Where to Go This First Thursday: September 2015
Lino Tagliapietra, Fenice, blown and carved glass, 18 x 25.25 x 4.25 in.
Lino Tagliapietra
Traver Gallery
Hailing from the glass-making paradise that is the Venetian isle of Murano, Lino Tagliapietra was a prodigy who began apprenticing at the age of 12. With a painter’s flair for loud colors and a masterful sense for creatively shaping blown glass, he quickly became a master in the field. Tagliapietra returns to the site of his first gallery show to display a collection of new works. Opening reception 5–8.
Paul Vexler, Metropolitan, wood, 65 x 80 x 72 in.
Paul Vexler: Twisted
Foster/White Gallery
Wood is solid, stable, and reliable. Paul Vexler continually exhibits a knack for subtly subverting these qualities. His sculptures highlight the material's natural beauty while contorting it into unnatural, but smooth and flowing geometric creations. Marvel at his latest collection of loops and curves as Foster/White Gallery presents Twisted. Opening reception 6–8.
Donald Fels, script, found-paper collage, 2015, 9 x 11.5 in.
Image: Courtesy Davidson Galleries
Donald Fels: PaperWalls
Davidson Galleries
Donald Fels used the streets of India and Southern Europe as his arts and crafts store when creating PaperWalls. Using posters and flyers found on the streets, he crafts abstract found-paper collages that convey a sense of foreign confusion (the English-speaking Fels doesn't know the languages strewn across these materials) and the hectic nature of urban life with their slapped-together patterns and indiscernible shapes. Reception 6–8.
Brad Woodfin, Night Marches, oil on panel, 12 x 16 in.
Image: Courtesy Roq la Rue
Brad Woodfin: We Are the Flood
Roq La Rue
There's always something lurking in the dark, and the paintings of Brad Woodfin seek the creatures cawing out of sight. We Are the Flood captures the rich, shadowy details birds and other animals emerging from a pitch black backdrop. Drawing stylistically from 17th century European masters, these works display the gorgeousness of darkness. Opening reception 6–9.
John Anderson, Pothole Composite 12, 2015, archival inkjet prints on acrylic backing, 22 x 18 in.
John Anderson: The Beautiful Confusion
Linda Hodges Gallery
John Anderson's photographs imbue the mundane with a sense of mysticality. Whether drawing vivid colors from dirty water filling potholes or making the hills of Utah seems like scar-ridden apocalyptic wastelands set in stark black and white, Anderson finds a way to harness natural light to create works that are unexpectedly poignant. Opening reception 6–8.
