“Sunset Dinner in Cinqueterre, Vernazza” Lindsay Goodwin 8″ x 10,” Oil on Canvas
“Boat on Lake Como” Lindsay Goodwin 9″ x 12,” Oil on Canvas
Welcome to the newest segment of Work of the Week, where we are continuing our exploration of works by artist Lindsay Goodwin. Today, we are looking at two pieces that recall her visits to the beautiful Italian coastline. Italian scenes are not the norm for Lindsay– she typically takes us to fancy restaurants in Paris and Provence, but we aren’t complaining!
The first scene depicts the extraordinarily beautiful Cinque Terre, which is comprised of separate villages known for their colorful houses bordering the sea. We are looking out over a restaurant’s carefully set tables, perhaps wondering which we will be seated at when the sun starts to set. Lindsay has given us a broad view of the natural backdrop to show not only her exquisite detail, but talent at landscape as well. This scene is pure fun – the umbrellas stand slightly askew, a boat cruises toward the shore and rolling hills frame the backdrop. We may never leave!
The second scene is a little more intimate: one of Lindsay’s classic table settings. Each glass has its shimmer and the white tablecloth has more colors than a rainbow. But, then we have a very interesting perspective in which we can see beyond, not just to a boat speeding by, but to unique architecture looming in the sapphire distance. If it weren’t for the movement of the boat, this scene might be a little staid, but with it the scene becomes more relaxed and the table, approachable. Won’t you join us for dinner tonight in Italy?
“The Green Bird, Chateau Mirambeau,” Lindsay Goodwin. 8″ x 10,” Oil on Canvas.
At the crossing of the Cognac and Bordeaux vineyards lies a 16th-century stone-built mansion that rivals Cinderella’s. Château de Mirambeau is a cultural playground as well as a natural retreat overlooking the Gironde estuary. It may come at no big surprise then that artist Lindsay Goodwin found her way to this treasured oasis, for its rooms are decadent enough to entertain Marie Antoinette. Every table, every wall boasts plush decor. One person even wrote in their review that the hotel “made them feel like they were living in a movie.” See for yourself: Château de Mirambeau. In Lindsay’s painting “The Green Bird, Château Mirambeau,” she has portrayed a scene from the elegant dining room at the hotel. In fact, there is not just one green bird, but many decorating the candlesticks around the room. The gilded mirror in her painting is really extraordinary: notice the detailed reflection of the table settings and wallpaper. Also unique is the perspective of the viewer, which spans both the interior of the room as well as out a door or window on the right. Lindsay demonstrates both the grandeur of human achievement as well as natural beauty of the landscape, summing up the hotel in one perfect moment.
It has been a while since I’ve posted, but I am pleased to say that “Work of the Week” is back and a double at that! In the next few weeks, we will be exploring some of the stunning new pieces by Lindsay Goodwin to celebrate her newest exhibition. Up first: two lovely scenes at Crillon Le Brave in Provence. Below, you will see both an interior from the Restaurant Jerome Blanchet at Hôtel Crillon le Brave as well as a landscape of the medieval village. A refuge set among the vineyards near Avignon, the hilltop town dates back to the 14th century and Roman rule. It now boasts charming markets, walking trails, breathtaking views, and of course, all the wine tastings you could desire. Imagine strolling through the vineyards, popping a grape into your mouth here and there under the warm sun. After a long and invigorating day, you retire to your hotel and tuck into a cozy meal at the hotel’s luxurious dining room. You might order the roast lamb, purple potato gnocchi or foie-gras flavored with cherries. Whichever you choose, don’t forget your French! But truly, the proof is in the pudding: Lindsay has once again immortalized the moment in the most elegant fashion and Crillon le Brave has never looked more beautiful.
