With clay and glaze, Miles reminds us that we are sensate, animal beings in a physical world.  We don’t just look at his sculptures. We use them.  In our bending and stooping and peeking, we fit ourselves into his corpulent, bristling forms, discovering how art communicates.

Posted on 21 January 2020. by David M. Roth Brad Brown: Clockwise L to R: Piece 308 (Untitled), 2018, oil, basswood, plywood, brads; Piece 69 (Itch), 2004-2012, oil, canvas, masonite; Piece 298 (Untitled), 2012-2018, oil, acrylic, walnut ink, plywood, brads; Piece 170 (Lascaux Thought Balloon), 2004-2017, oil, canvas, masonite, plywood, screws. 12 x 12″ ea.  […]

All of these ceramic works are put through multiple stages of kiln firing: glazed then fired, then, possibly, exploding or breaking apart, then being fired in the kiln again.

  Markus Linnenbrink: Little Journeys and Cosmic Buckshot by Julia Couzens    In the Studio: The Making of HELLOIMYOURNEWTREE Markus Linnenbrink’s dazzlingly seductive work functions like painting, but it isn’t.  Working with epoxy resin, wooden supports, pigment, and a router mobilized by two joysticks, Linnenbrink constructs objects that examine both painting and sculpture.  He […]

This dense show of large prints on felt, titled “Chalk Lines,” was curated by Barbara Takenaga, a painter who shares Amos’s talent for voluptuous, galactic compositions.

Gallery  October 14, 2019  Cynthia Close Meet the New Face of Printmaking   “This is your life, Australia style,” jokes artist/master printmaker Sarah Amos in an undeniable Aussie accent as she introduces herself to the audience in the packed screening room on the second floor at Burlington City Arts. Her monumental, genre-bending collograph prints representing the last 5+ years of […]