Category: Painting

Lin Evola

Artist Q&A with Lin Evola

“Peace Sign”, watercolor, ink, and decommissioned nuclear stainless steel, 32 x 24 in | 81 x 61 cm, 2015

Why did you become an artist?

I learned to walk and talk at the same time that I began to draw, and I continued to make art as I grew up.  At 10 years old my mother took a group of us children to The Art Institute of Chicago. I remember very distinctly how I felt when I looked up and witnessed huge paintings by Jackson Pollock and Robert Motherwell – which became known as Abstract Expressionism – hanging on all the walls around us. I felt like my skin was turned inside out. I knew who I was.

How is your work different than everything else out there?

Every artist discovers their own visual language that is based on how we see, how we hold our tools, and what tools we choose to make art. My art is produced partially or completely from metal from weapons. I use a lot of reflective surfaces to engage the viewer in reaching a conceptual interaction with the art itself.

Lin Evola, portrait by Udo Spreitzenbarth 

What’s different about your current body of work?

Visually my art adds information and layers of meanings, staying tight to the basic empowerment for humanity to build peace.  Implementing physics, numbers, and writing, I use a tempo bringing the viewer from a microcosm to a macrocosm in vision. Are you looking at a microscopic image? Is it pulsating? Are you looking at outer space?  The layouts of the Peace Signs take about a month. I mix my own paints from pigment, and often include the weapons metal in the ink.

What’s coming up for you?

The Peace Angels Project is working on the 12 … Click here to read more

Ned Martin “Spirits Through Time”

The Duality of Ned Martin

Image courtesy of Robert Berry Gallery

Ned Martin created a dual style presentation that features both sides of his personality in “Spirits Through Time,” his second solo exhibition with Robert Berry Gallery, and challenges the viewer to contemplate the notion of time, the balance of humanity, and to reflect on the state of the world in these 15 new works mostly painted in the past few months during his unexpected quarantine in South America. 

There are two parts to the show: the abstracted landscapes that Martin has been working on over the last few years, and the new portrait paintings combining elements of abstraction and figuration. To anyone who has been following the artist over the last four decades, you’ll know that he was classically trained at the Schuler School of Fine Art, and to this day still mixes his own colors and always builds his own painting surfaces to ensure that he has full control over every element that goes into his work. 

For the last few years, he has used reclaimed aluminum printing plates on which to create his landscape works. The metal plates were originally used to print tabloid stories and advertising, which tend to be disposed after a few uses since there are remnants of images and text. The artists states that, “All of that imagery, paired with the landscape work, creates a sense of beauty mixed with commercial messages.” It’s the juxtaposition of the natural beauty of the landscape imagery that is combined with consumerism which is the driving force behind a lot of Americans that creates such a powerful dynamic. Martin also discusses his background of living in rural Pennsylvania on a farm, and his recent passion for camping, which has changed how he relates to nature compared to … Click here to read more

John Opper “Harmonies”

The 1980s Color Fields of John Opper

Installation view of John Opper “Harmonies”. Courtesy of Berry Campbell Gallery.

With his first solo show “Harmonies” with Berry Campbell Gallery, John Opper’s (1908-1994) late-career work is presented in new light as one of the leading colorists of the New York School. Featuring 19 paintings predominately from the 1980s, the exhibition aims to elevate Opper to a new level of both scholarly and commercial acclaim. 

Born in Chicago, Opper became interested in Modernism after a visit to the Pittsburgh International Exposition in 1928, where he first discovered the works of work of Picasso, Matisse, Braque, and other abstract painters. He studied at the Cleveland School of Art, and later took classes at the Art Institute of Chicago. He quickly befriended Hans Hofmann after moving to Gloucester, Massachusetts, and joined the WPA Easel Division in the 1930s. Opper stated that he credited the WPA experience with introducing him to a modern way of creating. 

After his time with the WPA Opper fully left behind nature and the physical world, and pivoted to pure abstraction. Like many artists of his generation, leaving behind any sense of figure or narrative was initially derided by critics and collectors, but nevertheless, they moved forward with their work.  As much as we understand the abstract in the 21st century, it was a very radical departure for many at the time, and wasn’t fully appreciated until the 1950s. Later in New York, he painted at Milton Avery’s studio in New York, and became acquainted with Adolph Gottlieb and Mark Rothko. After leaving the city, he would frequently come back to spend time at the Cedar Bar associating with Franz Kline, Philip Guston, and Willem de Kooning. 

Untitled (AMA-12)“, acrylic on canvas, 56 x 50 in | 143 x
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