Archway Gallery
Upcoming Exhibition Calendar
Upcoming Exhibition Calendar
Opening receptions are usually the first Saturday of each month, with some possible exceptions due to holidays. All receptions are from 5 to 8 p.m. Media - Press Releases
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November 3 - 29, 2018
The Male Gaze
Featuring Recent Paintings by John Slaby
Opening Reception
DATE: Saturday, November 3, 2018
TIME: 5 - 8 p.m.; with Artist Talk at 6:30 p.m.
LOCATION: 2305 Dunlavy, Houston, TX 77006
Complimentary Valet Parking
Light Refreshments, including bites generously provided by Kam's
Music Performance by KINETIC Ensemble and Loop 38
DATE: Sunday, November 11, 2018
TIME: 6 - 8 p.m.
Demonstration and Technical Talk
DATE: Sunday, November 18, 2018
TIME: 4 - 5 p.m.
Closing Reception and End of Silent Auction
DATE: Saturday, November 24, 2018
TIME: 5 - 8 p.m.
DATE: Saturday, November 3, 2018
TIME: 5 - 8 p.m.; with Artist Talk at 6:30 p.m.
LOCATION: 2305 Dunlavy, Houston, TX 77006
Complimentary Valet Parking
Light Refreshments, including bites generously provided by Kam's
Music Performance by KINETIC Ensemble and Loop 38
DATE: Sunday, November 11, 2018
TIME: 6 - 8 p.m.
Demonstration and Technical Talk
DATE: Sunday, November 18, 2018
TIME: 4 - 5 p.m.
Closing Reception and End of Silent Auction
DATE: Saturday, November 24, 2018
TIME: 5 - 8 p.m.
All the work in the show will be offered in a silent auction which starts on opening night and closes on Saturday, November 24. John Slaby will be donating 50% of the proceeds of his show to local charities that will be selected by the patrons via popular vote.
Breathing life into a staid and overworked art form, John Slaby paints the human figure, predominately female, in a traditional, realist style with a contemporary twist. He chose the provocative title, The Male Gaze, as a challenge to the criticisms of this genre and sees his work as using the female form to represent all of humanity. These figures are the language Slaby uses to express his thoughts and feelings on the human condition. The artist clarifies, “These women are anything but objects; they are a part of me. They reflect my self and my life. As my life has changed, so too has their depiction.”
Slaby began painting the human figure over 20 years ago. Then, the female form was depicted in vulnerable positions within dark rooms. “That was when I first entered recovery,” says Slaby, “and those women were clearly expressive of my emotional state at the time.” The attraction to the female form is also driven by its stereotypical associations - compassionate, nurturing, the creator of life - and conversely repelled by those associations with the masculine - aggressive, distant, violent. “Part of this attraction to the feminine is the fear I have of men,” says Slaby.
The figures in this show reflect modern realities, where women have continued to take on the burdens traditionally reserved for men; thus, the depiction of Atlas as a woman. Several pieces in the show also confront issues of body shame. Barbie, one of the larger canvases at six feet in height, depicts a woman defiantly stepping on the eponymous doll. Flood, Slaby’s homage to the effects of Hurricane Harvey, is another large canvas and depicts a recovered photograph taped to a stained backboard. The trompe l’oeil style is disoriented by the large scale of the canvas.
Breathing life into a staid and overworked art form, John Slaby paints the human figure, predominately female, in a traditional, realist style with a contemporary twist. He chose the provocative title, The Male Gaze, as a challenge to the criticisms of this genre and sees his work as using the female form to represent all of humanity. These figures are the language Slaby uses to express his thoughts and feelings on the human condition. The artist clarifies, “These women are anything but objects; they are a part of me. They reflect my self and my life. As my life has changed, so too has their depiction.”
Slaby began painting the human figure over 20 years ago. Then, the female form was depicted in vulnerable positions within dark rooms. “That was when I first entered recovery,” says Slaby, “and those women were clearly expressive of my emotional state at the time.” The attraction to the female form is also driven by its stereotypical associations - compassionate, nurturing, the creator of life - and conversely repelled by those associations with the masculine - aggressive, distant, violent. “Part of this attraction to the feminine is the fear I have of men,” says Slaby.
The figures in this show reflect modern realities, where women have continued to take on the burdens traditionally reserved for men; thus, the depiction of Atlas as a woman. Several pieces in the show also confront issues of body shame. Barbie, one of the larger canvases at six feet in height, depicts a woman defiantly stepping on the eponymous doll. Flood, Slaby’s homage to the effects of Hurricane Harvey, is another large canvas and depicts a recovered photograph taped to a stained backboard. The trompe l’oeil style is disoriented by the large scale of the canvas.
December 1, 2018 - January 3, 2019
The Drift of Stars
Paintings and Works in Fused Glass by Liz Conces Spencer
Opening Reception
DATE: Saturday, December 1, 2018
TIME: 5 - 8 p.m.; with Artist Talk and Poetry Reading at 6:30 p.m.
