Tag: fall exhibit


Catherine Latson


Tapioca Bride

Tapioca Bride

Tapioca Root, Goose Nagoire Feathers,
Coque Tail Feathers, Peacock Swordtail
Feathers, Vintage Fabric and Lace Remnants
5' H x 4' - Hem Diameter
$9,750

Sea Urchin Tutu

Sea Urchin Tutu

Sea Urchin Shells (collected on the coast of Maine), Deconstructed Bodice, Tulle, Wood, Veneer, Whale Bone, Antique Tatting Threads, Cotton Batting
24" x 34" x 24"
$7,200
(installed with stand)

Dancing with Death

Dancing with Death

Pheasant, Goose & Duck Feathers, Ribbon, Wire
56" H
$9,750

Magnolia Tie

Magnolia Tie

Preserved Magnolia Leaves, Coque & Biot Feathers
17" x 4" x 2"
Plexi Box Frame : 23" x 11" x 3"
$2,000

the LITTLEs: goin'COMMANDO

the LITTLEs: goin'COMMANDO

Tapioca Root, Thread, Wooden Skewers, Broken Toggles
5" x 4"
SOLD

the LITTLEs: MOTHeaten

the LITTLEs: MOTHeaten

Pine Fern, Kimono Fragments, Thread
7" x 6"
SOLD

the LITTLEs: theTINIEST

the LITTLEs: theTINIEST

Muslin Remnant, Vintage Silk, Paper Cord, Thread
5" x 3"
$125 (unframed)

the LITTLEs:aWHOOPIN' and aHOLLERIN'

the LITTLEs:aWHOOPIN' and aHOLLERIN'

Canvas Remnant, Thread
5" x 3"
$125 (unframed)

the LITTLEs: yerSLIPisSHOWIN'

the LITTLEs: yerSLIPisSHOWIN'

Corset Remnants, Thread, Paper Moire, Piano Hammers
10" x 4"
SOLD

the LITTLEs: SHINYshoes

the LITTLEs: SHINYshoes

Used Stick Matches, Toggles, Wooden Skewers, Tulle
7" x 4"
$150 (unframed)

the LITTLEs: FUZZYslippers

the LITTLEs: FUZZYslippers

Victorian Corset Remnants, Rabbit Fur, Piano Hammers
10" x 4"
SOLD

the LITTLEs: GROOVYpants

the LITTLEs: GROOVYpants

Peacock Feather Bits, Corset Fragments, Piano Hammers
11" x 6"
SOLD

the LITTLEs: BOBBYsocks

the LITTLEs: BOBBYsocks

Wheat, Bear Grass, Piano Hammers, Frabric, Thread
10" x 5"
SOLD

Tweed

Tweed

Preserved Pine Fern, Hemp, Thread, Silk Cord, Antique Hat Netting, Fabric Remnants
25" x 15" x 3"
(Plexi Box Frame:34 x 24 x 4
$4,900

 Featherhead

Featherhead

Goose Feathers, Seaweed, Raffia, Bamboo Umbrella Parts, Silk Cord, Seed Pods, Antique Hat Netting, Nails, Threads
30" x 28" x 3"
(Oak Box Frame: 37 x 33 x 4
SOLD

Peacock

Peacock

Peacock Feather Tips, Paper Moire,Magnolia Skeleton Leaves, Paper, Antique Upholstery Fabric
14" x 33" x 6"
(Plexi Box Frame: 39 x 20 x 7
$4,900

Hoop Chandelier #2

Hoop Chandelier #2

Bittersweet Vine, Recycled Wine Barrel Hoop, Basket Reed, Wrought Iron Hardware
42" W x 22" D
$1,900

Lodge Sconce

Lodge Sconce

Bittersweet Vine
65" x 24" x 16"
$3,400

Sister Vine

Sister Vine

Bittersweet Vine
42" x 16" x 11"
$1,250
(installed with preserved greens)

Improbable Umbrella

Improbable Umbrella

Grapevine, Bittersweet Vine, Recycled Bamboo, Umbrella Frame
38" Diameter
$700

 

Catherine Latson Fine Art Documentation

“The building blocks of the natural world are endlessly interesting. No ocean or forest is bereft of ideas. I am drawn to organic “stuff” and spend my time gathering, dismantling, reassembling, and innovating with the things I find. Whether it is the grace of a vine’s curve, the architecture of a conch shell, the brocade surface of a sea urchin, or the cascading nature of amaranths, the intrinsic properties of my medium take the creative lead. I reach for the asymmetrical, the imperfect, the corroded, and decomposed. Those are the makings of good stories. My work does not preach. Nature is the text and a full-fledged collaborator.

