Thursday, March 31 - Saturday, May 7
Opening Reception: Thursday, March 31, 2016 6:00-8:00pm
Impressions are different. They concern what each of these artists are uniquely qualified to do, which is to uncover personal epiphanies. To the extent that intuitive knowledge exceeds analysis, and individuality overcome impression. The personal visions of these five artists, each complete in it’s own way, one never regrets the absence of social issues or messages. Impression on the spirit reminds us that, in terms of purely artistic value, the ultimate anecdote to impression is something deep continuously renewing vigorous paintings.
Atta Kwami is a native of Ghana. He also has a doctorate in Art History. His canvases are vibrantly colored abstractions - spontaneous impressions of the signs and textures of his homeland.
Charles Thomas O’Neil was born in New York City in 1966. He worked as a studio assistant to painter David Novros, whose minimalist explorations of paintings as object left an enduring mark on the young artist’s imagination. In his twenties, O’Neil left New York for the vibrant artist communities of Santa Fe, New Mexico and the Berkshire Mountains of Massachusetts where he now lives and works.
Rebecca Salter, painter and printmaker, born in London 1955, studied at Bristol Polytechnic and at Kyoto City University of Arts in Japan. In 2011 she had a major retrospective (into the light of things) at Yale Center for British Art, New Haven, Connecticut.
William Willis was born in Alabama in 1943. He has lived his life within the eastern United States, primarily between Florida and Maryland. Willis’ work has been exhibited publicly since 1976, including a number of solo exhibitions in museums. Amongst one a twelve-year survey at The Phillips Collection in Washington, D.C. (with catalogue; 1989).
Berlin-based Sati Zech’s first and initial impulse in her artistic means has always been to go beyond: Zech combines the austere and the indulgent on top of raggedly joined sections of canvas and paper. her work intriguingly bridges the gap between painting and sculpture.