seen, but only sensed. Cocoon can be displayed in or outside.

(b. Iowa City, IA, 1944; MFA, Sculpture, University of South Dakota)

Spectrum

latex, acrylic and enamel on masonite, 2015

33”h x 40”w

This is an action painting in the style popularized by Jackson Pollock. Dense with layers of color, it offers a small glimpse into the movement of light through the universe.

(b. Aberdeen, SD, 1966; BA, University of Sioux Falls)

Dilly, Dolly, & Duke

gouache and pencil on paper, 2013

20”h x 24”w, matted and framed

An illustrative piece in primarily shades of blue with antique styling, this is the fantastical exploration of pattern and color inspired by others’ illustration work.

Dancing in Blue

acrylic on canvas, 2014

40”h x 30”w

Part of my dancing series, Dancing in Blue  captures the energy and movement of dance.

(b. Seattle, WA, 1940; MA and BA, Art Education, University of Washington)

Running Free

Prisma color pencil and India ink on antique ledger paper dated 1907, 2015

13”h x 21”w, framed

Ledger drawing depicting a horse running in the early evening with rays of sunlight flashing off his back, mane, and tail.

(b. Pine Ridge, SD; Studied at the Institute of American Indian Art, Santa Fe, NM and Black Hills State College, Spearfish, SD; Studied under the artists Oscar Howe and Herman Red Elk)

Three Buffalo Plates

clay, 2015

9” diameter, set of three with stands

These plates are from my “You Can Eat Off It, Too” series of clay art.

(b. Sioux Falls, SD, 1949; BS, Secondary Education, General Beadle State College)

The Shepherd

oil on canvas, no date

23”h x 27”w, framed

“This painting was created to honor those caring people who rescue large animals, such as donkeys, horses, and mules. This particular donkey was rescued and now shepherds a herd of sheep, protecting them from predators.” – D. Bartholow

(b. Washington D.C., 1942; Philadelphia Museum College of Art)

Stonelake Road View

acrylic on canvas, 2015

16"h x 20"w

My perspective of the northern Black Hills is inspired by the overlook of Owl Creek and the surrounding farmland of Butte County.

(b. Memphis, TN, 1961; Art and Photography, Black Hills State University)

Circles

oil on canvas, 2014

10”h x 10”w (each)

“My circles are inspired by two-color knitting; each drop of paint representing a stitch.” – E. Baker-Merrigan

Gracie's Basket

oil on canvas, 2003

23"h x 27"w, framed

A friend living in Pt. Loma, San Diego, CA. weaves  beautiful baskets. She grows the plants to supply the materials she uses weaving her baskets and loaned me this one to incorporate in a still life painting. This painting has stayed in my private art collection and has never been exhibited for public viewing.

(b. Sioux Falls, SD, 1935; Independent studies with artists in San Diego, CA and Scottsdale, AZ.)

Embrace in Blue

pastel, 2012

22”h x 19”w, matted and framed

Flames of a Wasted Life

paint on board, 2015

37"h x 48"w

(b. Volga, SD, 1955; Self-taught artist)

Ibex Dream

encaustic on panel, 2014

14”h x 11”w

From a series of encaustic works exploring the symbolism of an ibex or goat which is known as a purveyor of lessons and ideas in dreams.

(BA, Lindenwood University, St. Charles, MO; MFA, Fontbonne University, St. Louis, MO)

After the Storm has Passed

watercolor on paper, 2015

21”h x 14”w (each), matted and framed

In the hours following a storm, vegetation is more green and strong. Even though storms can be violent and destructive, they can also be nourishing and beneficial. Everyone experiences personal "storms;” this is a reminder to identify how they allow us to grow stronger and wiser.

Three of a Kind

acrylic, 2015

24”h x 30”w, framed

Celebrating South Dakota, our state bird, and South Dakota Artists.

Stilled Life

oil on canvas, 2014

35”h x 24”w

“This piece is part of a series I created examining bones and organs. It is an exploration into the complex structures of our internal world and the psychological expression of turning inward.” – J. Anderson

Turquoise and Gold

paint on wood canvas, 2013

12”h x 12”w, framed

This painting is reminiscent of a southwest landscape.

(b. Watertown, SD, 1955; Self-taught artist)

Lady in Pose

acrylic on board, 2014

33”h x 25”w

Cloud Bank

oil on canvas, 2015

30”h x 30”w

“On the plains in South Dakota, you can often see a "cloud bank" like this. The sky is grand and walls of clouds stack up over the fields, many times upstaging the landscape.” - J. Braig

(b. Dubuque, IA, 1967; BFA, Art, Loras College)

 Nakota Warrior

mixed media, 2011

25.5”h x 25.5”w, framed

Many warriors of the plains Oyate belong to societies formed by Elders, Chiefs and Warriors to protect the people of their respective clans. "The Nakota Warriors" protect the "Friendly People who Camp at the End of the Seven Council Fires," the Oyate, who once roamed freely over most of the Northern Plains. I've studied the artwork of many ledger artists and used their style but not on ledgers. I cut all the individual figures out of different dyed leathers that come together to form "Nakota Warrior."

(b. Crow Creek Reservation, SD, 1957; Self-taught artist)

Pulling into the BNSF Depot -- Sioux Falls

oil on canvas, 2015

30”h x 42”w, framed

On a cool afternoon last November, I was sketching and taking pictures of trains at the railyard, East Bank, Downtown Sioux Falls. As I stood on the concrete platform of the BNSF Depot, the BNSF 1541 pulled in. The train’s power bombarded all my senses and I captured its overpowering presence here.

(b. Sioux Falls, SD, 1955; Art Minor from South Dakota State University)

Views from the Halls of Purgatory #15

Kalitype print, 2014

20”h x 24”w, matted and framed

This print is from a series of 60 titled “Views from the Halls of Purgatory.” They are printed with a handmade Kalitype emulsion on Lenox paper – to resemble the expditionary photographs of the mid-nineteenth centruy.

(b. Blue Island, IL, 1950; BFA and MFA, Art Institute of Chicago)

Beuy’s Treatise: Mark I

graphite on Dralar, hinging tape, 2015

20”h x 26”w, framed

(b. Duluth, MN, 1970; BFA, Painting, University of SD)

Blooms

oil on canvas, 2015

30”h x 24”w

Flowers with their beautiful blooms have always fascinated me, lillies one of my favorites. Their bell shape blossoms made up of beautiful petals surround the center of stamens dancing around the carpel. In this painting I am exploring the delicate shapes of the flower within the confines of a rectangular shape.

(b. Pierre, SD, 1947; BS, Art Education, Northern State University)

Back of Female

pastel, 2014

23”h x 19”w, framed

(b. Sioux Falls, SD, 1949)

In Between the Moments

dry-point and mezzotint, 2011

14.5”h x 11.75”w, matted and framed

The piece is a quiet contemplative reflection on places in our lives that go unnoticed yet hold the poetry in life.

(b. Austin, TX, 1959; MFA, Printmaking, University of South Dakota; BFA, Printmaking, Florida State University)

The Runner

mixed media, 2013

48”h x 24”w

Sometimes paintings tell the artist what they want to be…and this is the case with “The Runner.”  I did not set out with the idea of this person leaning ahead, fists a little clenched, perhaps coming off of the blocks in a meet.  But, early on, the painting directed me to this idea….and didn’t let me waver from the concept.

(b. Watertown, SD, 1947; MA, English; Self-taught artist)

 Queen Mother

oil on canvas, 2013

22.75”h x 28.75”w, framed

These suffolk sheep belong to friends near Brookings. The mama sheep had such an attitude that I named her "Queen Mother.”  I love painting the forms of sheep with unexpected color and thick brush strokes.

 (b. Andover, SD, 1950; BS in Education, Art, Northern State University)

Last Stand II

acrylic on canvas, 2012

39”h x 27”w, framed

Created in commemorate the 40th anniversary of Wounded Knee II, this piece was exhibited at Augustana College’s Center for Western Studies in 2013.

(b. Ulm, Germany, 1983; Self-taught artist)

Watering in August

oil on cradled masonite, 2014

24”h x 24”w

Part of the Rural Superstitions and Astrology series, this piece is about a tried and true tip that is also mentioned in the Farmer's Almanac of 1900. It states: “be sure that while watering in August you water enough to reach the roots.” Having grown up on a Kansas farm and reading the old Farmer’s Almanacs passed down to me, I am very interested in the way that farming for ages has been part science, astrology, and chance.

(b.Holton, KS, 1986; BFA, Printmaking, University of South Dakota)

Bamboo and the Beating Drums

pastel on beeswax ground and paper, 2011

18”h x 19”w, matted and framed

A personalized interpretation of rainforests and ceremonial drumming.

(b. Albert Lea, MN; MA, University of Minnesota at Mankato; MFA, Drawing and painting, University of North Dakota)

Sweet Hideaway

photography on canvas, 2014

20”h x 30”w

In the Morvan Forest region of Burgundy along the ancient winding roads, I found old stone cottages that had been repurposed as weekend hideaways. The rope is the local’s gentle way of saying, “we are not home.” I chose to create an impressionistic feel to the mystical setting.

(b. Norfolk, VA, 1945; BA, Art and Education, College of St. Mary)

These Dreams

photography, multimedia, 2015

16”h x 13”w, framed

My piece depicts the mind of a young girl fascinated by the city. It reflects my own dream of the lights, people, and atmosphere of it. Photographs: New York City & Claire Thornton.

(b. Sioux Falls, SD, 1995; Currently studying graphic design at the University of Minnesota)

Lip Gloss

bronze, 2011

5.25”h x 12.5”w

This work is about a pleasant landscape. Lip Gloss can be displayed in or outside.

(b. Klamath Falls, OR, 1944; MFA, Syracuse University; BFA, The Layton School of Art)

Begging Spring

acrylic on canvas, 2015

11”h x 14”w

Libidinous better describes flowers than does lovely. The best part of painting them is the exploration of nature, its angst, its riot, its gardens gone wild!  

Safety Net

color pencils and dry pastel, 2014

42”h x 31.5”w, framed

Saftey Net is about learning to cope with a fear and sensitivity to death. I change roles with the deceased animal by meticulously rendering its parts into a lifelike and animated state, while my hands are depicted in a linear and ghostly manner. This piece acts as a portrait of myself and of the animal I am honoring, connecting us together.

(b. St. Louis, MO, 1987; MFA, Printmaking, University of South Dakota; BFA, printmaking, Murray State University)

*winner, one of three Jurors’ Choice awards

Escape Routes

acrylic and charcoal, 2014

26"h x 25.5"w, framed

It's a tree house which not only represents getting away from life now, but it did for me as a child too. It is a fun imaginative recollection complete with bedsheets and escape routes for coming and going.

Box Bug

woodcut, 2014

21.5”h x 18.5”w, matted and framed

Part of a series of insect prints.

(b. Wessington Springs, SD, 1954; Studied printmaking with John May at St. Johns, Jim Gibson at Northern State University, and Carl Grupp at Augustana College)

Surprise at Oxbow

panoramic photography/Giclee print, 2014

48"w x 28"h, signed, matted and framed

After four days with heavy overcast skies in the Grand Tetons last fall, I decided to chance a break in the clouds on my last morning at the Oxbow Bend along the Snake River. Mother Nature delivered a surprise three-minute break in the skies. I was ready and caught a “Surprise at Oxbow.” Its the little things in life that make all the difference! "Surprise at Oxbow" was created by merging five digital images into this panoramic image.

 I'm currently focusing my art on the intimate aspects of nature through macro photography, and the broad spans of our land through panoramic images.

(b. Parkston, SD, 1946; BA, Journalism, University of South Dakota; Independent studies through photographic, photoshop workshops.)

A Little Chaos

wooden bowl, 2014

7”h x 11”w

This bowl is an example of Segmented Lathe Turned Art and was made of sapele (native to Africa), bloodwood (native to South America), blackwood (Africa), and maple woods.

(b. 1953; Self-taught artist)

Snapshots

monotype, 2014

22”x30”, framed

This work was an award winner at the 2014 Northern Plains Indian Art Market. Monotype is a process by which an artist works in reverse on a non-absorbent surface utilizing printers’ inks. The work is then taken to a press; paper is laid on top of the painted plate and run through the press to transfer the image. I do not have the luxury of a press and cannot tolerate the stickiness and smell of the inks, so over a period of several years, I developed a modified monotype process to suit my needs using oil paint, working in reverse on plexi-glass with different tools.

(b. Omaha, NE, 1945; Master’s credits, Central Washington University; BFA, Montana State University)

Reasons to Raise Chickens

acrylic, gouache, and ink on hardboard, 2014

24”h x 36”w

My paintings transform images of domestic perfection sources from social media into abstracted musings on the joy and futility of chasing that very perfection. Last spring, I noticed an abundance of photos of backyard chickens posted on Instagram. In addition to fresh eggs, the reasons to raise one's own chickens may include their photogentic colors and patterns.

(b. Sioux Falls, SD, 1990; MFA, Studio Art, Michigan State University; BA, Art & English, University of Sioux Falls)

 This Modern Mess

charcoal on paper, 2014

21”h x 27”w, framed

This piece is representative of the perpetual state of mind we're in from being relentlessly bombarded with social outlets online. No one takes time to focus for too long these days, and as a result we become a bit of a mess.

(b. Sioux Falls, SD, 1983; Self-taught artist)

Autumn Effect

oil on canvas, 2014

26”h x 30”w, framed

Sheila Agee works out of her studio in Brandon, SD. She says her work reflects whatever nature has to offer – hoping to capture the light of the sky or reflect on the essence of a more intimate detail. Sheila works both “en plein air” and from photos, but finds it best to quickly abandon the restraints of the original image and just paint.

(b. Helena, AK, 1950; MFA, Painting, University of Oregon)

Glyph

acrylic, mixed media, 2000

12”h x 11”w

This work, with an embedded rectangle, shows areas that 'reveal' and 'conceal' …perhaps a reminder that life is full of contrasts between the known and unknown.

(b. New London, CT, 1937; MA, University of New Mexico; BA, University of Conneticut; Yale Norfolk Summer Art School)

Spearfish Canyon

acrylic on panel, 2015

24”w x 19.5” h, framed

The Iron Creek Trail in Spearfish Canyon is a great place to see majestic stone formations with new canyon views around each turn accented by the vibrant colors of fall foliage - fallen down or still up.

(b. Mason City, IA, 1943; M. of Arch., ISU 1972; Combat Artist, US Army, 1968)

Two Trees

photograph, 2012

23”h x 27”w, matted and framed

(b. San Francisco, CA; MFA and BFA, Photography, San Francisco Art Institute)

Dialogue: looking for myself… Blue

mixed media, 2014

23”x14.5”, framed

My intention is to create dialogue between the elements, to create a contemplative art that suggests vulnerability, motion, and change.

(b. San Angelo, TX, 1950; MFA, University of Nebraska)

Winter Gathering

photograph, 2013

17” h x 29” w, matted and framed

“This piece captures the thrill it was to drive through the South Dakota countryside and come across this sight of nine deer gathering together on a snowy day.” – T. Bartholow

(b. Mitchell, SD, 1935; BS, Business administration, University of South Dakota; Self-taught photographer)

The Brick Carrier

photography on canvas, 2014

48”h x 30”w

“This woman is a laborer at a construction site in Delhi.  She would stack ten to twelve bricks on her head, and arms fully extended upwards to contain the load, carried the stack up two flights of stairs.  Attached to the opposite side of this image is an envelope containing photographs of her labor. Amidst this is beauty and dignity.” – T. Dempster

(b. Sioux Falls, SD, 1949; Self-taught artist)

Salty & Sweet

collage, spray paint, colored pencil (diptych), 2013

27”h x 14.5”w (each), framed

Many of my collage works start off as a purely formalistic exercise. I’m looking only at composition, color, texture etc.  As the piece begins to grow, a narrative starts to form in my head. Salty & Sweet depicts two bright objects hovering above two figures crossing a barren landscape. I was intrigued with the dialogue and contract that happened not only between the two objects and the landscape, but with the strawberry and starfish as well. The works became about contrast: ripe and barren, decadence and humility, rich and poor, salty and sweet.

(b. Luverne, MN, 1989; BFA, Art education, University of South Dakota)