The Garment Series offers an unconventional take on the art and engineering of self-decoration. Using exclusively organic and repurposed materials, the language of clothing is explored. Garment forms are reimagined in tapioca root, magnolia leaves, moss, birch, sea urchin shells, amaranths, hydrangea petals, peacock quills, and more. While the forms are recognizably human, they are fragmented, weathered, and curious. They each have a story, a ghost, if you will. Clothing, whether it serves as camouflage or commentary, is a uniquely human experience. I want to turn that experience, that language, on its head by offering whimsical and improbable reinventions of the packages we put ourselves in.”

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John Folchi


Cloud Study 1

Cloud Study 1

Oil on Canvas
14" x 26"
$600

 Cloud Study 2

Cloud Study 2

Oil on Canvas
14" x 18"
$600

Cloud Study 3

Cloud Study 3

Oil on Canvas
16" x 16"
$600

Cloudscape 5

Cloudscape 5

Oil on Canvas
22" x 16"
$600

Cloudscape 10

Cloudscape 10

Oil on Canvas
22" x 14"
$600

 Cloudscape 11

Cloudscape 11

Oil on Canvas
20" x 18"
$600

Cloudscape 13

Cloudscape 13

Oil on Canvas
24" x 18"
$600

 Cloudscape 14

Cloudscape 14

Oil on Canvas
24" x 16"
$600

Cloud Series 3

Cloud Series 3

Oil on Canvas
20" x 12"
$600

Cloud Series 6

Cloud Series 6

Oil on Canvas
24" x 20"
$600

Cloud Series 16

Cloud Series 16

Oil on Canvas
14" x 16"
$600

Landscape with Clouds

Landscape with Clouds

Oil on Canvas
35" x 23"
$800

Landscape with Clouds 2

Landscape with Clouds 2

Oil on Canvas
29" x 19"
$800

 

john-folchi

“I have been painting since 1967. My first teacher was my father, William P. Folchi, who taught me the basics, such as anatomy, the technical skills of mixing and applying paint, and the ability to paint from life in the open air. He brought me to all the finest museums and galleries in the city, where I was introduced to my next set of teachers, the old masters and the contemporary innovators. My third major instructor was my professor, Theo Stavropoulos, an extraordinary Greek artist, whose work is too little known and recognized today. With this foundation, I constructed my own path on the artistic journey.

When someone asks me what I paint, they are frequently surprised by my response, “everything.” More specifically, I am an artist in the realist tradition, but my subjects have long ago crossed all boundaries, from figurative street scenes, to still life, to landscapes and clouds to my most recent works, paintings of the pavement that we walk upon each day and do not notice.

But there is a consistency to the subjects. All are encountered in our everyday existence, whether they are the fire escapes and water towers of the urban scene, the markings on the sidewalk, or the majestic trees that line the lakes of the Northeast.

I earlier said that I am on an artistic journey, one of exploration. But there is no final destination, or “find” at the end of the journey. There is only discovery along the way. Looking at my work, I hope the viewer will make the discoveries with me.”

John Greene


Fencepost A-F

Fencepost A-F

Oil and Encaustic on Fencepost
3.5" on each side
SOLD

Fencepost G-L

Fencepost G-L

Oil and Encaustic on Fencepost
3.5" on each side
$500 per cube

Untitled Silver #1

Untitled Silver #1

Oil and Encaustic on Panel
12" x 12"
$1,500

Untitled Silver #2

Untitled Silver #2

Oil and Encaustic on Panel
30" x 30"
$4,000

Untitled Silver #3

Untitled Silver #3

Oil and Encaustic on Panel
30" x 30"
$4,000

Untitled Silver #4

Untitled Silver #4

Oil and Encaustic on Panel
12" x 12"
$1,500

Untitled Silver #5

Untitled Silver #5

Oil and Encaustic on Panel
12" x 12"
$1,500

Untitled Silver #6

Untitled Silver #6

Oil and Encaustic on Panel
24" x 24"
$3,000

Untitled White with Colored Paint Chips

Untitled White with Colored Paint Chips

Oil and Encaustic on Panel with Cooper & Mixed Media
12" x 12"
$1,500

 Untitled Nail #1

Untitled Nail #1

Oil and Encaustic on Panel with Mixed Media
19.5" x 43"
$9,000

 Untitled Nail #2

Untitled Nail #2

Oil and Encaustic on Panel with Copper & Mixed Media
24" x 24"
$5,000

 Untitled Nail #3

Untitled Nail #3

Oil and Encaustic on Panel with Lead & Mixed Media
24" x 24"
$5,000

 Untitled Nail #4

Untitled Nail #4

Double Sided - Standing Piece
Oil and Encaustic on Panel with Mixed Media
12" x 8" x 1.5"
$2,500

