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.
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
The artist will be at the opening reception to visit with guests on Saturday, January 5, from 5 – 8 p.m., and will discuss the exhibition in a talk at 6:30 p.m. Following the reception, the gallery will remain open from 8 – 10 p.m. for an informal “after party” with the artist. The public is invited to stay for beverages, music, and conversation in a relaxed atmosphere. Seating will be provided.
Known primarily as a painter of large-scale enigmatic oil on canvas works, T. Smith makes a marked departure in scale and media with Sentient Meat, while still maintaining the guiding principle of Smith’s exploration of “Patternism” (see excerpt from the artist’s statement, below).
All works in this show are new, recently completed in 2018. Each piece is hand drawn using a combination of conventional graphite pencils and Pentel Graph Gear mechanical pencils on acid-free Strathmore paper or Bristol vellum board.
Each image is a detailed view into a slab of meat from both a macro and a micro perspective. The same type of patterns seen in raw ‘meat’ are represented in the human body. Peering down into the depths of each subsequent layer of meat reveals patterns similar to those in human flesh…the brain, blood vessels, varieties of tissues, muscle, arteries, bone, sinew, brain gyrus, lobes, medulla, poles; cross sections of organs…kidneys, brains, membranes, canals, tubes, vestibules, nerves, cavities. Lines, shapes, shadows of lights and reflections of darks cross through, above, and over one another, conjoining into a micro and macroscopic viscera of organic forms.
Fractal self similarity in flesh, represented at each level, replicates that of mother nature at the macro level: mountain ranges, granite quarries, coastline edges and the meander of liquid bodies such as rivers. The drawings themselves echo anatomical depictions of the human body by Henry Vandyke Carter, the English anatomist, surgeon, and artist most notable for his illustrations of the book, Gray's Anatomy.
Sentient Meat, a term Rust Cohle utters in “True Detective,” elucidates the dichotomy of masses of flesh being perceiving self-aware organisms. Man and animal are each equally both, as evidenced from the inside out and the outside in. All ‘meat’ is composed of the same four types of tissue: epithelial, connective, nervous, and muscle; from the Greater to the Smaller and the Smaller to the Greater.
Excerpt from the Artist’s Statement:
The visual physical world is connected in subtle ways that can be easily overlooked. I work from my own photographs to discover the connections between seemingly disparate elements that combine to form a greater reality than their independent parts. Actual visual images are transformed into a third-generation idea from physical reality to camera to canvas.
As an artist, my interest is in the underlying associations formed by the repetition of shapes and lines from not only material forms but also those of transient matter such as shadows and reflections operating on the same visual plane in a realistic abstraction.
I consider myself a Patternist primarily interested in the affinities of emerging connections when taken as a whole. Patternism is reality viewed as a wave rather than a particle; it is the missing link between normal spatial perception and fractured spatial perception. Patternism is one link removed from normality, yet it is still very evident.
About T. Smith:
Smith, a former Hunting Art Prize Finalist, was named one of the “Top Ten Painters in Houston” and “Top 100- Creatives” by the Houston Press. The artist’s work has been selected for numerous local and national juried shows, as well as exhibitions including Art Prize Grand Rapids, Artopia, and Houston’s Annual Art Crawl. Smith attended Sam Houston State University as an art and photography major with a minor in cinematography and studied painting for several years at the Glassell School of Art and the Art League of Houston. In addition to painting and drawing, Smith is an accomplished photographer recording and finding artistic source material in travels around the U.S. and internationally. Nature, film, architecture, literature, travel, physics, and philosophy play a significant role in the Smith’s artistic oeuvre with emphasis on spiritual new thought evinced through the writings of Jane Roberts.
Known primarily as a painter of large-scale enigmatic oil on canvas works, T. Smith makes a marked departure in scale and media with Sentient Meat, while still maintaining the guiding principle of Smith’s exploration of “Patternism” (see excerpt from the artist’s statement, below).
All works in this show are new, recently completed in 2018. Each piece is hand drawn using a combination of conventional graphite pencils and Pentel Graph Gear mechanical pencils on acid-free Strathmore paper or Bristol vellum board.
