Tag Archives: Tayloe Piggott Gallery

The Secret Life of Lance Letscher

“Once there was a boy whose head was filled with ideas. He loved to draw and think.” The Perfect Machine by Lance Letscher. Courtesy the upcoming documentary, “The Secret Life of Lance Letscher.”

“He meticulously organizes and stores these weathered materials, which he later surgically deconstructs and deploys, creating new narratives from shards of past memory.” Excerpt from Lance Letscher’s Bio. 

Lance Letscher, Big Eye

Broke a promise. Said I’d comment on the Tayloe Piggott Gallery Lance Letscher event, and now that the show has only another week on exhibit, I recommend, if you haven’t already, go and see this collection.

Letscher’s show, “Untroubled Mind,” appears to reflect a very troubled mind. A mind sliced, diced, hard-stapled together as to not fall apart, an infinity of dreams and visions swept together in concise, pointy, intricate patterns. Letscher’s collages are reminiscent in style of Hieronymus Bosch’s tumultuous and foreboding paintings, but Letscher’s works don’t convey what Bosch did: Letscher’s works are puzzles, visual crosswords and brilliant colors make them a joy to study. Men’s and women’s shoes, watches, film canisters, a myriad of containers, baby items, body parts, silverware; these are just a few images repeatedly appearing in Letscher’s art. Often he arranges his printed and cut slivers like Japanese paper umbrellas or fans.

Lance Letscher, Tulip Painter

Opening night, attendees took in an edited version of The Secret Life of Lance Letscher, a documentary about the artist. Letscher is shy, but his art speaks volumes.

Take a look: http://www.indiewire.com/2015/11/the-secret-life-of-lance-letscher-goes-inside-the-mind-of-work-of-a-collage-artist-50297/

Tears welled up. Creativity so often springs from grief, memories, the confusions and heartbreak of childhood, loss. Emotional attachments, questions unanswered. Tangled up in our brains, we think of them….but they roll away, hidden under a rug, floating into the air. An artist practicing any form may swear to recall those phantom feelings and use them….but they’re gone. We can’t present them. We can’t organize them and put them out in the open in any sort of orderly way; it’s almost impossible to  hang on to life’s minutia.

But Letscher can, and does.

Lance Letscher. Courtesy Austin Chronicle

That’s his brilliance and his bravery. He did not cotton to that stage, and I think he knew that after seeing the film, questions from the audience would be hard to elicit. What could we say?  It was a huge gift. Letscher has catalogued and dealt with life through his extraordinary art. He’s found a way to create art deeply personal, evocative and startling. And he’s able to EXPLAIN it to us. He’s held on, cut out every sliver of metal and paper, used industrial staples and turned tumult into peace.

And when you have peace, you are untroubled.

www.tayloepiggottgallery.com  https://www.kickstarter.com/projects/907172962/the-secret-life-of-lance-letscher-a-documentary-fi

Over the Rooftops; Letscher Lands at Tayloe Piggott

Bobbi Miller, “Over the Rooftop,” 6×6″ oil

Moran, Wyoming lies 30 miles north of the Town of Jackson. Last month Moran received almost 40 inches of snow, 10 inches above normal. Jackson has received almost the same amount, but Moran’s isolated location lends itself to days of being no other place than Moran.

It’s a singularly beautiful, remote and a Grand Teton National Park gateway. If you are a plein air painter, Moran offers an infinite number of beautiful locations and constant inspiration.

A Moran resident, Teton Plein Air Painter Bobbi Miller this winter has left her in awe of the Park’s forefathers who battled intense winter conditions without any of the modern conveniences we enjoy today. Confined to painting indoors this winter, Miller’s painting style has veered towards abstraction; quick work and impressions of landscape are intriguing.

“I must admit to putting those foot warmers in my boots when DRIVING to Dubois, Wyoming recently,” Miller confesses. Dubois lies approximately 75 miles east of Moran, and to get there one must travel over the spectacular but potentially very dangerous Togwotee Pass.

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Seeing Double at Tayloe Piggott Gallery: Travagli & Katz

Patrizio Travagli, Mirror Image

Patrizio Travagli, Mirror Image, a work from “Mirror, Mirror on the Wall” at the Tayloe Piggott Gallery.

Recalculating! What is reality? Who am I?

