Cameron York & Lynn Latta and Thomas Rude

MAIN GALLERY (July 30-August 25)

Lynn Latta’s ceramic wall and pedestal sculptures are composed of wheel thrown circles. Forms are individually thrown on a potters wheel then combined intuitively creating an organic look. They form landscapes of their own, balancing with undulating ridges and valleys, smooth terrain with craggy regions. To quote Lynn, “I am interested in experimentation of form, contrast and color. From centering the clay on the wheel, to shaping the curve of the piece, surprises arise in the fluid motion of the clay, engendering a spontaneity that inspires me”. Once the forms are finished, Lynn lays out various shapes to see how they speak to one another, then assembles the sculpture. She ponders the arrangement and how she wants to guide the viewer’s eye from one section to the next. The dialogue of spontaneity can be further explored with color. She explores color and their combinations. The results are intriguing and delightful.

Cameron York’s medium is a mixture of Intaglio printmaking and mixed media. Cameron’s statement: “Consumerism and death are both political and ever present in our lives, and these are the two themes my recent work focuses on. My work, upon first encounter, is light and sweet, but once it is picked apart, dark fissures are apparent. Like hearing a clown’s laughter in the distance; it should bring joy, yet it is relentlessly spooky and slightly other worldly.  Found scraps of paper, luminous colors, and hand drawn elements that complement my themes are incorporated within my prints. Symbolic imagery expresses emotions, ideas, actions, and recounts memories. The repeating shape of gravestones, coffins, the hellhound, skulls, bone bits, and spots of rot exemplify death. Watercolor paint, graphite, and relief printing accentuate my etched imagery to build a visual history through layers, giving the feeling of depth.” 

FEATURE AREA (July 30-August 23)

Thomas Rude is both a wood carver and a printmaker. “While attempting to describe my artistic process to a friend, I said “If I knew what I was doing, I wouldn’t do it.” We both laughed. But what I meant was, no matter how evolved my technique or extensive my experience, without the subliminal undercurrent informing my work, the process would become flat and uninteresting. It is an attempt to be receptive to an internal narrative without focusing the mind on it.” Since his early teen years he was drawn to wood and began whittling. Old growth redwood salvaged from beaches, and beams that held up a now-demolished railroad trestle for 100 years, are some of the materials I seek out for carved work. Although I take cues from such early American forms as the whirligig, I’m no historic preservationist: rocket scientists, falling roller- bladers, and other exotics of contemporary culture pop up in my work. The immediacy of the graphic, black and white image drew me into producing linoleum cuts. These carved images and forms are often embellished with collage. The linocuts begin with a drawing which is mostly a guide, allowing things to happen in the carving. The shapes, colors, materials, ingredients are specific and agonized over and accidentally stumbled upon. It is often surprising what comes flapping or oozing out and what remains persistently elusive.”