Each image is a detailed view into a slab of meat from both a macro and a micro perspective. The same type of patterns seen in raw ‘meat’ are represented in the human body. Peering down into the depths of each subsequent layer of meat reveals patterns similar to those in human flesh…the brain, blood vessels, varieties of tissues, muscle, arteries, bone, sinew, brain gyrus, lobes, medulla, poles; cross sections of organs…kidneys, brains, membranes, canals, tubes, vestibules, nerves, cavities. Lines, shapes, shadows of lights and reflections of darks cross through, above, and over one another, conjoining into a micro and macroscopic viscera of organic forms.
Fractal self similarity in flesh, represented at each level, replicates that of mother nature at the macro level: mountain ranges, granite quarries, coastline edges and the meander of liquid bodies such as rivers. The drawings themselves echo anatomical depictions of the human body by Henry Vandyke Carter, the English anatomist, surgeon, and artist most notable for his illustrations of the book, Gray's Anatomy.
Sentient Meat, a term Rust Cohle utters in “True Detective,” elucidates the dichotomy of masses of flesh being perceiving self-aware organisms. Man and animal are each equally both, as evidenced from the inside out and the outside in. All ‘meat’ is composed of the same four types of tissue: epithelial, connective, nervous, and muscle; from the Greater to the Smaller and the Smaller to the Greater.
Excerpt from the Artist’s Statement:
The visual physical world is connected in subtle ways that can be easily overlooked. I work from my own photographs to discover the connections between seemingly disparate elements that combine to form a greater reality than their independent parts. Actual visual images are transformed into a third-generation idea from physical reality to camera to canvas.
As an artist, my interest is in the underlying associations formed by the repetition of shapes and lines from not only material forms but also those of transient matter such as shadows and reflections operating on the same visual plane in a realistic abstraction.
I consider myself a Patternist primarily interested in the affinities of emerging connections when taken as a whole. Patternism is reality viewed as a wave rather than a particle; it is the missing link between normal spatial perception and fractured spatial perception. Patternism is one link removed from normality, yet it is still very evident.
About T. Smith:
Smith, a former Hunting Art Prize Finalist, was named one of the “Top Ten Painters in Houston” and “Top 100- Creatives” by the Houston Press. The artist’s work has been selected for numerous local and national juried shows, as well as exhibitions including Art Prize Grand Rapids, Artopia, and Houston’s Annual Art Crawl. Smith attended Sam Houston State University as an art and photography major with a minor in cinematography and studied painting for several years at the Glassell School of Art and the Art League of Houston. In addition to painting and drawing, Smith is an accomplished photographer recording and finding artistic source material in travels around the U.S. and internationally. Nature, film, architecture, literature, travel, physics, and philosophy play a significant role in the Smith’s artistic oeuvre with emphasis on spiritual new thought evinced through the writings of Jane Roberts.
February 2 - 28, 2019
Woodland Waters: Allures of the Ozarks
Featuring New Paintings by Harold Joiner
Opening Reception
DATE: Saturday, February 2, 2019
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
DATE: Saturday, February 2, 2019
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
Long fascinated by the reflections and stillness of the waters of Houston and the surrounding area, painter Harold Joiner has ventured further afield with this new body of work. Recent explorations and hiking expeditions in the Arkansas Ozarks revealed exciting new possibilities for the treatment of water in landscape paintings.
The Ozarks’ hills and mountains provide elevated vistas of its meandering rivers and expansive lakes. The valleys between these hills and mountains invariably include rocky terrains that cradle babbling clear water streams or rivers. During the wet months of the year, the rivers - even the minor ones - are rife with waterfalls and cascades. Many of these waterfalls are named, have been observed for decades, and have changed little over that timeframe. Water cascading over the rocks is alive and full of movement, both before and after the cascade. The rocks themselves are fascinating pieces of geometry and are, “surprisingly challenging to paint,” according to Joiner.