“Fire and Stone, Crillon le Brave.” 8″ x 10,” Oil on Canvas
“Crillon le Brave at Sunset.” 11″ x 14,” Oil on Canvas
Merry Christmas and thank you to everyone for making this such a fantastic year! We are so thrilled to have added so many new clients, artists and Julie Vos jewelry to the gallery. We had some of the jewelry from the gallery professionally photographed to create a little holiday jewelry journal for you to enjoy. All of the images are linked to our website for pricing and more info.
Photography by Benjamine Van Peel. Best wishes for a bright and happy New Year!
Day 5 and the last big reveal of Alex Radin’s inspiration for his Proximity series. At least for now…
“Discovery” 60″ x 41″ Oil on Panel
“The inspiration for the “Discovery” piece was an Instagram photo that my wife captured of our daughter, Elianna, as our family headed out for an evening walk after supper. Ellie had made a paper scope out of toilet paper rolls and tape that she brought to spy out little treasures along the way. Her childlike curiosity and creativity are often arresting, reminders to me not to become jaded and forget the good parts of youthfulness. In the painting, I placed her in a winterscape as a nod to the hidden life that takes place under the cover of snow and the guise of barrenness. There is so much depth to tapping into a place or approach of simplicity like that of a child. There are keys to be found that unlock mysteries and exciting adventures in a moment of inquisitiveness.”
Day 4 with Alex Radin on the blog and he describes the inspiration for his piece, “Resilience.”
“Resilience” 33″ x 96″ Oil on Panel
“A photo that I took while on a trip to Peru was the spark for the “Resilience” piece. A young Peruvian girl, Sesia, is featured in the piece dancing, happy and full of life, seemingly without a care in the world. Yet, the conditions in which she lived would be the cause of many cares/worries here in the States. While I was preparing this piece, thinking about what extra elements would appear, the words “prickly pear” came to mind. I did not know what a prickly pear was or even if there was one, so I googled it and discovered that it was a cactus. It was a perfect fit for the piece contrasting the harsh environment of desert living with the plant’s ability to blossom and thrive, just as Sesia was doing in her own life.”
Day 3 on the blog with Alex Radin and he explains how he uses “captured moments” to create compelling artwork.
“Wonder” 60″ x 41″ Oil on Panel
“In the Proximity series, including the works at the gallery, I wanted to capture the moments in life that arrest us, moments that are seared into our minds forever. There have been very specific ones over the years that stand out for me. Many of them have happened when I have traveled to different places. Often when we are out of our everyday elements, we are more aware of these moments; we are actually looking for them.Yet, they occur every day and my desire is to look for them in the ordinary as well as the unusual. There are so many moments in our lives that are really precious; they are times that can’t be traded for anything. Moments of discovery, revelation, bravery, kindness, beauty, joy, authenticity, mystery and wonder.
My hope is that I will continue to recognize these moments more and more, that I will take the time to pause and take in the goodness while it is happening and not to forget it and that I will be able to effectively share these moments with others. It is easy as a dad of four children to forget to live in the present. I may be thinking about things that are really not that important in the grand scheme of things and miss out on experiencing things that I will never get to experience again with my children. I don’t want to miss one moment of the shared joy of seeing them discover something for the first time.”
Day II with Alex Radin on the blog and today he explains the meaning behind the painting, “Journey,” pictured below.
“Journey” 60″ x 41″ Oil on Panel
“The painting titled “Journey” is of my youngest daughter. She is fearless. When she sees something she wants she goes for it. She loves the camera and one day while we were just having fun doing a photoshoot this aspect of her personality came out and I got the idea for this piece. I gave her some artistic direction which was different as I usually take candid shots. I told her to look off into the distant setting sun and imagine she was about to go on a great journey to a mountain she could see ahead of her. She looked with boldness yet with a slight hint of being unsettled. It was the perfect photo which I rarely get from a staged shot. I knew I wanted to paint her in the desert and to have a compass represent direction but the tiles swirling around her was a surprise. As I closed my eyes and envisioned the piece I kept seeing the tiles forming a wall around her as opposed to the flat walls in most of the other pieces. I placed her in the desert which is a harsh environment but as she journeyed through the desert I saw grass forming under her feet almost like a traveling oasis. Having her in the tutu represented dancing through the harsh environment finding joy in the journey while the tiles seemed to form a wall of protection around her. Also the inside of the tiles were colder blue tones and the outside were the warmer orange and red tones. I had no idea why it was just how I saw it. After meditating on the piece for several days I was reminded of the story in the Torah of the Israelites making their way through the wilderness to the promised land. As I looked at the cool blues of the tiles and the warm reds I was reminded of how it says they were led by a cloud during the day and a fire by night. I began looking at the tiles swirling around her in the painting as God being ever present with her and protecting her as she Journeyed through the wilderness.”
