Cap­tur­ing the View

American Art Collector - - Award Winner -

Through Jan­uary 6, Car­rie Had­dad Gallery will dis­play gor­geous land­scapes with a wide va­ri­ety of sub­ject mat­ter, in­clud­ing lush green mead­ows, misty moun­tains, pump­kin patches and more. “Peo­ple travel to the Hud­son Val­ley from all over the world to see the views fa­mously cap­tured by Hud­son River School painters Frederic Church and Thomas Cole. The scenery con­tin­ues to in­spire artists liv­ing here to­day, and we like to present that de­vo­tion with an an­nual land­scape ex­hibit,” says gallery owner Car­rie Had­dad.

“My art is in­spired by the unique beauty, light and at­mos­phere of the Hud­son River Val­ley and its long artis­tic her­itage of the Hud­son River School, lu­min­ist and tonal­ist painters,” says Jane Blood­goodAbrams. Her oil From Oak Hill is a serene piece, with bil­low­ing gray clouds above a foggy moun­tain. “There is al­ways some in­ter­est­ing at­mo­spheric ef­fect of clouds and light over the river as de­picted in the mist lift­ing in From Oak Hill. When on site, I of­ten ab­sorb these mo­ments in na­ture in a med­i­ta­tive fash­ion and then later, af­ter some tem­per­ing and dis­til­la­tion, use that ex­pe­ri­ence to re-cre­ate the evoca­tive mood of that scene on can­vas,” the artist says.

Eileen Mur­phy brings five paint­ings to the ex­hi­bi­tion, four of which are based around a tiny pond in Columbia County, New York, and the other is a view of the Hud­son River.

For Sue Bryan, draw­ing is a way for her to give mean­ing to her ex­pe­ri­ences with na­ture. “As a na­tive of Ire­land, the land­scape there has shaped and in­flu­enced my work over the years...The pieces in the show are de­pic­tions of places and things (real or imag­i­nary) that have a deep per­sonal as­so­ci­a­tion for me in some way or an­other,” says Bryan, whose char­coal and car­bon draw­ings have an eerie beauty to them.

Paul Cho­jnowski’s wood burn­ings take on an al­most meta feel; his piece Birches fea­tures a group­ing of birch trees burned into Baltic birch ply­wood. “I have been burn­ing im­ages into wood and pa­per as a means of draw­ing for over two decades. Dur­ing that time I have con­tin­ued to re­fine and at the same time ex­per­i­ment with the process. Us­ing propane torches I burn, scorch, re-burn, some­times sand and scratch the sur­face of pa­per or wood to cre­ate my draw­ings,” Cho­jnowski ex­plains of his process.

An oil on birch panel ti­tled At First Blush, by Tracy Helge­son, is noth­ing if not eye-catch­ing. The piece fea­tures highly pig­mented ma­genta trees con­trasted against muted greens and blues. “At First Blush rep­re­sents the ever-chang­ing au­tumn and spring land­scapes that I see on my daily walks,” she says.

1Jane Blood­goodAbrams, From Oak Hill, oil on can­vas, 20 x 30"2Sue Bryan, Lit­tle Scrap, char­coal and car­bon on pa­per, 7 x 7¼"3Eileen Mur­phy, Golden Hour I, oil on panel, 9 x 12"4Eileen Mur­phy,On the Last Hill That Shows You All Your Val­ley, oil on panel, 18 x 24"1


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