The flora of the region includes species of deciduous trees not abundant in the Houston area, and Joiner has said, “Their color display in autumn is a site to behold. Absolutely breathtaking!” Especially appealing was being in an autumn wood on a misty day. The colors were softer, and the absence of strong shadows enhanced the ability to see the layering of the dense landscape. This exhibition includes paintings inspired by this experience.
The Ozarks’ hills and mountains provide elevated vistas of its meandering rivers and expansive lakes. The valleys between these hills and mountains invariably include rocky terrains that cradle babbling clear water streams or rivers. During the wet months of the year, the rivers - even the minor ones - are rife with waterfalls and cascades. Many of these waterfalls are named, have been observed for decades, and have changed little over that timeframe. Water cascading over the rocks is alive and full of movement, both before and after the cascade. The rocks themselves are fascinating pieces of geometry and are, “surprisingly challenging to paint,” according to Joiner.
The flora of the region includes species of deciduous trees not abundant in the Houston area, and Joiner has said, “Their color display in autumn is a site to behold. Absolutely breathtaking!” Especially appealing was being in an autumn wood on a misty day. The colors were softer, and the absence of strong shadows enhanced the ability to see the layering of the dense landscape. This exhibition includes paintings inspired by this experience.
March 2 - April 4, 2019
Spill
Featuring New Works by donna e perkins
With Performances by jhon r. stronks and Alexandre Farris Soares
Opening Reception
DATE: Saturday, March 2, 2019
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
Performances
The Loosening Grip, #WorkingWide, Spill, Drip, and Slide by jhon r. stronks
DATE: Friday, March 22 and Saturday, March 23, 2019
TIME: 7:30 p.m., Free
vR, by Alexandre Farris Soares
DATE: Friday, March 29 and Saturday, March 30, 2019
TIME: 7:30 p.m., Suggested Donation $15
DATE: Saturday, March 2, 2019
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
Performances
The Loosening Grip, #WorkingWide, Spill, Drip, and Slide by jhon r. stronks
DATE: Friday, March 22 and Saturday, March 23, 2019
TIME: 7:30 p.m., Free
vR, by Alexandre Farris Soares
DATE: Friday, March 29 and Saturday, March 30, 2019
TIME: 7:30 p.m., Suggested Donation $15
The word "spill" can be a noun or a verb, although even the noun implies action. A spill can be intentional or accidental. It can reference the serious or the humorous as one can spill blood, tears, milk or the beans.
Works on Paper: These large paintings hang from the wall freely and unprotected, not obscured by glass, not bound by frame. They are of study, heavy watercolor paper primed with gesso both front and back before the painting process begins. They are painted while pinned onto a wall. As the paint spills across the top edge, a spray of water encourages the paint's downward run.
Works on Boards: These smaller works on rigid wooden boards have a shallow frame or a defined edge. These are painted laying flat. The artist, perkins, explores the viscosity and translucency of layers of paint and continues until the result pleases her; gravity and chance have an effect here as well.
Deeper Meaning: perkins is experiencing the world as chaotic and out of control. She feels as if she is a grain of pigment trapped in the spill of political accidents; she finds this both fascinating and horrendous. What to do? Make calls, contributions, meetings, march. For sanity, go to the studio and make art.
Since 2009, perkins has had the privilege of working with choreographers and dancers. Working with dancers has
been important in the development of her approach to painting. She finds the painting process to be a solo dance
with the tactile sensuality of paint.
jhon r. stronks: The Loosening Grip, #WorkingWide, Spill, Drip, Slip, Slide
Survival is the grand plan. Coping. Sense making. Ground gaining. Obstruction moving. Passing. Leaving. Releasing. Brightening. Moving through, onward. Retreat-less. Resilience. Resistance conditioned with a persistent insistence that existence is not up for debate.
A dancer, a choreographer, a singer, a movement-based performance artist, or "Miss Understood" are all descriptions of jhon r. stronks. A very magical unicorn, jhon has been described as strong enough for a man and pH-balanced enough for a woman. The choreographic work of stronks combines the fundamental elements of choreography, dance technique, and authentic movement to create dances that speak truthfully.