LOCATION: 2305 Dunlavy, Houston, TX 77006
Complimentary Valet Parking
Light Refreshments, including bites generously provided by Kam's
Late Night Pie / Social Hour
DATE: Saturday, December 15, 2018
TIME: 7 - 9 p.m.
MUSIC: Fools on Stools
DATE: Saturday, December 1, 2018
TIME: 5 - 8 p.m.; with Artist Talk and Poetry Reading at 6:30 p.m.
LOCATION: 2305 Dunlavy, Houston, TX 77006
Complimentary Valet Parking
Light Refreshments, including bites generously provided by Kam's
Late Night Pie / Social Hour
DATE: Saturday, December 15, 2018
TIME: 7 - 9 p.m.
MUSIC: Fools on Stools
Spencer’s new body of work, The Drift of Stars, explores her visual thoughts on the passage and mystery of time.
Being present is key to the personal and intimate experience of making art, particularly drawing or painting the figure or working from the landscape plein aire, or directly onsite. At the point in time that the muse is translated by the artist to a substrate of canvas or paper or glass, the present moves with it, and a new reality is born, assuming its own life, qualities and personality. Inasmuch as the muse existed in a specific moment in time, the work of art is what has evolved, surviving as testament to that moment. As the work in its own new life morphs and changes, it too exists in consciousness only in the present, not in the future nor in the past. And, as philosopher Jacques Maritain postulated, the two-way communication that exists between art and viewer allows an ever-present, always changing charged experience with each successive encounter. The muse is further invoked by other art, including music and poetry. The title of the exhibition is based on a line from T.S. Eliot’s haunting Burnt Norton. Other pieces are inspired by the poetry of Diana Conces, an award-winning and published author who will read from her selected works during the opening reception.
Spencer’s landscape, figurative, and non-representational studies are often reworked extensively, creating new realities far removed from the moment of inception. The figurative works frequently superimpose human forms from several different sessions and models. Landscapes are abstracted to abide by a generous dollop of creative intuition in color placement and patterning. Some works are deceptively simple. The blending of timelines, subjects and materials is intentional, with threads of meaning suggested in titles that focus attention on our shared mortality, our memories of the past, and our hopeful yet flawed expectation of the future.
Being present is key to the personal and intimate experience of making art, particularly drawing or painting the figure or working from the landscape plein aire, or directly onsite. At the point in time that the muse is translated by the artist to a substrate of canvas or paper or glass, the present moves with it, and a new reality is born, assuming its own life, qualities and personality. Inasmuch as the muse existed in a specific moment in time, the work of art is what has evolved, surviving as testament to that moment. As the work in its own new life morphs and changes, it too exists in consciousness only in the present, not in the future nor in the past. And, as philosopher Jacques Maritain postulated, the two-way communication that exists between art and viewer allows an ever-present, always changing charged experience with each successive encounter. The muse is further invoked by other art, including music and poetry. The title of the exhibition is based on a line from T.S. Eliot’s haunting Burnt Norton. Other pieces are inspired by the poetry of Diana Conces, an award-winning and published author who will read from her selected works during the opening reception.
Spencer’s landscape, figurative, and non-representational studies are often reworked extensively, creating new realities far removed from the moment of inception. The figurative works frequently superimpose human forms from several different sessions and models. Landscapes are abstracted to abide by a generous dollop of creative intuition in color placement and patterning. Some works are deceptively simple. The blending of timelines, subjects and materials is intentional, with threads of meaning suggested in titles that focus attention on our shared mortality, our memories of the past, and our hopeful yet flawed expectation of the future.
January 5 - 31, 2019
Sentient Meat
Featuring New Works on Paper by T Smith
Opening Reception
DATE: Saturday, January 5, 2019
TIME: 5 - 8 p.m.; with Artist Talk at 6:30 p.m.
After party with the artist: 8 - 10 p.m.
LOCATION: 2305 Dunlavy, Houston, TX 77006
Complimentary Valet Parking
Light Refreshments, including bites generously provided by Kam's
DATE: Saturday, January 5, 2019
TIME: 5 - 8 p.m.; with Artist Talk at 6:30 p.m.
After party with the artist: 8 - 10 p.m.
LOCATION: 2305 Dunlavy, Houston, TX 77006
Complimentary Valet Parking
Light Refreshments, including bites generously provided by Kam's
2019
Jan |
T. Smith |
Jul |
Annual Juried Exhibition |
Feb |
Harold Joiner |
Aug |
Susan Spjut |
Mar |
donna e perkins |
Sep |
Cecilia Villanueva |
Apr |
Carol Berger |
Oct |
Becky Soria |
May |
Patricia Blackwell |
Nov |
Jane Ewen |
Jun |
Ink&Image / PrintHouston |
Dec |
Veronica Dyer |