Untitled Figurative #1

Untitled Figurative #1

Oil and Encaustic on Panel
30" x 24"
$6,000

 Untitled Landscape #1

Untitled Landscape #1

Oil and Encaustic on Panel with Copper
48" x 48"
$17,000

Untitled Landscape #2

Untitled Landscape #2

Oil and Encaustic on Panel with Cooper
15" x 15"
$2,000

Untitled Feathers #1

Untitled Feathers #1

Oil and Encaustic on Panel with Mixed Media
9.75" x 9.75"
$800

Untitled Feathers #2

Untitled Feathers #2

Oil and Encaustic on Panel with Mixed Media
9.75" x 9.75"
$800

Untitled Wall Piece #1

Untitled Wall Piece #1

Double Sided
Oil and Encaustic on Panel
13" x 12" x 2"
$2,500

Untitled Wall Piece #2

Untitled Wall Piece #2

Double Sided
Oil and Encaustic on Panel
13" x 12" x 2"
$2,500

Untitled Small Table Piece #1

Untitled Small Table Piece #1

Double Sided - Standing Piece
Oil and Encaustic on Panel
15" x 12" x 12.5" x 2"
$3,000

Untitled Small Table Piece #2

Untitled Small Table Piece #2

Double Sided - Standing Piece
Oil and Encaustic on Panel
15" x 12" x 12.5" x 2"
$3,000

Untitled Large Table Piece #1

Untitled Large Table Piece #1

Double Sided - Standing Piece
Oil and Encaustic on Panel
20" x 23" x 2"
$4,500

 Untitled Large Table Piece #2

Untitled Large Table Piece #2

Double Sided - Standing Piece
Oil and Encaustic on Panel
20" x 23" x 2"
$4,500

Untitled Standing Piece

Untitled Standing Piece

Double Sided
Oil and Encaustic on Panel
19.5" x 22" x 2"
$4,500

Untitled Color Field #1

Untitled Color Field #1

Oil and Encaustic on Panel
53" x 48"
$15,000

Untitled Color Field #2

Untitled Color Field #2

Oil and Encaustic on Panel
60" x 48"
$16,000

Untitled Color Field #3

Untitled Color Field #3

Oil and Encaustic on Panel
60" x 48"
$16,000

Untitled Color Field #4

Untitled Color Field #4

Oil and Encaustic on Panel
60" x 48"
$16,000

Untitled Color Field #5

Untitled Color Field #5

Oil and Encaustic on Panel
60" x 48"
$16,000

Untitled Color Field #6

Untitled Color Field #6

Oil and Encaustic on Panel
72" x 72"
$20,000

 

Gallatin-20150722-02136

“For me, painting is about paint: color, texture, the joy of putting it on or scraping it off; I believe the results are best served by keen and repeated viewing. My painting is about surface primarily. Surface is feeling – it can be ambivalent. It gives the illusion of depth and reflection, of time and memory and complexity.

I prefer imagined sites rather than actual landscapes. I incorporate crossroads, paths taken or not taken, suggestions and intimations of the past and the future. Windows, portals, exits and entrances are subjects that inspire me. Materials that age, rust, decay and change are for me the elements of birth and survival. I have been greatly inspired by visits to both the Southwest and to South Africa, by the mysterious and changing landscapes, and the symbolism that permeates so much of their histories. I try to introduce elements that are hidden or apparent, that will encourage “reading” my paintings many times and constantly discovering something new. I find myself using different materials such as copper, lead or nails, materials from the earth (as is paint), which may also continually change over time, I especially like encaustic (beeswax), which in many ways is just the opposite of these other materials in terms of its durability and permanence, and its wonderful ability to be opaque or transparent.

Above all, I love the PROCESS of making a painting – revealing parts of myself that might be a mystery even to me. I love the smells, textures, endless decisions and accidents that come from the paint, the wax, the wood, the nails, and the copper and lead, that seem to be consistent with my purpose, my aesthetic. The making of art is a sensual endeavor, and the better if it speaks to the viewer – to me that is the greatest barometer of success.

Some of my “parents” are Richard Diebenkorn, Nathan Oliveira, Manuel Neri, Anthony Gormley, Elaine Anthony and Judith Streeter.”