You’ll have to wait for the new show at the Tayloe Piggott Gallery to find out. “Mirror, Mirror on the Wall,” a group of works by Italian artist Patrizio Travagli, is so new that, with the exception of the work shown above, it hasn’t yet been photographed. The exhibit runs  August 16 – September 30th. Join the gallery for an opening reception on Tuesday, August 16th, 6-8:00 pm.

“My intention is to guide spectators on a journey in which their knowledge of space is put to the test, revealing the imperceptible and disclosing new dimensions that stretch towards the infinite.” ~  Patrizio Travagli

This may be the ultimate selfie moment. Travagli is fascinated by light’s power to shift perception. You will become part of this exhibit~~your reflection in any of six large mirrors, each with their own reflective and color properties, change and shift and with you, the viewer.

From "In-Lusionem (Patrizio Travagli and Marco De Vincenzo) | Teatro Niccolini - Florence | 2016"

From In-Lusionem (Patrizio Travagli and Marco De Vincenzo) | Teatro Niccolini – Florence | 2016″. Taken from a previous exhibition in Italy; research on the artist and the descriptions of his upcoming show at Tayloe Piggott prompted me to share this photo example of an earlier Travagli project.

Travagli aims to lead viewers in rethinking their perception of space, regardless of a wide variety of techniques, such as painting, sculpting, video, photography and installation.

“I frequently collaborate with scientists and professionals of other fields, such as architects and designers, in order to achieve a complete result….my intention is to guide spectators on a journey in which their knowledge of space is put to the test, revealing the imperceptible and disclosing new dimensions that stretch towards the infinite,” says the artist.

“Stretch?” I hope those mirrors don’t make me look fat!

Alex Katz. Ariel (Red), ed. 26/56, 2016, 26-color silkscreen.

Alex Katz. Ariel (Red), ed. 26/56, 2016, 26-color silkscreen.

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Landscapes As Muse

Susan Vecsey Untitled (Yellow) Oil. 36x44"

Susan Vecsey Untitled (Yellow) Oil. 36×44″

 

“Susan Vecsey: A Selection of Paintings” opens at the Tayloe Piggott Gallery on August 20th. An opening reception will be held that evening, 6-8:00pm, and the show remains on display through October 10th, 2015.

American artist Susan Vecsey was born in 1971 (so young!) and during her (to we “boomers”) short time on earth she’s developed a gorgeous liquid painting style. In this show, only one painting I can recall contains hard color field delineations. A person could gaze at Vecsey’s work a long, peaceful while.

These works are the sort we used to see at Piggott’s Gallery on a regular basis, in its former life as the J.H. Muse Gallery. We’re back in the land of exciting color, color, color! Hooray!

Helen Frankenthaler immediately comes to mind. It turns out she’s on Vecsey’s mind, too.

Susan Vecsey "Study for Morning Light at Northwest Harbor, East Hampton. 2012" Oil on Paper, 11.5 x14.5"

Susan Vecsey “Study for Morning Light at Northwest Harbor, East Hampton. 2012″ Oil on Paper, 11.5 x 14.5”

 

“The reflection of the 1960s New York art movement of Color Field painting is very present in her work. In particular, the work of Helen Frankenthaler is a major influence and inspiration,” writes Piggott. “Color Field painters apply color in large one dimensional swaths across a large canvas, or ‘field’…. (Her) work takes a cue from “Lyrical Abstraction”, which situates abstraction in a landscape context. The allusion of landscape—hills, fields, horizon lines, seas and skies is suggested in the abstract form of her work.”

Susan Vecsey, Untitled (Pink) 2013, Oil on linen

Susan Vecsey, Untitled (Pink) 2013, Oil on linen

 

The works feel “large scale”~~however, Vescey’s paintings vary in size.

Richly pigmented, Vescey’s paintings emerge one at a time, “single file.” Interesting linen textures are allowed to emerge. And although her paintings are a compilation of small selections of color, Vecsey makes extreme effort to reach the intensity of color she wants.

Enchanting. We are thirsty for this level of work, and like a mirage it will disappear. Walk towards it. www.tayloepiggottgallery.com

Susan Vecsey, Untitled (Orange / Pink) 2014, Oil on linen

Susan Vecsey, Untitled (Orange / Pink) 2014, Oil on linen

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A very different kind of landscape show is on exhibit, beginning this week at Trio Fine Art. Please visit my author’s page, https://funthingstodoinjacksonhole.wordpress.com/2015/08/17/bill-sawczuks-big-country/  to read about Bill Sawczuk’s new show, “The Way I See It.”  