Welcome to a very special week here on the blog, in which we will be revealing several of the writings of Alex Radin, who was one of four artists featured in our Emerging Artists Exhibition. Today’s topic: Proximity. Radin’s works at the gallery are a part of his “Proximity” collection and they explore this theme in many different ways. Here, Radin explains why he chose this theme and how ideas come to him based on his awareness of the people and places around him.
Rest 43″ x 43″ Oil on Panel
Radin: “Proximity is the state, quality, sense, of being near or next to someone or something. It is a state of closeness. To be fully present is necessary in order to be fully engaged and close to what is happening in a moment or space inside or outside of time.
I am an observer, so living in the moment for me often means paying attention to what is happening around me. Often things are highlighted as I am going about my day. It may be a piece of paper floating in a puddle with a word written on it or seeing a woman with her head bandaged standing in the middle of the street staring at a traffic light. Things that may seem like random images at first will start to form connections. As I ponder them, I realize they contain stories and significant revelations that impact my life and how I view the world. These ideas, objects, messages, stories and people find their way into my paintings. It may seem surreal but for me everything contains meaning and connection.
Sometimes an element finds it’s way into my work that I don’t fully understand ahead of time. As I was sketching the pieces for the proximity series the tiles kept showing up. They formed walls, windows, and openings that highlighted objects and additional elements. I was not aware of what the tiles represented at the time, only that they were always present and woven into the fabric of the landscape, drawing attention to the objects that offered clues to meaning or pathways to destiny.”
Please stay tuned, tomorrow more will be revealed.
Two out of four of our emerging artists, whose exhibition opens at the gallery this Friday share a similar background: Both are oil painters, both were born in South Korea and now reside in San Francisco. We asked Sung Eun Kim and Jin Hee Lee why they moved to the states and what about the Bay Area inspires them.
Sung Eun Kim in his studio
SEK: I have always dreamed of living in San Francisco. I first learned about the city from watching the movie “The Rock” when I was very little. I immediately fell in love with the unique landscape – city, hills, ocean views, etc. I was fortunate to be able to get a green card through my family and decided to look at schools in the United States. The moment I saw that there was an art school in San Francisco, I knew I had to apply. San Francisco provides me with endless inspiration for painting; I’ve lived here for 10 years now and never tire of its diverse beauty.
Jin Hee Lee in her studio
JHL: I was born and raised in Seoul, where I felt stifled under conservatism and the regulations on society. I felt pressure to be competitive and hated the strict rules that governed my life. Korean society is very closed, while American culture promotes opportunity and openness. That’s why I decided to move to the U.S. Now I live in San Francisco where the weather is always gentle and people are open to new ideas.
*All images are linked to the website for more information and pricing. Please contact the gallery at 843-722-3660 if you are interested in purchasing artwork.
“World of Fire Bird” Lyuba Titovets 30″ x 24″ Oil on Canvas
On this day in 1910, the dramatic ballet The Firebird opened to a Parisian audience with instant success. First performed by Sergei Diaghilev’s Ballet Russes company, The Firebird featured choreography by Michel Fokine and musical score by a young Igor Stravinsky.
“And in my dreams I see myself on a wolf’s back Riding along a forest path To do battle with a sorcerer-tsar (Kaschei) In that land where a princess sits under lock and key, Pining behind massive walls. There gardens surround a palace all of glass; There Firebirds sing by night And peck at golden fruit.”
