Magazine Article for "As You Like It" - Marist Clubs and ...

Creek,” and “Backlit Tree.” Although some
of the images you swear you’ve seen yourself,
the lack of color and the precision of
detail by Somers makes you wonder if
you’ve ever really looked that closely at
roots or driftwood or how the sun comes
through to silhouette the trees.
It is hard to say what Alfredo Gisholt’s
inspiration was for his pieces, sadly he was
not able to be contacted to ask, but it is
hard not to feel something when looking at
his three oil paintings that are at least six
feet tall and more wide; “La Romeria”,
“Romeria”, and “Romeria II.” The titles are
allusions to the Spanish pilgrimage toward
Rome which don’t always mean trips but
sometimes just a full day or more celebration
at the sites of various sanctuaries of
the Virgin Mary.
Although they appear to be chaotic and
very geometric, once you look closer into
the thick textures of browns and grays spotted
with neon green and orange, you can
make out rather ghostly faces, sheep, goats,
and dogs.
To the left of one of the “Romeria” paintings
were prints made with the intaglio technique
that uses incisions on usually copper
or zinc plates. Here the ink is left only in
the incisions and is transferred to paper with
the aid of a printing press.
Lorean Salcedo-Watson
used this technique to create
images that appear like nerves,
bones, and sinews of the human
body. Images like
“Screaming Pelvis” and one of
an apparent ribcage are beautiful
representations of parts of
the human body, transcending
what could look creepy on can-
Cokeman
vas. She also created charcoal and watercolor
prints of an “Eagle Eye” and “Cicada.”
On the wall to the left as you enter the
gallery were the prints and oil on panel
pieces of Lindsay McCulloch. The oil on
panels have the rich texture that Grisholt
had in his large paintings but use bright colors
instead of darker ones. A series of ten
of these small pieces had names like “A Raisin
in the Sun” and “Alternating Currents,”
which were more
allusions and play
on words than
those like
“Cokeman” and
“Signs” which
were pretty much
what was there.
All her artwork,
including the black
and white
monotypes that followed
the oil paint-
ings, are devoid of
humans yet show
so much of what
is part of being a
human through
signs, vehicles,
and structures.
The images you
see are very real
yet surreal at the
same time, creating
a response that
is more than just
saying, “Oh, that’s a parking lot” but more
like “Why is there a parking lot?”
Real images are the inspiration for her
work, she says, “However, the images that
I create are never an exact visual replica of
a specific place. The places inspire certain
ideas and emotions, and the paintings and
prints are really a response to those thoughts
and feelings.”
Alternating Currents
New Development
Wired
Signs
And as for there being no
people in her artwork
McCulloch said she wants the
viewer “to experience these
places in a very intimate wayas
thought he or she is the subject
walking through them.”
Three of these artists now
teach art and many have worked
in printmaking museums and
helped with exhibits like this.
“The overarching idea behind
[the exhibit] was to show outstanding
work by those who just got going,”
said Smith. He said it shows “possibilities”
to those who are still in school.
The next exhibit which is showing now
through April 17 is Digital Manipulations
featuring Matt Frieburghaus-a professor
here at Marist, Henry Mandell, Tim Ross,
Laura Rusnak, and Carl Van Brunt.
“All of the work shown has some basis
in the computer,” said Smith but said Professor
Frieburghaus had a much more expansive
view on the type of artwork.
The cyber/digital type of pieces is meant
to expand the interest and allow the public to
access a variety of mediums. Thoughts like
this are what go into choosing the artists that
Smith will find and eventually hang the artwork
of on the walls of the gallery.
“The criteria [for picking an artist] is presenting
something for students,” he said. “It
makes me happy seeing good work and exposing
others to it.”
McCulloch had similar sentiments saying
that the art gallery is a “tremendous resource
for the school.”
“Artwork must be appreciated in person
- photos and digital reproductions don’t do
it justice,” she said. “ I hope the entire Marist
community takes advantage of the gallery and
the educational opportunities it offers.”
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