Shadows: Castle & Hicks at Tayloe Piggott; Daly News

James Castle, CAS11-0171 Untitled (black form), n.d. Found paper, soot, color of unknown origin, string, 6 1/4 x 8 3/8 in.

James Castle, Untitled (black form), n.d. Found paper, soot, color of unknown origin, string, 6 1/4 x 8 3/8 in.

In the new double show at Jackson’s Tayloe Piggott Gallery, there’s a complementary and slightly chilling collection of works by James Castle and Nicola Hicks. Castle was a profoundly deaf, self-taught artist. His mother was a midwife and his father ran the Garden Valley, Idaho post office.

James Castle, CAS09-0324 Untitled (flamingo) n.d., Found paper, soot, color of unknown origin, string. James Castle, CAS09-0324 Untitled (flamingo), n.d. Found paper, soot, color of unknown origin, string, 28 3/4 x 10 in.

James Castle, Untitled (flamingo)
n.d., Found paper, soot, color of unknown origin, string. Found paper, soot, color of unknown origin, string, 28 3/4 x 10 in.

Always poor, often on subsistence, Castle came to know a little sign language and developed a love for lettering. He “…is known for the skill of his draftsmanship,…subject matter and for his use of found and homemade materials. His recurrent and diverse themes tell an intimate story of a life lived in rural Idaho during the 20th century.”

Looking at Castle’s work I experience guilt as if I’ve broken into a child’s secret diary. It’s slightly agonizing, albeit fascinating, to study a Castle work; they’re heartrending. Eternally enigmatic, but with glimpses of a compromised soul’s joy in creating art. Displaying a man-child’s heart, Castle’s works seem stuffed in tiny boxes. Imagine, too, the drawings of an unborn child tucked in a dark, warm space, sensing fuzzy edges of the outside world.

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Nicola Hicks’ electric, recumbent bear prompted an email to friends much more familiar with bears’ private behavior. “Would a bear lie in this position on its own accord,” I asked. “Or would it only roll over on its back, belly exposed, if it was coerced by humans?”

Nicola Hicks, Untitled (Bear laying down), 2010 Charcoal and chalk on brown paper, 66 x 82 in.

Nicola Hicks, Untitled (Bear laying down), 2010 Charcoal and chalk on brown paper, 66 x 82 in.

Bears do lie around tummy up. “They’re like dogs,” one of my experts explained. “They can be spotted rolling around in dense forest glens or by a body of water, cooling off.”

Nicola Hicks, Owl, ed. 1/1, 2014. Monoprint, 29 3/4 x 22 1/8 in. (75.6 x 56.2 cm)

Nicola Hicks, Owl, ed. 1/1, 2014. Monoprint, 29 3/4 x 22 1/8 in. (75.6 x 56.2 cm)

All this goes along with what seems to be Hicks’ core artist statement: Creatures of the earth are “…animalistic in form and body, yet uncannily human.” She’s on the anthropomorphism train.

Hicks’ show includes plaster casts (ultimately brass sculptures) of animals—seemingly locked in suffocating, snare-like dried mud pierced by sharp objects—and works on paper. It’s tempting to grab a sledgehammer and free these entombed creatures. Something new, an exercise in “different.” Hicks’ chalk, charcoal and monoprints depict wild and domestic animals, extended and sinewy. A portrait of a big sleeping dog has real heft. You feel the weight of the animal’s massive head.

The bear wins!

The exhibition remains on display through August 16th, 2015. www.tayloepiggottgallery.com

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Katy Ann Fox, "On the Way to Breakfast." 12x12" Oil on Panel

Katy Ann Fox, “On the Way to Breakfast.” 12×12″ Oil on Panel

Together or Separate: New Works by Eleanor Anderson and Katy Ann Fox, opens at the Daly Gallery-Daly Project on Thursday, July 9, with a reception from 5-7:00pm. Anderson’s bright, whimsical ceramics and Fox’s airy, well-composed canvases are on view through July 24th.

We strive to be open Tuesday through Saturday, 1o AM to 6 PM. Or by appointment, 307-699-7933,” notes the gallery. http://www.dalyartistrep.com

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And don’t forget: Catch up with more Jackson Hole art scene goings-on by logging on to https://funthingstodoinjacksonhole.wordpress.com. This week: “Plein Air for the Park!”  

Erin C. O'Connor. On Evening's Edge. Oil on Linen.

Erin C. O’Connor. On Evening’s Edge. Oil on Linen.