Excerpt from Yakov Polonsky, “A Winter’s Journey” (Zimniy put, 1844)
Watch as the Firebird is captured by a prince and subsequently released, realizing he means no harm. At the end of their pas de deux, the Firebird bestows upon the prince a magic feather that he may use if ever he finds himself in trouble…
The Firebird Royal Ballet 2001
The Firebird: Leanne Benjamin
Ivan Tsarevich: Jonathan Cope
The Orchestra of the Royal Opera House – John Carewe
Royal Opera House Covent Garden 2001
Grand Personnage Noir, 1948 25 3/8″ x19 1/2″ Lithograph
With lithographs of organic forms, flattened picture planes, and boldly rendered lines, Joan Miró left his mark on the 20th century and beyond. Born in Barcelona in 1893, Miró attended business and art school, focusing on art after suffering a nervous breakdown. He received early support from the art dealer, José Dalmau who gave him his first solo show at the Galerie la Licorne in Paris, 1921.
In his long, creative life, Miró experimented with Dada techniques, the Dutch Master style, Cubism and Surrealism using mediums that ranged from sculpture, collage, oil paint and lithographs. Music and literature were his muses and art leaders like Picasso and Ernst, his collaborators. After WWII, Miró focused primarily on graphic media and printmaking, which engaged him until his death. His works are more sought-after than ever by collectors and have inspired generations of artists, particularly the American abstract expressionists.
“The spectacle of the sky overwhelms me. I’m overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun. There, in my pictures, tiny forms in huge empty spaces. Empty spaces, empty horizons, empty plains – everything which is bare has always greatly impressed me.” —Joan Miró, 1958, quoted in Twentieth-Century Artists on Art
“Crazy Love” Mark Bettis 60″ x 48″ Mixed Media on Panel
We have nothing but crazy love for the new works by Mark Bettis at the gallery. I hope this last blog post gets everyone excited for the opening of “Get Lost” tomorrow night from 5-8pm—we sure are and can’t wait to see you. The last work we are featuring is “Crazy Love”…care to take a guess why?
“Crazy Love” is a giant, stunning example of Bettis’ creativity and passion. It is extreme with bright, neon orange and teal patterns and sweeping rings that simultaneously invoke sentiments of unity and frenzy. “Crazy Love” is also subtle, with the under layers oozing through like ghosts from the past.
There is a raw quality in “Crazy Love” that I talked about in the last post that make Bettis’ work urban and uncut. The texture of the works, which stems from his unconventional usage of cold wax gives the works an added layer of sensory stimulation. Bettis’ works are a departure for our gallery, but we thought it was about time to stir things up with a little mixed-media love.
Don’t miss a chance to meet Mark Bettis tomorrow night from 5-8pm at the opening of “Get Lost.”
“Past Memories” Mark Bettis 24″ x 24″ Mixed Media on Panel
About 8 years ago, Mark Bettis moved from Florida to the River Arts District in Asheville, where he turned over a new leaf in more ways than one. For starters, he began using cold wax as a medium to paint with, finding that it was “a great medium that thickens to allow endless possibilities of layering color and texture.” His approach to painting transitioned to more of a deliberate peeling process where he builds up a foundation of layers and then scrapes specific parts away. Revealing the wax underneath exposes the journey he took in creating his painting –past to present– a unique process that many Abstract Expressionist painters of the 1940s utilized.
The pentimenti, or remnants of earlier layers that peek through the top layer in “Past Memories” bring the work together visually and add complexity and intrigue. For example, having scraped the ivory layer in the top right, Bettis reveals a haunting maroon layer that echoes other traces of red in the painting. In more ways than one, Bettis is alluding to the past. The thin, scribbled turquoise, red, and black lines recall an unfinished sketch, even though they were almost certainly added last. The overall appearance is raw and uncut, yet the composition pulls the focus towards the center, clearly demonstrating forethought.
