Virginia McKinney & Matteo Neivert, Dennis Meiners & Steve Winkenwerder

MAIN GALLERY

Virginia McKinney "Briney Remains" steel & ceramic

Virginia McKinney “Briney Remains” steel & ceramic

Virginia McKinney employs several mediums in her work, Blossoms and Bones. “For this show I have combined two important bodies of work that have inspired and intrigued me for years – botanical forms and skeletal forms.” She uses a wide range of materials but primarily steel and clay. Specifically, she uses porcelain, stoneware and earthenware casting slips and clays, natural found materials that she dips in slip and burns out, handforged steel, underglazes, washes, glaze, rust and post fired finished and all are electric fired to various temps from cone 04 to cone 10. Both botanical and skeletal forms are amazing complex, and beautifully intriguing inspirations for her work.

 

 

 

 

 

Matteo Neivert "Oyster Invasion" acrylic

Matteo Neivert “Oyster Invasion” acrylic

Matteo Neivert’s artwork explores the powerful forces of nature and biology in real and imaginary compositions. A consistent thread in Matteo’s work is the idea of change and evolution. Fragility and strength act as common themes in his work. Images are formed by enlarging small objects in a playful painterly process.  Matteo usually starts without a drawing.  He works in a layered fashion to form depth from the back to the foreground layering thick impasto, thin glazes, splatters, and varied brushwork to form shapes.  Each piece has a unique palette of color to imbue an emotional quality to the object and its relationship to its environment.  Matteo paints these objects floating, dancing, cuddling, skating, flying, and skidding across the canvas to form movement, whimsy, and playfulness.  

 

 

 

 

FEATURE AREA

Dennis Meiners "Bottle" Mishima ceramics

Dennis Meiners “Bottle” Mishima ceramics

Dennis Meiners uses an ancient technique called Mishima to apply imagery to ceramic surfaces that, in his case, involves incising lines into still-wet clay, laying a slip into the lines that contrasts in color to the clay, then cleaning off the excess to reveal the line; much like etchers do in their printing process. This makes it possible to make a very crisp line. “My variation on Mishima involves coming back into the outlines with thin washes of the same slip to create texture such as fur or feathers, and I use all this to make drawings that I hope show my outlook on our present time. I use a lot of animal imagery that I juxtapose with industrial imagery. While each image very much stands for itself, each is a metaphor that stands for whatever the viewer sees, and I hope gives the viewer an opening to a new story, one that may have not been evident without encountering the piece or pieces I put out into the world.”