RON HICKS

Faces of Peace

American Art Collector - - Contents - Gallery 1261 1412 Wazee Street • Denver, CO 80202 (303) 571-1261 • www.gallery1261.com

Raw paint scratched bare in places, piled high in oth­ers, parts like a cur­tain to re­veal Ron Hicks’ del­i­cate fig­ures peer­ing out through twirling wisps of off-white back­ground, a bl­iz­zard of brush­strokes meant to evoke light and il­lu­mi­na­tion. His fig­ures, many of them women, ask for thought­ful con­sid­er­a­tion as their eyes lock with the viewer, or wan­der off the edge of the paint­ing.

Hicks’ new­est works are pre­sented un­der the ban­ner The Faces of Eve, which has a bib­li­cal in­spi­ra­tion, though not an overly re­li­gious guid­ing light. “I was read­ing the Bi­ble and I was struck by this pas­sage that deals with the Adam and Eve story, the ap­ple and ser­pent and all that. If you read be­tween the lines, Eve is sort of framed as though she ru­ined hu­man­ity. If she wouldn’t have done this, maybe things would have been dif­fer­ent,” the Colorado artist says. “I feel like there’s a lot of cor­re­la­tion with is­sues that are go­ing on to­day, par­tic­u­larly women. I wanted to go beyond the story and re­ally go into this idea with works that were rep­re­sen­ta­tional, ab­stract and also nonob­jec­tive. I wanted to cre­ate a har­mo­nious di­a­logue.”

Although Hicks’ themes and mo­tifs for the show are in­volved and rooted in a very spe­cific idea, he’s try­ing to let view­ers dis­cover the works for them­selves in their own way. “I want to keep it very open ended. I want peo­ple to ask them­selves what it’s about and gen­er­ate their own ideas,” he says. “Each paint­ing can strike some­one in a very per­sonal or emo­tional way and that di­a­logue they share with them­selves should shape the mean­ing of a paint­ing.”

Works in the show in­clude The Em­brace II, which shows two fig­ures locked in a tight clinch amid blocks of ab­stracted paint; Un­der the Acorn Tree, with a fig­ure in a scarf that is merg­ing with the back­ground; and Yearn­ing, in which a man and a woman are pulled to­gether across a del­i­cate ar­range­ment of paint.

“I started out with col­ors like cad­mium

yel­low, cad­mium reds, cobalt blue, ul­tra­ma­rine blue but also black, which is a won­der­ful color to work. I like hav­ing this de­sat­u­rated and dif­fused look to my color. But I also have to be truth­ful; some­times color is far less im­por­tant than shape and value. The vis­ual el­e­ments are re­ally what I’m af­ter,” Hicks says. “My col­ors tend to fall in line be­hind the idea of shape and value, which I use to es­tab­lish a har­mo­nious re­sult… I like to think the work is very di­men­sional, mean­ing you can look at the paint­ing and see the first brush­strokes along with the last brush­strokes on top. Some peo­ple cover the first ones up, but I like to be able to see it all.”

The Faces of Eve is be­ing pre­sented by Gallery 1261 in Denver, which will ex­hibit the show at a pop-up lo­ca­tion—call the gallery for de­tails. The ex­hi­bi­tion is a pre­view to a museum show at West­ern Colorado Cen­ter for the Arts in Grand Junc­tion.

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Sage, oil on board, 12 x 12"

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Yearn­ing, oil on birch, 48 x 58"

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The Em­brace II, oil on board, 40 x 40"

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