"I have found a space within the collaboration between donna and me, that allows me to be completely open as I am becoming and developing my artistry/humanity. The space we inhabit together is wide and filled with curiosities that lead me in and out of a lifetime of memories, moments and fantasies. These years spent in collaboration have manifested a world of its own. A world that shimmers and vibrates through all the grit and grime that currently surrounds us,” explains stronks.
Alexandre Farris Soares: vR
vR is a composition for three dancers exploring identity and the power the "other" affects over "me." Dancers interact, mirror, and diverge from each other, while contending with how their choices impact their movement. vR is a work inspired by recent social, political, and world events.
Alexandre Farris Soares is a performance artist from Houston, Texas. Alex was born in Salvador, Brazil and is a graduate from the University of Houston. He performs with several local companies and independent artists in dance, dance for film, and site-specific works. A practitioner of Biodanza, Farris Soares is currently researching the link between movement and psychology and studying the impact different lines of dance therapy have on mental health.
Works on Paper: These large paintings hang from the wall freely and unprotected, not obscured by glass, not bound by frame. They are of study, heavy watercolor paper primed with gesso both front and back before the painting process begins. They are painted while pinned onto a wall. As the paint spills across the top edge, a spray of water encourages the paint's downward run.
Works on Boards: These smaller works on rigid wooden boards have a shallow frame or a defined edge. These are painted laying flat. The artist, perkins, explores the viscosity and translucency of layers of paint and continues until the result pleases her; gravity and chance have an effect here as well.
Deeper Meaning: perkins is experiencing the world as chaotic and out of control. She feels as if she is a grain of pigment trapped in the spill of political accidents; she finds this both fascinating and horrendous. What to do? Make calls, contributions, meetings, march. For sanity, go to the studio and make art.
Since 2009, perkins has had the privilege of working with choreographers and dancers. Working with dancers has
been important in the development of her approach to painting. She finds the painting process to be a solo dance
with the tactile sensuality of paint.
jhon r. stronks: The Loosening Grip, #WorkingWide, Spill, Drip, Slip, Slide
Survival is the grand plan. Coping. Sense making. Ground gaining. Obstruction moving. Passing. Leaving. Releasing. Brightening. Moving through, onward. Retreat-less. Resilience. Resistance conditioned with a persistent insistence that existence is not up for debate.
A dancer, a choreographer, a singer, a movement-based performance artist, or "Miss Understood" are all descriptions of jhon r. stronks. A very magical unicorn, jhon has been described as strong enough for a man and pH-balanced enough for a woman. The choreographic work of stronks combines the fundamental elements of choreography, dance technique, and authentic movement to create dances that speak truthfully.
"I have found a space within the collaboration between donna and me, that allows me to be completely open as I am becoming and developing my artistry/humanity. The space we inhabit together is wide and filled with curiosities that lead me in and out of a lifetime of memories, moments and fantasies. These years spent in collaboration have manifested a world of its own. A world that shimmers and vibrates through all the grit and grime that currently surrounds us,” explains stronks.
Alexandre Farris Soares: vR
vR is a composition for three dancers exploring identity and the power the "other" affects over "me." Dancers interact, mirror, and diverge from each other, while contending with how their choices impact their movement. vR is a work inspired by recent social, political, and world events.
Alexandre Farris Soares is a performance artist from Houston, Texas. Alex was born in Salvador, Brazil and is a graduate from the University of Houston. He performs with several local companies and independent artists in dance, dance for film, and site-specific works. A practitioner of Biodanza, Farris Soares is currently researching the link between movement and psychology and studying the impact different lines of dance therapy have on mental health.
2019
Apr |
Carol Berger |
Sep |
Cecilia Villanueva |
May |
Cookie Wells & Tom Wells |
Oct |
Becky Soria |
Jun |
Ink&Image / PrintHouston |
Nov |
Jane Ewen |
Jul |
Annual Juried Exhibition |
Dec |
Veronica Dyer |
Aug |
Susan Spjut |