“Peaceful State” Mark Bettis 36″ x 36″, Mixed Media on Panel
Spoleto is about to begin and amidst this and other busy times in Charleston, we seek ways to bring a sense of tranquility to our lives. A Nest candle, white hydrangeas, and soft piano music might do the trick, but art also contributes to our moods. For this reason, we love rare gems like Mark Bettis’ “Peaceful State.” In contrast to his upbeat and joyful works like last week’s “Burst of Spring,” this work is designed to bring viewers peace of mind. Transcending the quiet, “Peaceful State” lifts the spirit, sending viewers into a state of pure visual bliss.
While highly abstract, this mixed-media work is designed to be very approachable. The symmetry involved, from the colors to the shape of the canvas- a perfect 36” square, achieves harmony and balance. There is no object to focus the gaze on, which lends an air of mystery to the work; yet it is like wondering about the galaxy— baffling, yet strangely soothing. As the misty strokes of color pool together in “Peaceful State,” I’m left with the lasting impression of serenity. Are you?
“Burst of Spring” Mark Bettis 48″ x 36,” Mixed Media
The weather in Charleston right now is hot, hot, hot…a balmy 92 degrees with high humidity. Even though it is technically still spring, it feels much more like summer. When I first saw the image of the painting “Burst of Spring,” I felt as if I were looking at a visualization of the weather we are having. This is one of the many gifts of our new mixed media artist Mark Bettis—the ability to present concepts and ideas you thought were only a feeling.
While “Burst of Spring” provides a distinct contrast to his other new works like “Homestead” and “Illusions,” it is a perfect example of Bettis’ passion for color and life. It shares the same attention to lines, geometric shapes, and gently shifting planes, but has a vibrancy that is irrepressible. Whereas the other paintings are more harmonious in terms of symmetry and color, “Burst of Spring” is like a flame—wild, but enormously interesting to look at. The brilliant hues of yellow, blue and red stand out as the primary base from which all the other colors are sourced, demonstrating a realm of chromatic possibility.
“Homestead,” Mark Bettis. 48″ x 36,” Mixed Media.
“Illusions,” Mark Bettis. 60″ x 48,” Mixed Media
Most notably, there is a flow towards the top of the canvas that suggests progression or growth and the title evokes flowers more so than if Bettis had chosen the title “Burst of Summer.” The simple act of titling the work “Burst of Spring” presents us with an image that brings the painting slightly out of abstraction; whereas in pieces like “Homestead,” it becomes more difficult to grasp representational forms.
Mark Bettis’ debut solo exhibition in Charleston opens June 5. Check back next Tuesday– I’ll be counting down the weeks until his show!
“Joyful Puzzle” Lyuba Titovets 40″ x 30″ Oil on Canvas
Spring is officially here and what better way to celebrate than with the adoration of nature’s most beautiful buds. This painting by Lyuba Titovets is a joy to behold, a joy to analyze, a joyful puzzle! Lilies red, white, and tiger brim from a blue delft vase on a table complete with various peeled and whole fruit. Serving as an elegant backdrop, a gorgeous green silk cloth brought back from China by Lyuba’s grandmother adds a sentimental touch to the work.
Born in St. Petersburg, Russia, Lyuba started private painting lessons when she was five years old. She attended the State University in St. Petersburg before moving to the United States with husband, Aleksander Titovets, also a renowned painter. Today, Lyuba primarily focuses on still-lifes, for which she carefully selects in-season flowers and sets up arrangements to create maximum impact.
While her subject matter emanates from life, Lyuba’s paintings are whimsical, surreal renderings of bravura that will light up any room. “Joyful Puzzle” is an impressionistic work with the colors of a fauvist—her brushstrokes are loose, but her colors are powerful expressions of exuberance. Even the bees are in awe of her painted beauties- we had one land on “Joyful Puzzle” just a few weeks ago!
For more works by Lyuba Titovets and availability & pricing information for “Joyful Puzzle,” please visit: