BEGIN:VCALENDAR VERSION:2.0 PRODID:-//LYDM - ECPv6.15.20//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:LYDM X-ORIGINAL-URL:https://www.lydmgallery.com X-WR-CALDESC:Events for LYDM REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20190310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20191103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20200308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20201101T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20210314T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20211107T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20220313T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20221106T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20230312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20231105T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20240310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20241103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20250309T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20251102T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20260308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20261101T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20270314T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20271107T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20260228 DTEND;VALUE=DATE:20260405 DTSTAMP:20260504T082245 CREATED:20260204T141836Z LAST-MODIFIED:20260410T114744Z UID:34699-1772236800-1775347199@www.lydmgallery.com SUMMARY:Lincoln Perry & David Summers: On Reflection DESCRIPTION:Press ReleaseExhibition WorksInstallation Shots\n \n \n \n \n \n \n \n Les Yeux du Monde is pleased to announce On Reflection\, a two-person exhibition featuring new work by Lincoln Perry and David Summers. The exhibition opens with a reception on Saturday\, February 28th\, from 4:00 to 6:00 PM\, and will be on view through Saturday\, April 4th\, 2026. Together\, these artists’ work offers a nuanced meditation on reflection—both as a reflexive encounter between the viewer and the viewed\, and as the process through which seeing is refracted into image\, memory\, and thought. \nLincoln Perry presents a new series of watercolors set within museums\, depicting visitors as they encounter masterworks of art. Some viewers study closely\, others pass by without a glance\, while still others linger in moments of intimacy\, distraction\, or conversation. Perry’s works highlight the dynamic relationship between viewer and artwork\, capturing the museum as a space of reflection in multiple senses. Reflection becomes social as well as personal as Perry creates a mirror between viewers and painting\, illuminating art’s ability to offer back to us something of our own human experience. He writes\, “I’ve been moved by all the art depicted; our often reprehensible species can feel pride in the creations I’ve spent my life looking at and trying to emulate.” By positioning us as observers of other observers\, Perry creates a double-reflection: we are at once the audience in the room and the subject on the paper\, effectively turning the viewer’s own gaze into the final\, essential element of the composition.  His works convey the implicit connection between artist\, artwork\, and viewer\, the endlessly varied ways we see\, and what looking can reveal about ourselves.  \nDavid Summers shares new still life paintings that engage reflection as both an optical and philosophical phenomenon. By studying transparent and reflective forms\, Summers’ paintings capture the elusive properties of light and offer a window into the nature of sight itself. His work deeply considers seeing as a physical encounter with reflected color—an experience that only becomes thought and understanding through the mind’s own act of second reflection. Summers connects the exhibition’s title to John Locke\, who described sensation and reflection as the two “fountains of knowledge.” Summers writes: “We are much more familiar in our empiricist habits with the first ‘fountain\,’ but for Locke\, reflection was the way in which the mind is able to discover itself by seeing what consciousness does or has done with sensation.” For Summers\, painting itself is a reflection\, an immediate response in which an aspect of individual and human meaning may be made clear\, or brought into focus. In their quiet detail\, his works invite sustained inquiry into the mysteries of sight\, making both the initial reflection of light and its subsequent reflection in painting visible to the viewer. \nTogether\, Perry and Summers approach reflection from complementary angles: one through meta-narrative scenes of observation\, the other through rigorous studies of light and thought. On Reflection invites viewers to consider how our experience is shaped not only by what we see\, but by what the mind makes of seeing\, and the endless reflections that create our shared reality.  \nLincoln Perry attended Columbia University\, received his MFA from Queens College\, and has been a professor of art at the universities of New Hampshire\, Arkansas\, and Virginia. In addition to his work as an esteemed easel painter\, Perry has completed major murals at Cabell Hall at the University of Virginia; Lincoln Square\, 1700 Pennsylvania Avenue\, and One Penn Plaza in Washington\, D.C.; the Federal Courthouse in Tallahassee\, Florida; and the Met Life Building in St. Louis\, Missouri. He is the author of Seeing Like an Artist\, Lincoln Perry’s Charlottesville\, and a selection of his watercolors illustrates a 2012 edition of Henry David Thoreau’s essay “October\, or Autumnal Tints.” Perry’s work is also featured in the PBS documentary\, The Murals of Lincoln Perry. \nDavid Summers holds a B.A. from Brown University and a Ph.D. from Yale University. A distinguished art historian as well as a celebrated painter\, he served as the William R. Kenan\, Jr. Professor of Art Theory and Italian Renaissance Art at the University of Virginia from 1984 to 2015\, following appointments at Bryn Mawr College and the University of Pittsburgh. Summers was elected to the American Academy of Arts and Sciences in 1996 as both an art historian and an exhibiting painter\, and has written multiple books\, including the influential\, 700+ page\, Real Spaces: World Art History\, and his more recent manifesto for the Louvre Abu Dhabi\, A World Vision of Art.  \n \n \n \n \n \n \n\nPlease enable JavaScript to view the artwork. URL:https://www.lydmgallery.com/events/lincoln-perry-david-summers-on-reflection/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/Untitled-design-17.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20260109 DTEND;VALUE=DATE:20260223 DTSTAMP:20260504T082245 CREATED:20251228T211854Z LAST-MODIFIED:20260223T214355Z UID:34491-1767916800-1771804799@www.lydmgallery.com SUMMARY:Tony Gonnet & Cassie Guy - Lost and Found: A Correspondence Transcending Time DESCRIPTION:Press ReleaseExhibition WorksInstallation Shots\n \n \n \n \n \n \n \n Les Yeux de Monde is pleased to present its first exhibition of 2026\, new work by Virginia-based painter Cassie Guy alongside the first U.S. presentation of work by French modernist Tony Gonnet (1909–2004). \nThe exhibition features a focused selection of Gonnet estate works chosen by Guy\, who discovered Gonnet’s work by providence in a local antique store\, where a small gouache—signed simply “T. Gonnet”—first arrested her attention. Drawn to its refined geometry and chromatic restraint\, she began researching the artist\, a search that ultimately led her to Paris and to Gonnet’s widow\, Hatice Gonnet. What began as chance curiosity developed into a sustained relationship grounded in shared reverence for Tony Gonnet’s work and legacy. Over multiple trips to France\, Guy spent time in the studios and domestic spaces where Gonnet lived and worked\, including his final apartment and studio in the Marais\, formerly occupied by Paul Cézanne. \nTony Gonnet (1909–2004) was a figure of mid-century French modernism\, whose work evolved from Surrealist drawing to refined geometric abstraction over more than six decades. Gonnet trained as an industrial draughtsman\, and contributed to the design of a pioneering aircraft engine in the 1930s\, instilling in him a lasting commitment to precision and structure. During the Second World War\, while stationed in Casablanca\, he began to draw and paint in a Surrealist idiom—a turning point that redirected his analytical rigor toward a deeply personal artistic practice. From 1941 onward\, he developed a substantial body of work recognized in France by the 1950s. \nIn 1946\, Gonnet abandoned figurative Surrealism in favor of abstraction\, forging a language of geometric form\, graded tonality\, and subtle chromatic harmony that would define his work. His earliest abstract compositions were often modest in scale—small panels and painted pebbles gathered from Mediterranean beaches—yet already displayed the formal discipline and measured balance that characterized his practice. For Gonnet\, painting aspired to the condition of music\, which he regarded as the highest expression of creative freedom. \nA central presence in the postwar intellectual milieu of Saint-Germain-des-Prés\, Gonnet was closely associated with Jean-Paul Sartre\, Simone de Beauvoir\, Jean Genet\, Albert Camus\, Simone Signoret\, Boris Vian\, and the Prévert brothers. His exhibitions were frequently introduced by leading critics and writers\, including Genet\, Pierre Courthion\, and Jean Cassou. Often described as “existentialist\,” his work sought harmony of form and color in response to fundamental questions of human existence\, a pursuit articulated in journals and writings now held at the Institut Mémoires de l’Édition Contemporaine (IMEC). Despite sustained exhibitions in Paris and across Europe\, Gonnet resisted self-promotion\, favoring the discipline of the studio. His work is held in important French public collections\, including that of the city of Péronne\, and his remaining oeuvre will one day become part of the permanent collection of the Musée de Grenoble. \nCassie Guy’s paintings in this exhibition extend Gonnet’s legacy through a contemporary lens. Engaging directly with documents\, photographs\, and the environments that shaped his practice\, Guy’s work draws from archival materials\, reflection and imagination. Working primarily on wood panels and employing various paints\, pencils\, pen and collaged elements\, Guy constructs interior spaces and still lifes that hover between observation and invention. Time bends and motifs recur; geometry\, light\, and color echo Gonnet’s practice yet remain distinctly Guy’s. She writes: \n“In creating this series\, I’ve come to see my work as a form of communion. It is not only a documentation and record of Tony Gonnet\, but a living process of discovery and connection that transcends time. The works are an invitation to linger in the spaces where influence becomes intimacy\, and where the boundaries between artists\, lives\, and eras dissolve into light\, color and dreamlike expressions.” \nCassie Guy is a mixed-media artist based in Charlottesville\, Virginia. She received her BFA in Studio Art and Art History from Davidson College and went on to study at Parsons School of Design in Paris and New York\, earning an AAS in Fashion Design. Guy spent sixteen years in New York City working as a fashion designer for Rebecca Taylor\, Madewell/J.Crew\, and others\, while also developing her own line\, Cass Guy\, which was sold internationally and through retailers including Saks Fifth Avenue\, Takashimaya\, and Bird Brooklyn. Extensive travel throughout Japan\, Hong Kong\, and Europe during this period left a lasting imprint on her visual language. Since relocating to Virginia in 2016\, Guy has focused on her studio practice\, creating largely abstract works on wood panels that unite the dreamlike and surreal with the dailiness of familiar forms. Her work draws on early immersion in museums\, a lifelong engagement with material and process\, and the landscape of the Virginia foothills\, with a confident use of color\, pattern\, and texture reflecting her background in fashion design. \n \n \n \n \n \n \n \nPlease enable JavaScript to view the artwork. URL:https://www.lydmgallery.com/events/tony-gonnet-cassie-guy-lost-and-found-a-correspondence-transcending-time/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/FINAL-DESIGN_GuyGonnet-Card-Design.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20251122 DTEND;VALUE=DATE:20251222 DTSTAMP:20260504T082245 CREATED:20251111T164305Z LAST-MODIFIED:20251228T213048Z UID:34390-1763769600-1766361599@www.lydmgallery.com SUMMARY:Annie Harris Massie: GROUNDING DESCRIPTION:Press ReleaseExhibition WorksInstallation Shots\n \n \n \n \n \n \n \n Les Yeux du Monde is pleased to announce its final show of 2025: GROUNDING\, an exhibition of new paintings by longtime gallery artist Annie Harris Massie\, on view from November 22 through December 21. An opening reception with the artist will be held on Saturday\, November 22 from 4–6 PM at the gallery. \nIn GROUNDING\, Massie continues her decades-long exploration of light as both subject and substance\, but turns more intimately inward—to the land surrounding her home and family farm in Lynchburg\, Virginia. “Everything in the show is painted from places very familiar to me. Intimately familiar\,” the artist reflects. “The landscape of fields and forest and garden all around our house and our family farm which I’ve known since childhood. Places I adore.” \nThe exhibition’s title evokes not only the physical terrain of her daily life\, but also the rootedness of her artistic inquiry. Massie cites inspiration from William Carlos Williams’s concept of “the local”—how “the universal is found in the local”—and from the transcendental reflections of Ralph Waldo Emerson and Henry David Thoreau\, who found meaning in nature and their immediate surroundings. In GROUNDING\, the familiar terrain of Massie’s world becomes a meditation on the quiet intersections of place\, memory\, and light. \nWhile the works remain consistent with Massie’s practice—oil on canvas and oil on panel landscapes and botanical studies—her brushwork\, at once deliberate and fluid\, distills fields\, woodland edges\, and flora into the essentials of tone and atmosphere. Light\, her “ultimate subject matter\,” again plays a revelatory role—shifting\, obscuring\, and dematerializing the world into its most elemental sensations. \nMassie’s art balances the dualities of permanence and transience\, materiality and immateriality. Her deft manipulation of oil paint captures what is fleeting—light at a certain hour\, woodland in a certain season—while embodying it in the permanence of paint. In GROUNDING\, the guiding principle is intimacy: a return home. \nBorn in Charlottesville and based in Lynchburg\, Annie Harris Massie received her B.A. in Studio Art from Hollins College and M.A. in Art History from Virginia Commonwealth University. Her work is held in numerous public and private collections\, including those of the Boar’s Head Resort\, Dominion Energy\, the Federal Reserve Bank in Richmond\, and the Bank of the James. In 2025\, two of her paintings were acquired by the University of Virginia for its permanent public collection—an accomplishment that underscores the significance and impact of her creative practice. \n \n \n \n \n \n \n \nPlease enable JavaScript to view the artwork.\n \n \n \n \n \n \n \n \n \n \n \n  URL:https://www.lydmgallery.com/events/annie-harris-massie-grounding/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/AHM_CORNER-OF-THE-HOUSE.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20251010 DTEND;VALUE=DATE:20251117 DTSTAMP:20260504T082245 CREATED:20250915T234124Z LAST-MODIFIED:20251123T213441Z UID:34104-1760054400-1763337599@www.lydmgallery.com SUMMARY:Wolfgang Buttress: NINFEO (EXPLORATIONS\, STUDIES AND RESPONSES) DESCRIPTION:Press ReleaseExhibition WorksInstallation Shots\n \n \n \n \n \n \n \n Les Yeux du Monde is pleased to present NINFEO (EXPLORATIONS\, STUDIES AND RESPONSES)\, a solo exhibition of new work by internationally recognized artist Wolfgang Buttress. On view from Friday\, October 10 through Sunday\, November 16\, the exhibition is orchestrated in conjunction with SENSEMAKING: A Symposium on Contemplative Technologies\, hosted by the University of Virginia’s Contemplative Sciences Center. \nThe exhibition opens with a reception on Friday\, October 10\, 5–7PM\, with remarks from the artist at 6PM. A private preview for Symposium attendees will take place the evening prior\, Thursday\, October 9\, 5–7PM\, also featuring remarks by the artist. \nWolfgang Buttress is widely celebrated for immersive\, multisensory artworks that draw from the rhythms of the natural world\, often transforming scientific data into light and sound. His acclaimed public installation The Hive—originally created for the UK Pavilion at the 2015 Milan Expo and now permanently installed at London’s Royal Botanic Gardens\, Kew—remains a landmark work within his practice\, having won 27 national and international awards. \nAt UVA\, Buttress recently completed NINFEO\, a monumental installation at the heart of the University’s new Contemplative Sciences Center composed of 3320 laser-etched and illuminated crystal blocks. Inspired by the elemental beauty of The Dell pond and the water lilies that inhabit it\, NINFEO translates the pond’s natural movements into a sensorial experience\, as ever-changing patterns of light and sound play through the glowing glass blocks. Working in collaboration with Karman Line Collective\, Buttress developed a site-specific soundscape in which a buoy floating in The Dell gathers real-time environmental data through infrared cameras and movement sensors. This data triggers a continuously evolving composition\, producing a living score that mirrors the rhythms of the pond itself—an ongoing dialogue between site\, artwork\, and audience. \nButtress’s exhibition at LYDM brings together drawings\, paintings\, and music that both informed and respond to NINFEO. Early watercolor sketches of water lilies—on view publicly for the first time—trace the genesis of the work\, while a suite of paintings made with elemental materials such as oil paint\, wax\, graphite\, and even water lily seeds and petals\, suggesting portals beyond the picture plane\, extend its impact. “I am interested in trying to illuminate the invisible and play with the boundaries of 2D and 3D\,” Buttress notes\, “the paintings not only express the site\, but are somehow of the site itself.” The exhibition also features a selection from the collaborative soundscape with Karman Line Collective\, infusing the gallery with the sensory experience of the work.  \nWolfgang Buttress has created major installations for National Museums Liverpool and the Speed Art Museum in Louisville\, among other significant institutions. His practice spans sculpture\, painting\, drawing\, sound\, and architectural collaboration\, and often emerges through deep dialogue with scientists\, musicians\, and environmentalists. Across four decades\, his work has sought harmony between form\, function\, meaning\, and aesthetics—bridging the natural and the sublime. \n \n \n \n \n \n \n \nPlease enable JavaScript to view the artwork. URL:https://www.lydmgallery.com/events/wolfgang-buttress-ninfeo-explorations-studies-and-responses/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/Nymphaea-i.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250906 DTEND;VALUE=DATE:20251006 DTSTAMP:20260504T082245 CREATED:20250830T181632Z LAST-MODIFIED:20260119T221904Z UID:34059-1757116800-1759708799@www.lydmgallery.com SUMMARY:Meg Hitchcock: Shrine DESCRIPTION:Press ReleaseExhibition WorksInstallation Shots\n \n \n \n \n \n \n \n Les Yeux du Monde is pleased to present Shrine\, a solo exhibition of new work by New York–based gallery artist Meg Hitchcock\, on view from September 6 through October 5\, 2025. In Shrine\, Hitchcock presents a body of new work that includes two- and three-dimensional paintings\, works on paper\, and text-based pieces\, reflecting the breadth of her multidisciplinary practice and her ongoing investigation of spirituality\, psychology\, and the human condition. \nA focal point of the exhibition is a new series of relief paintings in which Hitchcock builds up geometric forms on mat board\, pushing them beyond the flat surface into three-dimensional space. These planes cast real shadows across painted gradients that suggest light sources\, creating an interplay that blurs the line between the actual and the illusory. “Inspired by religious iconography\, I explore light and shadow as a metaphor for humanity\, with its many complexities and contradictions\,” the artist writes. “I borrow the reverse perspective of Byzantine icon painting to create subtle shifts in perception\, where the viewer becomes the vanishing point\, self-contained and slightly removed.” In these works\, perspective lines radiate outward rather than converging in the distance\, creating a sense of projection that invites inward reflection and measured self-awareness. Their palette\, informed by the Renaissance and Mannerist masters Hitchcock studied in Florence\, is built through thin\, layered applications of pigment\, producing a luminous\, resonant effect. Together\, form\, shadow\, and color prompt reflection on perception\, reality\, and the spiritual dimensions of human experience. \nAlongside her paintings\, Hitchcock presents intricately constructed “text drawings\,” for which she has received significant recognition. In these works\, letters—cut from one literary or sacred text—are meticulously arranged to form passages from another\, transforming language into a visual medium that invites meditation on the layered meanings of both texts. From a distance\, the individually-cut letters coalesce into recognizable forms—for instance\, water\, waves\, or circular\, mandala-like patterns—while up close\, viewers can recognize and read specific\, assembled lines of text. The passage of time is implied\, as one contemplates the careful cutting and placing of each individual letter\, period\, and comma\, through Hitchcock’s meditative and repetitive creative practice. Cementing the significance of her text-based work\, Hitchcock recently completed a major commission for the University of Virginia’s new Contemplative Sciences Center: a monumental diptych\, The Sea\, Parts I and II\, in which letters cut from two epic texts—Virgil’s Aeneid and Homer’s Odyssey—are meticulously arranged to form contemporary poems about water and reflection in the visual shape of waves. Spanning ten feet\, this text drawing—the largest she has created to date—is now part of the permanent collection of the University of Virginia\, within a fitting setting dedicated to the study of contemplative practices. \nMeg Hitchcock holds a BFA in painting from the San Francisco Art Institute and studied classical painting in Florence\, Italy. Her work has been exhibited nationally and internationally at institutions including MASS MoCA\, the Currier Museum of Art\, the CODA Museum (Netherlands)\, Virginia MOCA\, and Crystal Bridges Museum\, where she was included in State of the Art: Discovering American Art Now. Recognized with numerous awards\, Hitchcock is the recipient of a 2024 Pollock-Krasner Grant and a 2023 Gottlieb Foundation Grant. Her work has been reviewed in important publications including Art in America\, ArtCritical\, The New Criterion\, Huffington Post\, and Hyperallergic\, and is held in significant public and private collections\, including the University of Virginia’s new Contemplative Sciences Center. \n \n \n \n \n \n \n \nPlease enable JavaScript to view the artwork. URL:https://www.lydmgallery.com/events/meg-hitchcock-shrine/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/8_Midsummer_1-1-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250711 DTEND;VALUE=DATE:20250825 DTSTAMP:20260504T082245 CREATED:20250702T123441Z LAST-MODIFIED:20250906T132312Z UID:33925-1752192000-1756079999@www.lydmgallery.com SUMMARY:Jessie Coles & Jackie Watson: Color in Conversation DESCRIPTION:Press ReleaseExhibition WorksInstallation Shots\n \n \n \n \n \n \n \n Les Yeux du Monde is pleased to announce Color in Conversation\, a two-person exhibition featuring new work by Jessie Coles and Jackie Watson\, opening Friday\, July 11\, from 5-7PM and continuing through August 24. In this exhibition\, color is not merely a formal device\, but an active participant—each hue\, tone\, and texture engaged in dialogue across the gallery space\, within and between the artists’ respective works.\n\n\nAt the heart of Color in Conversation is the shared belief that color is a living\, relational force. For both Coles and Watson\, color is language—fluid\, intuitive\, and shaped by the interplay of structure and spontaneity. Their practices\, while materially distinct\, are united by an abiding interest in color relationships\, perceptual depth\, and formal experimentation.\n\n\nIn Jessie Coles’s most recent body of work\, color takes center stage through an unexpected medium: reclaimed fabric. After developing acute sensitivities to traditional painting materials\, Coles turned to textiles\, assembling intricate compositions from a fixed set of geometric shapes cut from wood and clad in richly pigmented fabric scraps. The resulting constructions are painterly in sensibility\, with the textural presence of collage. As with the teaching of Josef Albers—whose assertion that “color is relative” remains foundational to Coles’s practice—each hue is understood not in isolation but in context\, shifting and vibrating according to its neighbors. Wool\, raw silk\, and leather interact in ways akin to oil glazes or impasto\, each fabric reflecting or absorbing light differently\, lending each work a dynamic surface that invites extended looking.\n\n\nJackie Watson’s paintings are similarly attuned to the expressive potential of color\, though her approach is gestural and layered\, born from a meditative studio practice steeped in music\, memory\, and improvisation. Working in oil on canvas\, Watson allows each composition to unfold organically and without fixed outcome. “The process is not about imposing a vision\,” writes the artist\, “but about staying present enough to recognize when it arrives.” Watson’s paintings evolve in layers\, with visible traces of earlier forms and color fields glimmering beneath the surface. These “understories\,” as she calls them\, are integral to the final image\, offering a felt sense of time and transformation. Her use of color is emotive and atmospheric\, emerging from a place of intuition and internal rhythm. In Watson’s words\, “Each painting evolves into a conversation—between color and memory\, gesture and stillness\, control and surrender.”\n\n\nTogether\, Coles and Watson propose color not as a static attribute but as a site of exploration—where material\, perception\, and meaning intersect.\nJessie Coles received her BA in Studio Art from the University of Virginia and continued her study of painting and drawing at the Corcoran School of Art in Washington\, D.C.. Her work can be found in numerous public and private collections\, including that of the Inova Schar Cancer Institute\, University of Virginia Hospital\, Martha Jefferson Hospital and Boar’s Head Resort. Jackie Watson received her BFA from the School of Visual Arts in New York\, and her MFA from Hunter College in New York. Watson’s works also grace significant public and private collections\, including that of the Contemplative Science Center at the University of Virginia\, the Costar Group\, International Petroleum Corporation in Dubai and Grupo Albion in Madrid.\n \n \n \n \n \n \n \nPlease enable JavaScript to view the artwork.\n \n \n \n \n \n \n \n \n \n \n \n  \n  URL:https://www.lydmgallery.com/events/jessie-coles-jackie-watson-color-in-conversation/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/Untitled-design-13.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250509 DTEND;VALUE=DATE:20250630 DTSTAMP:20260504T082245 CREATED:20250428T162039Z LAST-MODIFIED:20250702T125345Z UID:33891-1746748800-1751241599@www.lydmgallery.com SUMMARY:Michelle Gagliano: Material/Mater/Mother DESCRIPTION:Press ReleaseExhibition WorksInstallation Shots\n \n \n \n \n \n \n \n Les Yeux du Monde is pleased to present Michelle Gagliano’s first solo exhibition with the gallery\, Material/Mater/Mother\, opening Friday\, May 9th at LYDM. In her new body of work\, Gagliano explores the intimate relationship between substance and source\, employing only natural materials in a manner that honors their origins in the earth. Reflecting her dedication to a sustainable studio practice\, the exhibition’s title references the shared linguistic roots of “material” and “mother\,” underscoring the true source of the components used in her work. \nThis exhibition follows a significant period of international recognition for Gagliano. In 2024\, she was invited to present a solo exhibition at Casa Natale di Raffaello — the museum located in the birthplace of Renaissance master Raphael in Urbino\, Italy — where she exhibited contemporary works created using Raphael’s original paint recipes. In a rare honor\, one of Gagliano’s paintings from the exhibition was acquired into the permanent collection of Casa Natale di Raffaello. Gagliano was also granted official sponsorship from the Accademia Raffaello to establish an international artist residency program\, which will launch in 2026 and focus on sustainable studio practices. Furthering her well-deserved record of recent accomplishments\, two of Gagliano’s works were acquired in 2025 for the permanent public collection of the University of Virginia. \nInformed by principles of sustainability and historical technique\, Gagliano creates her own paints using only non-toxic materials — natural gold pigment\, walnut and lavender oils\, egg tempera\, and foraged pigment sources like Albemarle County clay and grapevine charcoal\, among others. Her process blends earth\, fire\, air\, and water — the fundamental elements — in an intuitive\, meditative practice that transforms natural matter into luminous\, gestural compositions. The resulting paintings speak to cycles of transformation and the quiet force of elemental creation\, echoing the rhythms and rich landscapes of the world around her. While certain materials used are drawn from local terrain\, the work also gestures outward\, incorporating globally sourced elements like ultramarine and verdigris\, and engaging with the rich histories of pigment and centuries of artistic exchange. Every material in Gagliano’s studio is interrogated for its origin and impact\, grounding her practice in a reverence for the earth as the ultimate source of all matter and creative potential. \nMichelle Gagliano received her B.F.A. from Plymouth State University and her M.F.A. from American University in Washington\, D.C. She is a VMFA Fellow and has held residencies at the Virginia Center for the Creative Arts and the Chautauqua School of Fine Arts. Her work has been exhibited throughout the U.S.\, Europe\, and Asia\, and is included in important public and private collections\, including that of the Burchfield Penney Art Center and the University of Virginia. In recognition of her commitment to environmentally responsible studio practices\, she has been an active member of the Gallery Climate Coalition — an organization with rigorous sustainability standards for membership — for two consecutive years. \n \n \n \n \n \n \n \nPlease enable JavaScript to view the artwork. URL:https://www.lydmgallery.com/events/michelle-gagliano-material-mater-mother/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/Tipping-Point-oil-on-panel-36-x-80-x-2-1.5-2025.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250328 DTEND;VALUE=DATE:20250505 DTSTAMP:20260504T082245 CREATED:20250324T131546Z LAST-MODIFIED:20250724T220537Z UID:33851-1743120000-1746403199@www.lydmgallery.com SUMMARY:Russ Warren: FACES + David Hawkins: New Works DESCRIPTION:Press ReleaseWorksInstallation Shots\n \n \n \n \n \n \n \n Les Yeux du Monde is pleased to present two new exhibitions\, Russ Warren: FACES\, and David Hawkins: New Works\, which will open Friday\, March 28th and run through Sunday\, May 4th. \nRuss Warren: FACES \nIn his upcoming exhibition\, Russ Warren presents a body of new oil pastel portraits on paper\, about which he writes: \n“The rectangle\, an arena tour de force\, is forever an unmovable jigsaw puzzle. Positioned vertically\, it has the invading presence of a human being\, an attempt at memorializing the space. Every move you make changes the psychological drama. One subject per picture is drama\, more is milktoast! \nDeKooning had his students draw a single apple for a week\, over and over again to capture the “essence.” It’s similar to painting portraits with intense rapidity. \nI studied medieval portraiture when I was young. The color\, form\, and line are locked in space forever. It’s like a tightwire\, one shake and it’s suicide\, this line or that. Check out the figures by Simone Martini and his masterful handling of line\, shape\, color\, and form\, regardless of scale. Sure\, Martini influenced me\, so did Vermeer\, Piero\, and Bosch. Bellini comes in first\, his color capped edges to die for.” \nWarren’s emotive portraits offer a window into the psyche of his subjects and\, while drawing on influences he thoughtfully engages with\, develop a visual language that is distinctly his own. \nRuss Warren received his BFA in 1973 from the University of New Mexico\, his MFA in 1977 from the University of Texas in San Antonio\, and taught painting and printmaking at Davidson College from 1978 – 2008. Warren has exhibited work in such prestigious exhibitions as the Venice Biennale and the Whitney Biennial\, as well as at the North Carolina Museum of Art\, the Mint Museum\, SECCA\, and the Hickory Museum of Art. His work is included in numerous important public and private collections\, including that of the New Orleans Museum of Art\, the Mint Museum\, the Gibbes in Charleston\, the Virginia Museum of Art and the North Carolina Museum of Art. Warren’s work has been reviewed in important publications including The New York Times\, Arts Magazine\, and Art in America\, and by critics including Roberta Smith\, Carter Ratcliff\, Barry Schwabsky\, and Donald Kuspit. \n  \nDavid Hawkins: New Works \nIn New Works\, David Hawkins presents recent pieces across mediums including mixed media works on paper\, monochromatic monotypes\, and oil paintings on linen and canvas panels. \nOnce the Color of Fire is a body of luminous mixed media works on torn paper with atmospheric\, layered  applications of ground\, oil\, pigment\, and graphite\, which draw technical inspiration from Turner’s late watercolors and Albert Pinkham Ryder’s body of “sea paintings.” Their title nods to Jorge Luis Borges’ short story\, The Circular Ruins\, which questions the nature of reality\, time\, and boundaries between dream and existence as it follows a mysterious man who arrives at an ancient temple with the goal of dreaming a human into being. \nNO ONE saw him disembark in the unanimous night […] to the circular enclosure crowned by a stone tiger or horse\, which once was the colour of fire and now was that of ashes. The circle was a temple\, long ago devoured by fire\, which the malarial jungle had profaned and whose god no longer received the homage of men.  \nAlso in New Works\, Hawkins’ latest monotypes push the boundaries of a medium he is well known for\, embracing striking contrasts and balancing controlled gestures with organic abstraction. His Snow Paintings\, a series of five small works on canvas panel\, explore the shifting nature of perception in winter landscapes\, and move beyond the impulse to depict snow’s stillness and flattening visual impact\, instead layering ultramarine and cobalt blues to convey depth and movement. Select Soma Plants from Count Westwest’s Garden\, a large-scale oil on linen work\, imagines the garden as a space of both curation and wild entropy\, inspired by Borges’ conception of gardens as metaphorical spaces and labyrinthine metaphors\, symbolizing the infinite and the fluidity of time through the coexistence of order\, chaos\, and unruly growth. \nDavid Hawkins received his BA from Middlebury College\, his MFA from The Pennsylvania Academy of the Fine Arts\, and studied at Slade School of Fine Art\, New Orleans Academy of Fine Art\, and the University of Virginia. He has exhibited paintings and prints nationally and internationally\, and his works are held in public and private collections including the University of Louisville\, the Emily Couric Cancer Center at the University of Virginia\, Dominion Energy\, Capital One\, and Boar’s Head Resort. \n \n \n \n \n \n \n\nPlease enable JavaScript to view the artwork. URL:https://www.lydmgallery.com/events/russ-warren-faces-david-hawkins-new-works/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/Untitled-design-8.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250215 DTEND;VALUE=DATE:20250324 DTSTAMP:20260504T082245 CREATED:20250122T155655Z LAST-MODIFIED:20251004T181324Z UID:33815-1739577600-1742774399@www.lydmgallery.com SUMMARY:Sanda Iliescu & Ana Rendich: Tracing Hope DESCRIPTION:Press ReleaseWorksInstallation Shots\n \n \n \n \n \n \n \n Les Yeux du Monde is delighted to announce its first show of 2025: Tracing Hope\, a two-person exhibition featuring new work by LYDM artists Sanda Iliescu and Ana Rendich. The exhibition opens with a reception on Saturday\, February 15th\, from 4:00 to 6:00 PM\, and will be on view through Sunday\, March 23rd\, 2025. \nSanda Iliescu’s new works on paper\, which she calls Summer Songs\, are a jubilant celebration of color and movement. Painted during the summer of 2024\, these works use watercolor and gouache to capture lyrical rhythms and patterns that convey joy\, wonder\, and the ephemeral beauty of nature. “Together\, white field and brush marks compose a visual song\,” Iliescu writes\, “a melody that might suggest a lullaby\, or mazurka\, or sonata.” Her vibrant marks and forms\, which sometimes hint at figures like the sun or moon\, invite viewers to immerse themselves in a world of bold brushstrokes and quiet contemplation. “My aspiration is that Summer Songs evoke deep joy and Hope\, as well as a sense of wonder\,” Iliescu writes\, “the wonder of looking at a bouquet of wildflowers\, or of glimpsing a bright red cardinal fly swiftly across the deep greens of a meadow\, or of watching a child draw scribbles on a page as she examines a flower or watches a bird’s flight.” \nBorn in Romania\, Iliescu emigrated to the United States at 17 and went on to earn her BSE in Civil Engineering and M.Arch in Architecture from Princeton University. She is a Professor of Architecture and Art at the University of Virginia\, where she has also created murals and public art projects with her students. Her many accolades include The Rome Prize\, a McDowell fellowship in painting\, and the Distinguished Artist Award of the New Jersey State Council of the Arts. Iliescu has exhibited her work internationally and published extensively on art and aesthetics\, including the books The Hand and the Soul: Aesthetics and Ethics in Architecture and Art and Experiencing Art and Architecture: Lessons on Looking. \nAna Rendich brings new 3D works to this exhibition\, which reveal her masterful understanding of color\, materiality\, and spatial relationships. These works are at once aesthetic delights and intimate meditations on space and connection—both physical and spiritual—that speak to our relationships and shared humanity. In Tracing Hope\, Rendich also links her colorful 3D pieces to a large work on geometric canvas and works of mixed media\, incorporating two types of Japanese paper\, Sekishu Torinoko Gampi and Natural Kozo\, and collaged elements of Japanese storybooks into her pieces to investigate new visual ideas and perspectives. These are a “reminder that there are different views and outcomes\, exposing and making visible other views\, and of our common humanity\,” Rendich writes\, “I see Hope as bone marrow for Aliveness\, to keep going\, having a Sense of Safety and Belonging\, healing\, looking for safe spaces\, creating safe spaces\, walking towards the growth of being and offering better possibilities.” \nBorn in Buenos Aires\, Argentina\, Rendich studied Scenic Design at Universidad del Salvador and Costume Design at the Instituto Superior de Arte at the Teatro Colón\, one of the world’s premier opera houses. Rendich’s work has been shown in solo and juried exhibits\, and selective exhibitions in museums and galleries throughout the United States and internationally – including the Lincoln Center in New York City\, the Phillips Collection in Washington D.C.\, the Butler Institute of American Art in Youngstown\, Ohio\, the Bellevue Arts Museum in Bellevue\, Ohio\, and the Siena Art Institute in Italy. \nTogether\, the distinct yet complementary practices and ideas of Sanda Iliescu and Ana Rendich weave a narrative of hope\, wonder\, resilience\, and renewal. Don’t miss this opportunity to experience the transformative power of Hope in their new work. \n \n \n \n \n \n  \nPlease enable JavaScript to view the artwork. URL:https://www.lydmgallery.com/events/sanda-iliescu-ana-rendich-tracing-hope/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/WEB-TILE_Tracing-Hope_FINAL-WEB-TILE-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20241115 DTEND;VALUE=DATE:20241216 DTSTAMP:20260504T082246 CREATED:20241029T131932Z LAST-MODIFIED:20241223T203829Z UID:33752-1731628800-1734307199@www.lydmgallery.com SUMMARY:SMALL WORKS DESCRIPTION:Press ReleaseExhibition WorksInstallation Shots\n \n \n \n \n \n \n \n Les Yeux du Monde presents SMALL WORKS15 November – 15 December 2024Opening: Friday\, November 15 from 5-7pm\n \n \n\nLes Yeux du Monde is pleased to present its closing show of 2024: SMALL WORKS\, a group exhibition featuring small-scale artwork by more than 40 accomplished contemporary artists. The exhibition will run from Friday\, November 15 through Sunday\, December 15\, with an opening reception taking place from 5-7pm on Friday\, November 15. \nFeaturing works in a wide array of styles and mediums\, this exhibition invites viewers to experience small art in diverse forms—from painting and sculpture to collage\, textiles\, photography\, and works on paper. Exhibiting artists employ materials ranging from oil\, acrylic\, watercolor and gouache to fiber\, resin\, bronze\, marble dust\, and even lit colored firework smoke on surfaces as varied as canvas\, panel\, handmade paper\, and found photographs. Each small work is a concentrated experience; together\, they create a feast for the senses. \n\n \n \n \n \n \n \n \nPlease enable JavaScript to view the artwork. URL:https://www.lydmgallery.com/events/small-works/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/V2-small-works-1-1-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240913 DTEND;VALUE=DATE:20241104 DTSTAMP:20260504T082246 CREATED:20240826T104532Z LAST-MODIFIED:20241111T193653Z UID:33693-1726185600-1730678399@www.lydmgallery.com SUMMARY:Picasso\, Lydia & Friends\, Vol. V DESCRIPTION:Press ReleaseExhibition WorksInstallation Shots\n \n \n \n \n \n \n \n Les Yeux du Monde proudly presents the fifth installment of an exhibition series orchestrated to honor the memory and scholarship of acclaimed Picasso scholar\, beloved former professor of Modern Art at the University of Virginia\, and sublime painter\, Lydia Csato Gasman. \nThe exhibition features work by both Lydia Gasman and Pablo Picasso\, the artist at the center of her scholarship\, along with eight other contemporary artists whose work or thinking they inspired: William Bennett\, Anne Chesnut\, Dean Dass\, Rosemarie Fiore\, Sanda Iliescu\, Megan Marlatt\, David Summers\, and Russ Warren. A portion of the proceeds from this show will benefit the Lydia Csato Gasman Archives for Picasso and Modernist Studies\, the non-profit organization that LYDM Founder Lyn Bolen Warren and Art Historian Victoria Beck Newman co-founded to preserve and disseminate Gasman’s scholarship. \nLydia Gasman’s groundbreaking Ph.D. dissertation\, Mystery\, Magic\, and Love in Picasso: Picasso and the Surrealist Poets\, 1925-1938 revolutionized the thinking around Picasso’s art. It was reverentially reviewed in The New York Review of Books by Picasso biographer\, John Richardson\, who noted\, “Dr. Gasman did more to unlock the secrets of the artist’s imagination than anyone else.” \nIn her obituary for Gasman in The New York Times\, celebrated art critic Roberta Smith praised Gasman’s contributions to the field and remarked: \n“Fluent in several languages and equipped with a formidable memory\, Dr. Gasman redefined Picasso studies. Most scholars had either analyzed Picasso’s art purely in terms of formal innovations and aesthetic progress or offered one-dimensional readings of his work in relation to his life story. Dr. Gasman found a middle way. \nOne of her more sensational achievements was to track down Marie-Thérèse Walter\, the great love of Picasso’s life\, in the south of France in 1972 and\, over a period of several days\, to conduct the frankest\, most detailed interview about their life together. \nBut Dr. Gasman’s most far-reaching accomplishment was to tie the imagery of Picasso’s paintings to the life of his mind: his reading (especially the poetry of the Surrealists)\, his writings and notebook jottings\, his psychic state and interest in all forms of mysticism\, magic and ritual.” \nPlease join us in celebrating the remarkable accomplishments of Lydia Csato Gasman\, and the extraordinary art of Pablo Picasso\, William Bennett\, Anne Chesnut\, Dean Dass\, Rosemarie Fiore\, Sanda Iliescu\, Megan Marlatt\, David Summers\, and Russ Warren. \n  \nLydia Gasman \nAll of Gasman’s primary interests\, preoccupations\, fears\, experience\, and enduring sense of hope coalesce in her monumental painting\, The Angel of History. The title is borrowed from Walter Benjamin’s description of Paul Klee’s Angelus Novus in his essay “On the Concept of History.” Written in 1940 as the shadow of fascism spread across the world\, Benjamin found in Klee’s hovering angel a way to express his despair: \n“A storm is blowing from Paradise; it has got caught in his wings with such violence the angel can no longer close them. This storm irresistibly propels him into the future to which his back is turned\, while the pile of debris before him grows skyward.” \nIn a general sense\, Gasman depicts what Benjamin describes. An angel appears in the foreground\, her cascading wave of a wing billowing behind her in vivid blues against a gray sky and landscape distinguished only by indeterminate forms underneath an ominous dark mass vaguely resembling an airplane. Remarkably though\, this angel advances in space rather than being blown backward in the manner of Klee’s angel. In fact\, Gasman has inserted some very specific circumstances of her own history into Benjamin’s schema. The angel with her silvery white hair and bright blue eyes is a portrait of her beloved mother\, Sara Csato. Cast as an angel\, the colorful mantle she pulls around her is the body of her grandson who died defending Israel\, carrying him away from danger just as she did with her son and Lydia’s brother\, Yoash when she had him spirited out of their native Romania during World War II. Romania\, allied with the Axis powers\, was bombed by the Allies and the airplane shape in the upper background may be a reference to the bombers flying over Gasman’s childhood home there. Her riveting lectures on Picasso’s Guernica and related war-time works often referenced her own experience of the terror wrought by bombing raids and especially by the whistling sound of explosives dropped from above–the traditional seat of heaven–as she and her family fled to shelters in the night. Underlying her investigation of Picasso’s paintings\, drawings\, and writings during World War II in her book\, War and the Cosmos\, was her brave quest to interrogate\, understand and vanquish the evil they both witnessed. Knowing something of these circumstances might lead us to interpret The Angel of History as a bleak work\, but it is ultimately about courage and hope. Sara was always a figure of love\, comfort\, and admiration for Lydia and in painting her as an angel in a perilous universe she may well have been thinking of Benjamin’s summation of Klee’s inspirational subject: \n“The angel survives amid catastrophe\, powerless but undefeated.” \n  \nPablo Picasso \nPrintmaking was an integral part of Pablo Picasso’s prodigious artistic achievement. Beginning in 1904 with the Saltimbanque Suite\, a series of etchings depicting circus performers\, and culminating in 1972 with his Series 156\, featuring an extraordinary profusion of autobiographical elements\, Picasso created prints as a way of exploring his ideas and thoughts in a metamorphic way. Often his subjects were concurrent with those of his paintings and sculptures but the print medium and the innovative liberties he took with it\, gave him a unique flexibility and fluidity in expressing his thoughts and feelings. As he famously said\, “The movement of my thought interests me more than the thought itself.” \n Modèle\, Tableau et Sculpture (Model\, Painting and Sculpture)\, 1933 (March 21) \nTrois Femmes nues et une Coupe d’Anémones (Three Nudes et a Bowl of Anemones)\, 1933 (April 6) \nPicasso’s preoccupations during particular moments of his life are so beautifully and sensitively revealed in the prints included in Lydia\, Picasso\, and Friends. Modèle\, Tableau et Sculpture of 1933 is from the Suite Vollard\, a series of 100 prints made by Picasso in collaboration with the master printer Roger Lacourière. The simplicity of Picasso’s line in this work belies its conceptual sophistication:  Picasso’s print is self-referential—an artwork whose subject is art as both painting and sculpture—and also about the artist and muse who make and inspire them. Commissioned by the art dealer Ambroise Vollard and very loosely based on Honoré de Balzac’s Le Chef-d’oeuvre inconnu (The Unknown Masterpiece) many of the works celebrate Picasso’s love for his young mistress Marie-Thérèse Walter whose features and physiognomy inspired the neoclassical style in which the prints are conceived. Picasso’s relationship with Marie-Thérèse coincides with one of the most profound and complicated periods in his long artistic career and she is generally considered the most important of his muses. Marie-Thèrése is also the model for Trois nues et une Coupe d’Anémones. Picasso compares her to the Three Graces of Greek mythology embodying in triplicate their attributes of beauty\, charm\, and goodness. Picasso’s representations of Marie-Thèrése as the key to Picasso’s worldview is the focus of Lydia Gasman’s brilliant and ground-breaking study\, Magic\, Mystery and Love in Picasso\, 1925-1938. \n \nCrâne de chèvre sur la table (Table with Goat Skull)\, 1953 \nCrane de chèvre sur la table (1953) was also printed by Lacourière and is entirely different in subject\, mood\, and appearance. Using aquatint to create intense tonal variations and eschewing the lyrical linearity of the Suite Vollard\, Picasso depicts a textured\, ornate\, and strangely animated goat skull through densely woven webs of strokes in contrasting areas of light and dark. The goat figures prominently in Picasso’s iconography and carries multivalent meaning. In scenes derived from Greek mythology Picasso often depicted the animal as a sacrificial offering to the divine and there are intimations of this role in the goat’s skull. It also suggests an association with the ancient concept of memento mori frequently alluded to in still life throughout the history of art. The reference to death can certainly be understood in terms of the horrors of World War II from which the western world was just beginning to recover. Like the bull\, the goat has been interpreted as one of Picasso’s artistic alter-egos. The somber presentation of this specific goat’s head may relate to his sense of rejection and sorrow following his breakup with another important muse\, Françoise Gilot\, who left him in 1953. \n \nPommes\, Verre\, et Couteau (Apples\, Glass\, and Knife)\, 1947 (March 11) \n La Tasse et La Pomme (The Cup and the Apple)\, 1947 (April 21) \nFleurs dans un Verre\, nº 6 (Flowers in a Glass #6)\, 1947 (April 22) \nMore prosaic are the quietly poetic print still lifes Picasso made in the 1940s at Fernand Mourlot’s Paris print studio where his experiments with lithographic techniques yielded a whole new body of iconoclastic works. Sometimes forgoing a print brush or crayon\, he used his fingers to draw\, change\, or erase compositions\, leaving a physical manifestation of his mark and a literal record of “the movement of his thoughts.” While the goat skull print is filled with a mysterious and profound sadness\, the lithographs he made with Mourlot are meditations on everyday elements of daily human life—bread and cutlery upon a table presented in a close and immediate way\,a geometricized coffee pot and cup and a simple bouquet of flowers in a vase. All from the 1940s\, these simpler arrangements reference ordinary human needs—for nourishment and beauty—and their fulfillment. They can be read as a kind of calming corrective to the undercurrents of  anxiety running through many of Picasso’s still-life compositions of the war years. \n  \nDean Dass \nDean Dass was a colleague of Lydia Gasman in the Art Department at the University of Virginia. In this exhibition\, Dass presents a work on paper titled Passenger Manifest\, which draws on the influence of both Lydia Gasman’s scholarship and Picasso’s drawing\, Nude Woman Imploring the Heavens. Like Picasso and Gasman\, Dass explores all experience–physical and metaphysical–to understand the mysteries of human existence. About his work\, Dass once noted: “The idea of looking up\, into the future – that’s the human predicament. And we’re all just passengers.” \nAbout Lydia Gasman\, the artist writes: \n“I started in the Art Dept. in 1985 and Lydia started in 1990. Despite our many differences I would nevertheless say we had everything in common. As both a developing artist and developing professor\, Lydia was really important to me. She encouraged and nurtured everything that I would come to believe was important\, namely\, that to think and read and write and to draw and paint all went together naturally\, and the practice in every event would involve prolonged and passionate discussions. It meant everything to me that an important scholar like Lydia gave me permission as an artist to read and talk about the world outside the studio. Our offices were at opposite ends of the print studio in old Fayerweather Hall\, 1990-2004\, and Lydia often strolled through the shop while we were working. Over these years I came to understand our print studios as ateliers. Our spaces were studios – places to work filled with simple printing presses; we’re in a very old greasy machine shop. But these press rooms are also an undergraduate chemistry lab; we’re etching copper. Is that really safe? And primarily\, we have gathered there to talk\, and to talk about all of our other classes throughout the humanist studies of the liberal arts. I suppose it is accurate to say it took a long time for me to understand that Lydia was modeling all this for us. \nIn the time period in question\, 1990 through 2004 – when the Studio Program moved out and Fayerweather Hall was renovated for Art History\, themes in both my own work and in the readings and assignments\, so-called\, that I provided for my students were primarily Jungian. Or I would use his cross-cultural approaches to symbols and imagery applied to themes derived from folklore. But of primary importance\, I would say\, Is that we learned to think history itself as symbolic form. Lydia’s innovative scholarship linking Picasso’s images and texts helped us see that our task is to create metaphoric languages from our own times\, our histories\, and try to come to terms in that way. One of her later publications explored the topic of “War and the Cosmos.” Her topic created for me a constellation of influences that continue to resound in my recent exhibitions. To say war and cosmos together is to create a metaphor. I trace the conceptual influences surrounding my shadowy Pilot/Passenger protagonists directly to Lydia’s scholarship. To manifest is to leave everyday chronos for kairos. Thank you\, Lydia.” \n \nRosemarie Fiore \nRosemarie Fiore studied under Lydia Gasman at the University of Virginia and credits Gasman with significantly influencing her life and work. Gasman was the first to teach Fiore about the Surrealist artist\, Wolfgang Paalen\, and his technique\, fumage\, in which candle smoke was used to paint. This discovery ultimately inspired Fiore’s Smoke Paintings\, which she creates leveraging tools she has built to harness smoke expelled from firework canisters\, and layering this smoke residue with acrylic paint and\, at times\, pigmented ground. \nAbout Gasman\, Fiore writes: \n“I am fortunate because I was both a student and assistant to Lydia. She was a real artist and generous mentor. Her life-long devotion to research and teaching fed her painting. She processed her research through her painting and her painting through her research. At times she used her own work to explain profound concepts related to Picasso\, Foucault\, Kiefer\, Apollinaire etc. She viewed drawings by Picasso with razor sharp vision fascinated by his quick sketches on random napkins and discarded scraps of paper. To her\, these works were especially magical. They were like cryptic star charts and she earnestly tried to decode them. She explained how every dot\, line and scribble was imbued with meaning and intention. It all connected and made perfect sense because when you were a student of Lydia\, you became a student of the cosmos.” \n  \nRuss Warren \nLydia Gasman and Russ Warren shared a close friendship. Both college professors–Gasman taught Art History at the University of Virginia and Warren led the Studio department at Davidson College–they had many mutual intellectual interests and a profound love of Picasso’s art. Gasman once referred to a series of black and white “psychoanalytical portraits” painted by Russ Warren in the early aughts as “brilliant distillations of Picasso.” For this installment of Picasso\, Lydia & Friends\, Warren returns to black and white portraits\, this time in a 40 x 120 inch triptych entitled: FACES.About Picasso and Lydia Gasman\, Warren writes: \n“My debt of gratitude belongs to my mother\, who decorated my room with Picasso posters while I was away at camp. The images from Mandolin and Guitar by an Open Window haunts me to this day. I left home at an early age and found myself on a driven search for the original\, which I found at the MET. I was blown away by the scale\, color\, and magnetism. I’ll never forget the experience\, not knowing that Picasso’s charm would be easy to copy yet impossible to duplicate. He was a great teacher for an open mind and impossible for a closed one. Picasso’s line\, form\, rhythm\, mark and color\, scale\, and humor are forever my teacher. \nConsidered “old hat” by my critics and “forceful” by my friends\, I finally met my match when Lyn Bolen Warren introduced me to Lydia Gasman. In Lydia\, I finally met my aesthetic soulmate. Her knowledge of Picasso was unsurpassed. \nPicasso’s painting\, prints\, drawing\, sculpture\, poetry and monumental designs grasped an entire century like no other. Lyn Bolen Warren and Vicki Beck Newman together with Lydia were a modernist powerhouse. I was finally surrounded by like-minded Picasso enthusiasts. Lydia with the entire 20th century\, Vicki with Picasso’s Golden Years\, and Lyn with her modern dance created a modernist’s dream. \nMy passion for Picasso might never have taken root\, had it not been for my mother’s decorating zeal. Thanks\, Mom! And thank you\, Vicki\, for bringing Dora Maar back to life\, and Lyn\, for keeping Picasso’s choreography in our hearts.” \n  \nSanda Iliescu \nSanda Iliescu and Lydia Gasman were colleagues as faculty at the University of Virginia\, and also both Romanian-born artists living and working in America. For this exhibition\, Iliescu shares a series of ink drawings on paper entitled Angels. In these lyrical but also careful and contained renderings\, Illiescu\, like Gasman in The Angel of History\, seems to invoke Paul Klee’s Angelus Novus and the predicament of the sacred in the modern world. \nAbout Lydia Gasman\, the artist wrote: \n“Fearlessness. Freedom. Exuberance. These are some of the qualities that characterize the working methods of Lydia Gasman and Pablo Picasso. She tenaciously broke boundaries between traditional disciplines such as art history\, artmaking\, and philosophy\, and she wrote\, painted\, and lectured with fearless exuberance. He broke the standards of Western realistic representation and continually reinvented his way of painting\, moving nimbly from abstraction to naturalism. They both worked with what I’d like to call “elan\,” a Romanian word—both Lydia and I were born in Romania—that describes dynamic\, fluid\, and joyful actions. \nWhile “elan” is what I always hope to have when I paint\, draw\, or make collages\, I confess it is on occasion difficult to achieve. I become very cautious. I doubt what I am doing\, and I am tempted to return to what I already know\, or what is acceptable\, or conventional\, or safe. It is at such moments that I often think of Picasso and Gasman. \nWhen I first began drawing angels in 2019\, I remember being excited and feeling bold: although these drawings did not resemble anything I had done before\, they flowed from my hand naturally and seamlessly. The finished drawings are delicate\, minimal\, and somehow strange. But this strangeness was necessary to create the mood I wished to convey—the sense of quietness\, simplicity\, and child-like serenity. Still\, I sometimes begin to ask questions. Why was I being so inconsistent with my other work? Why the minimal\, “barely there” manner—only very thin and sparse black lines? And why angels? Last year\, I was unsure of myself and briefly set aside the Angels project. Then\, one day\, I came across this quote by Henri Matisse: \n“… the artist must never be a prisoner. Prisoner? An artist must never be a prisoner even of himself\, a prisoner of a style\, a prisoner of a reputation\, a prisoner of good fortune.” \nThe quote made me think of artists I love\, among them Pablo Picasso and Lydia Gasman\, who were not “prisoners.” They were fearless\, free\, and exuberant. I returned to my drawings of angels\, a project that I continue to pursue today. As I draw\, I regain that quality Romanians call “elan”—that dynamism\, fluidity\, and freedom.” \n \nDavid Summers \nDavid Summers was a friend and colleague of Lydia Gasman in the Art Department at UVA. For this exhibition\, Summers shares his own rendition of Picasso’s 1947 lithograph Pommes\, Verre\, et Couteau (Apples\, Glass and Knife) that is also included in this show among other new oil on panel still life works. Summers\, Gasman\, and Picasso all seem to recognize that everything we can perceive–objects\, light\, colors\, form\, space–lead us toward an always incomplete\, always imperfect\, but deeper awareness\, even understanding\, of what we can possibly know in the course of this existence. \nAbout Lydia Gasman\, Summers wrote: \n“Lydia once told me how wonderful it was to be a beautiful young girl in Venice\, and she kept that happy assurance about herself through all her days. Such bright memories aside\, her young years were actually filled with the epic darkness of the end of the Second World War\, followed by the crushing bureaucratic routines of red Rumania. Lydia herself was one of the two or three most brilliant people I have ever met. She immediately grasped everything she read\, heard or saw\, and connected it with everything else she had read\, heard or seen. These were explosive capacities. Lydia was certainly also the most passionate person I have ever met\, and after escaping from Romania she seemed bent on reclaiming the years she had lost. What if she had been young in Paris in the Banquet Years\, the first decade of the 20th century? She had been trained as a painter in Rumania\, but she loved Picasso\, who stood for the freedom she had been denied. She devoted herself to the interpretation of Picasso’s surrealism\, a subject worthy of her brilliance\, a project resulting in her deep meditation on the civilizational catastrophe of 20th century. The spectacle of Lydia’s mind at work\, her love of art and her faith in its transformative power\, together with the humane concern sharpened by her own life\, made Lydia Gasman an inspiring teacher\, colleague\, and a beloved advisor\, as this tribute testifies.” \n \nMegan Marlatt \nMegan Marlatt and Lydia Gasman were colleagues in the Art Department at UVA. For this exhibition\, Megan Marlatt shares her Bird Book of Hours\, a ten-page book of Japanese watercolor and gouache works on paper that move from day to night. As Gasman notes in her writing\, Picasso’s artistic menagerie is also full of birds–owls\, doves\, pigeons–which are often of autobiographical\, philosophical\, socio-political\, or symbolic importance. \nAbout Lydia Gasman\, Marlatt wrote: \n“I once was complaining to Lydia about living in a place where there wasn’t much intellectual stimulation in the community. She laughed it off and said\, “It doesn’t really matter where you live\, because when you’re doing your work\, you’re ‘up there.’” And she pointed to the sky. Knowing what little I did about her life and the difficult places she had lived\, it was both humbling and liberating at the same time.” \nAbout her Bird Book of Hours\, Marlatt wrote: \n“I began this book after returning from Belgium in 2018\, where I had been studying carnival culture and the work of James Ensor under a Fulbright Scholarship. I’ve always enjoyed the different sizes and quality of European paper\, so I purchased this blank book in Brussels\, thinking it was a portfolio of loose papers. It was only when I got it home that I realized it was a bound book. I immediately felt obligated to utilize it as such. \nLater that summer of 2018\, I took it with me to Mountain Lake Biological Station in Giles County\, Virginia. I have been leading an artist residency there since 2010 with my colleague\, Amy Chan\, and it was my turn to head the residency that year. Each time I had visited MLBS over the 14 years span of residencies; I would create with their bird specimen collection. In 2018\, I began painting my Bird Book of Hours. \nThe MLBS bird collection is a hundred years old. Snuggly situated in a large flat file cabinet\, one need only pull out the large\, flat drawers to see hundreds of taxidermized birds. The smell of moth balls is strong\, and the birds must be handled with surgical gloves to avoid the poisons used to preserve them a hundred years ago. One can carefully pick up a flicker or a wren and read the small\, handwritten identification tag in fountain pen ink tied to their little feet; “Falls Church\, VA\, 1896.”Whichever bird I choose to paint that day is carefully placed under a large glass bell jar for observation. As a painter\, I try to bring life back into the mummified birds. Working wet into wet\, I endeavor to push the pigmented puddles of paint into a free-flowing form\, like the once effortless flights of these ghost birds. \nThe Bird Book of Hours moves from morning to night\, marking out the progressive hours of light in a day. All the pages were derived from my time at Mountain Lake\, except for the ninth page. The Twilight with Loons painting was created at Skowhegan\, Maine in 2021 during the pandemic\, as MLBS was closed for 2 years during that time.” \n  \nAnne Chesnut \nAnne Chesnut was a friend and collaborator of Lydia Gasman’s for many years\, having designed the book cover for Lydia’s War and the Cosmos in Picasso’s Texts\, 1936-1940. In this exhibition\, Anne Chesnut exhibits the cover artwork that she designed for this book\, which prominently features Picasso’s bull\, a focal point of Gasman’s academic research\, along with other Picasso drawings and text. \nAbout Lydia Gasman\, Chesnut wrote: \n“While others knew Lydia at the University\, where she was a force to be reckoned with; I knew her in the incubator for that vigor\, her apartment in downtown Charlottesville. Lydia completely inhabited her space; there were no boundaries between living\, studio\, and study. The walls served as an easel\, gallery\, and support for her art and books. The kitchen was both a source of refreshment and an archive for her research. These papers were not solely scholarly but a rich visual collage of colorful annotations made with markers and Post-its. \nLydia’s home was also part salon\, not just for peers and students as might be expected\, but also for her friends’ children. When developing projects with her\, my son was welcomed there as a small child just as were Lyn’s children and anyone who happened by as we worked. \nTo collaborate with Lydia\, on a design project for her publications\, was to engage in an enjoyable act of intellectual stimulation and reconsideration for all. Reviewing her paintings or my prints with Lydia was an active process of discovery and rediscovery.” \n  \nWilliam Bennett \nWilliam Bennett and Lydia Gasman were colleagues in the art department at the University of Virginia. In this exhibition\, he shares two works: Anchor to the Stars\, and Back-to-Back: Hands to Earth Mother. The former was created during the years in which Bennett and Gasman were helping to shape the study of modern and contemporary art at UVA. Gasman’s interest in the artistic creation of cosmologies and cosmographies finds a visual parallel in Bennet’s sculptures of “star anchors\,” “ladders in space\,” and animistic “earth mothers.” \nAbout Lydia Gasman\, the artist wrote: \n“Lydia Gasman was a remarkable mind and a remarkable beauty. I remember her delivering a lecture like a Cabaret singer within the curve of a piano\, turning the UVA Campbell lecture hall into a Smoky Jazz club. She loved Picasso but loved the art of the present as well and invited myself and my studio colleagues to lecture to her 20 th century art history course. Her voice was delicious and flowed out of her mouth like the richest chocolate. We all bathed in this exotic sweetness and followed her down the dark mythic rivers of her mind and scholarship where she unearthed the magic\, mystery\, and ritual at the core of Picasso’s art. She was the living breathing part of the Banquet Years in our midst! Anchor to the Stars\, 1986\, was created during the Lydia years in the Art Department’s Fayerweather Hall where the magic and mystery of Lydia infused us all.” \n  \nLydia Csato Gasman Archives for Picasso & Modernist Studies \nA portion of the proceeds from this exhibition will benefit the Lydia Csato Gasman Archives for Picasso and Modernist Studies\, the non-profit organization that LYDM Founder Lyn Bolen Warren and Art Historian Victoria Beck Newman co-founded to preserve and disseminate Gasman’s scholarship. \nTo learn more about the Archives\, visit: www.lydiagasmanarchives.org/ \n \n \n \n \n \n \n \nPlease enable JavaScript to view the artwork. URL:https://www.lydmgallery.com/events/picasso-lydia-friends-vol-v/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/DSC_0032-2-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240712 DTEND;VALUE=DATE:20240826 DTSTAMP:20260504T082246 CREATED:20240620T194321Z LAST-MODIFIED:20240826T111825Z UID:33653-1720742400-1724630399@www.lydmgallery.com SUMMARY:Barbara Campbell Thomas & Isabelle Abbot: Influence + Conversation DESCRIPTION:Press ReleaseExhibition WorksInstallation Shots\n \n \n \n \n \n \n \n Longtime LYDM artist Isabelle Abbot studied with celebrated artist Barbara Campbell Thomas in her MFA program at UNC Greensboro. This exhibition showcases Campbell Thomas’s influence on Abbot’s artistic practice and the compelling dialogue between the work of these two accomplished artists. \nBarbara Campbell Thomas is known for a unique studio practice grounded in and influenced by the creative practices of her matrilineal ancestors. Combining painting\, sewing\, and collage techniques\, the artist creates intricately assembled works with richly-textured surfaces that convey movement and depth through an articulate vocabulary of material and form. \nAbout this exhibition\, the artist writes: “In thinking of my paintings conversing with Isabelle’s\, and in planning the work I would make for the exhibition\, I began contemplating my relationship to landscape. Like Isabelle\, I live in the country\, surrounded by fields\, trees and the quiet of the natural world. Nearly every day\, I walk the roads around my home\, my steps traversing the open expanse of rural North Carolina. This countryside nurtures my being. As my body falls into the familiar rhythms of walking\, I perceive my connection to a place where I am at home. Exterior spaciousness lays a pathway to interior spaciousness and I wonder\, what spaces do I also traverse within? And how do I cultivate an interior landscape as resonant\, generative and generous as the land comprising my home? The paintings in Influence + Conversation engage these questions.” \nIsabelle Abbot’s work\, grounded in direct observation of her surroundings in central Virginia\, distills the essence of her environment into compelling oil on canvas compositions. Her paintings communicate the textures\, colors\, and atmosphere of specific moments in the landscape\, inviting viewers to experience her connection to a place. \nAbbot credits Barbara Campbell Thomas with a lasting impact on her studio practice\, writing: “From Barbara\, I learned the importance of taking visual notes. Of always observing and pulling from your surroundings to build a visual vocabulary\, an alphabet of your own unique way of seeing and capturing the world. I remember that Barbara walked a lot on the country roads and through the fields around her home and would jot down things she noticed\, accumulating marks and information to take back to the studio. In my work now\, I see repeating lines\, marks\, and combinations of colors that have evolved directly from my own experience of my environment\, my own deep noticing of the world around me. All I can bring to the table that is new and fresh in the dialogue of painting is myself\, my unique way of seeing and translating that seeing into paint.” \nBarbara Campbell Thomas is the Director of the School of Art at UNC Greensboro. She received her BFA from Pennsylvania State University\, her MFA from the University of California at Berkeley\, and has studied at the Yale Summer School of Art and Music. Her work has been featured in significant publications including Art Papers\, Two Coats of Paint\, and Burnaway\,  and she has attended prestigious residencies including the Skowhegan School of Painting and Sculpture\, the Elizabeth Murray Artist Residency in Granville\, New York\, and the Virginia Center for Creative Arts in Mount St. Angelo\, Virginia. The artist’s work has been exhibited at noteworthy galleries and museums\, including at the Weatherspoon Art Museum and the North Carolina Museum of Art. \nIsabelle Abbot received her BFA in Studio Art from the University of Virginia in 2005 and her MFA in Painting from the University of North Carolina\, Greensboro in 2011. In 2011\, Abbot returned to Virginia to teach as an adjunct faculty member at the University of Virginia through 2013\, and has been a visiting lecturer at Bridgewater College. She has attended esteemed residencies in the US and internationally\, including the Crawford College of Art and Design in Cork\, Ireland and the Virginia Center for Creative Arts in Mount St. Angelo\, Virginia. Abbot’s work can be found in important collections both public and private. \n \n \n \n \n \n \n\nPlease enable JavaScript to view the artwork. URL:https://www.lydmgallery.com/events/barbara-campbell-thomas-isabelle-abbot-influence-conversation/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/Tile-for-website-16-x-9-in-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240504 DTEND;VALUE=DATE:20240701 DTSTAMP:20260504T082246 CREATED:20240312T142716Z LAST-MODIFIED:20240701T231226Z UID:33347-1714780800-1719791999@www.lydmgallery.com SUMMARY:Dean Dass: Passenger Manifest DESCRIPTION:Exhibition WorksInstallation ShotsPress Release\n \n \n \n \n \n \n \n \n\n\n \nPlease enable JavaScript to view the artwork. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Dean Dass received his B.A. from the University of Northern Iowa\, where he studied art\, philosophy and anthropology\, and his M.F.A. from The Tyler School of Art at Temple University. For 35 years\, Dass taught studio art at the University of Virginia (1985-2020)\, receiving the All-University Teaching Award in 2003\, for which he was nominated by students. \nDass’s works have been exhibited and collected by important institutions nationally and internationally. Among others\, these include the Brooklyn Museum\, where he has been invited to participate in three National Print Invitational Exhibitions\, and the international triennial exhibition\, Graphica Creativa\, Jyväskylä\, where he was the recipient of a Juror’s Prize. His works have been included in important juried and invitational exhibitions at museums in Poland\, Brazil\, England\, Finland\, the Netherlands\, and Egypt\, as well as in many university and private galleries in the US and abroad. He was the recipient of the State of Pennsylvania Arts Council Individual Fellowship\, the State of Virginia Commission for the Arts Printmaking Prize\, the State of Virginia Commission for the Arts Individual Fellowship\, the Virginia Museum of Fine Arts Individual Fellowship\, and multiple research grants and fellowships from the University of Virginia. \n  \nAbout this exhibition\, art historian Victoria Beck Newman writes: \n ‘Passenger Manifest\,’ the title of Dean Dass’s new exhibition at Les Yeux du Monde\, provides an important key to the artist’s entire body of work. There are grand landscapes transfigured by glowing orbs of light\, works on paper depicting delicate\, gilded outlines of nude figures floating within stained clouds of soft colors and glittering air\, and collages featuring symbolic entities such as birds\, tents\, fireflies\, and helmets\, which appear in invented but strangely familiar sky spaces. Assembled books in which ancient narratives of human history are retold on handmade pages bearing storied imagery and cribbed ciphers add another powerful component to the exhibition. To look at Dass’s art in this show is to find your name on that list of voyagers. \nEvery aspect of Dass’s inspiration and process – what he calls his “constellation of factors” – is present in these new pieces\, which collectively represent the cosmic expedition in which we all participate. His unorthodox practice yields work which queries many and diverse realms of knowledge through natural base components such as plants\, dirt\, water\, oils\, and minerals – materials that are proximate in the world. Where these investigations often lead\, however\, is not near to us\, at least not in a physical way. Glimmerings of something beyond the material present – an interior space of self\, the mysterious sublime\, and other distant worlds – the space of Dass’s “eternal” – manifest through fragile figures depicted in vulnerable contexts\, sudden\, startling flares of orange light in a deeply blue oil field\, and the inexorable spread of animate clouds across a large\, layered ground of wax\, paint\, paper\, and board. \n‘Passenger Manifest\,’ the show’s title piece\, is characterized by soft color washes and elegant figuration transposed over rich layers of handmade paper. Yet the lyrical beauty of floating bodies and clouds is belied by a dark and epic dissonance. The pervasive sense of the miraculous and sublime is countered by an undercurrent of chaos\, yearning\, confusion\, and loss. In this work\, a collective of figures and forms emerge across what the artist recognizes as “the dispersed field\,” a space of fragments and parts where\, as Dass has said\, “nothing adds up anymore.” These cosmic wanderers (we) are related to drawn images of a young pilot based on a tiny action figure toy who is not in control of his ship and whose trajectory is unknown. The birds\, helmets\, and clouds of other works suggest the poignant and perhaps incompatible juxtaposition of human aspiration and vulnerability with the need for protection from what we and the universe at large are manifesting in the present time. As Dass notes\, “Even the idea of looking\, looking up\, into the future\, as it were… that’s the human predicament\, and we’re all just passengers.” \n  \nDass began working with LYDM founder Lyn Bolen Warren in 1985 and has been an integral part of Les Yeux du Monde’s program for nearly forty years. It would be impossible to overestimate his contributions to our gallery\, the Charlottesville art community\, the University of Virginia\, and the broader mid-Atlantic cultural scene. It is an honor and privilege to host this twelfth solo exhibition of his work at LYDM. \n  URL:https://www.lydmgallery.com/events/dean-dass/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/DeanDass_LYDM2024-1131-2-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240203 DTEND;VALUE=DATE:20240423 DTSTAMP:20260504T082246 CREATED:20240117T143417Z LAST-MODIFIED:20240423T142217Z UID:33176-1706918400-1713830399@www.lydmgallery.com SUMMARY:UKAPALIMIN: ETI KO ETI: RESILIENCE: Stories from the Torres Strait DESCRIPTION:Press ReleaseExhibition WorksInstallation Shots\n \n \n \n \n \n \n \n Alongside the Fralin Museum of Art\, the Kluge-Ruhe Aboriginal Art Collection\, the University of Virginia\, and Second Street Gallery\, Les Yeux du Monde is pleased to participate in Charlottesville’s 2024 Indigenous Art Takeover. \nIn partnership with Badu Art Centre\, Erub Arts and Moa Arts\, Les Yeux du Monde presents UKAPALIMIN: ETI KO ETI: RESILIENCE: Stories from the Torres Strait. The exhibition brings together the three Indigenous Art Centres from Badu Island\, Erub Island and Moa Island in the Torres Strait\, Australia for their first joint international exhibition. \nThe people of the Torres Strait\, or Zenadth Kes as it is locally known\, are a distinct cultural group within the Indigenous populations of Australia\, with unique Melanesian languages\, dialects and cultural traditions. Nestled in the sea lanes separating mainland Australia from Papua New Guinea\, the Torres Strait has been an important trading route for centuries and a bridge between two cultures. \nUKAPALIMIN: ETI KO ETI: RESILIENCE speaks to the personal experiences of Torres Strait Islanders expressed in three different languages: Kala Lagaw Ya from the Western Islands\, Meriam Mir from the Eastern Islands\, and English\, the language of the colonizer. \nThe notion of resilience is important for the exhibiting artists of each island\, whose cultural histories are marked by a determination to stay strong in the face of adversity. While societal and industry shifts including growth of pearling industry\, the bêche-de-mer trade\, the building of Australia’s northern rail network\, and the fishing and crayfish industry have been sources of pride for the people of the Torres Strait and inspiration for the work in this exhibition\, they also represent a backdrop for the fight to maintain possession of traditional lands and ways of life in the face of advancing modernity. \nThe works in this exhibition reflect another important aspect of Torres Strait cultural identity: a visual tradition that is constantly changing and redefining itself through an engagement with the world around it\, all the while remaining true to its Melanesian origins. Printmaking\, for instance\, has been one of the dominant artforms in the Torres Strait for the last thirty years\, originating with traditional turtle shell and wood carving practices. The transition of Torres Strait artists to lino cutting and printing on paper was a natural progression into contemporary artmaking that elevated the minaral\, a Kala Lagaw Ya word meaning the individual design elements or marks\, to new heights. \nThe lino print works from Badu Art Centre are examples of this progression. In these pieces\, the artists’ hand can be seen through the styles of marks that are made\, and an artist can be identified by their marks. Within this tradition\, minaral represents both the individual mark and the overall pictorial space. The patterns themselves do not harbor specific interpretative meanings\, but serve as versatile graphic devices\, offering varied textures and suggesting elements like winds\, water\, rain\, or clouds based on the diversity of mark-making approaches. \nRecent movement into monoprinting by Moa Arts’ artists has advanced the evolution of the Torres Strait Islanders’ print tradition through the creation of vibrant\, one-of-a-kind prints. This exploration has introduced innovative methods for showcasing traditional minaral elements within a color field. These works\, rendered on both paper and canvas\, combine a range of sophisticated printmaking practices developed by the artists over many years. Notably\, this includes the pioneering use of kaideral\, a technique wherein ink is directly applied onto the lino plate using a muslin or tarlatan ball\, yielding a rippled effect upon transfer to the paper. Literally translated\, kaideral refers to the shimmering surface of water or light dancing on its surface\, and can subtly convey the presence of spiritual or natural forces. \nFor many years\, Erub Arts’ artists have worked individually and collaboratively to create intricate ghost net weavings. Utilizing discarded fishing nets and commercial lines found drifting in their coral reefs\, these artworks serve a dual purpose: drawing attention to the issue of marine waste\, and honoring the historical significance of pearling and fishing industries. For this exhibition\, the artists of Erub Arts present a suspended sculpture measuring approximately 7 x 12 feet. This piece references the region’s pearl diving legacy and pays tribute to the traditional lugger boats\, which have been central to the area’s way of life since the early 20th century. \nWhile Indigenous art has been increasingly recognized on a global stage over the last fifty years\, the idea that art should ‘stand on its own’ is a uniquely western construct that does not always sit easily within Indigenous forms of cultural expression. For Torres Strait Islanders\, visual art is an interconnected thread with their identity\, along with language\, song\, stories\, dance\, and other forms of expression. To consider the visual traditions of a culture in isolation is to uncouple it from those aspects of culture that give it its strength\, its value and its meaning. Yet in UKAPALIMIN: ETI KO ETI: RESILIENCE: Stories from the Torres Strait\, these works will stand on their own\, each piece serving as a testament to the fortitude of the people of the Torres Strait\, and reflecting a strong aspect of Torres Strait culture: a visual tradition that is constantly expanding and evolving through an engagement with the cultural influences around it\, while staying true to its origins. \n \n \n \n \n \n \n \nPlease enable JavaScript to view the artwork. URL:https://www.lydmgallery.com/events/ukapalimin-eti-ko-eti-resilience-stories-from-the-torres-strait/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/839-23-1-jpg.webp END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20231111 DTEND;VALUE=DATE:20231221 DTSTAMP:20260504T082246 CREATED:20231024T143236Z LAST-MODIFIED:20240104T191239Z UID:32877-1699660800-1703116799@www.lydmgallery.com SUMMARY:Annie Harris Massie: Fleeting DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n \n \n \n \n \n \n \n \n\nPlease enable JavaScript to view the artwork.\n \n \n \n \n \n Les Yeux du Monde is pleased to announce its last show of 2023: Fleeting\, an exhibition of new work by longtime gallery artist Annie Harris Massie. \nThe masterful oil and encaustic works for which Annie Harris Massie is known are an homage to the enigmatic quality and transformative nature of light\, her ultimate subject matter. The artist’s  new body of work represents an even deeper exploration into the ephemeral\, transitory\, and elusive facets of light. \nMassie’s oil landscapes were developed from small en plein air studies\, when\, according to the artist\, “the light was ever changing and the feeling of catching momentary\, fleeting glimpses was pressing.” The artist’s fascination with the dematerializing and transfiguring effects of light is evident in these works. Massie notes\, “I’m interested in the way light reveals\, obscures\, and dissolves form. Light is more interesting to me than the more tangible subject matter of landscapes like trees and fields.” \nAccompanying her oil paintings in Fleeting are oil and encaustic works on panel\, which depict elements taken from the natural world: cut flora and fauna. These pieces more closely resemble still lifes than landscapes\, yet again illustrate Massie’s remarkable ability to capture the way light abstracts and dissipates the forms of her subjects. \nMaterial concerns are also evident in Massie’s work. She notes\, “I like the contrast between the fragility of the flower/plant material and the monumentality of the large panel\, the feeling of permanence\, preservation\, and plasticity that oil paint and encaustic bring to the work.” Through her deft manipulations of the material substances of oil and encaustic\, she beautifully reveals the immaterial\, ephemeral\, fleeting nature of light. \nAnnie Harris Massie received her B.A. in Studio Art from Hollins College and M.A. in Art History from Virginia Commonwealth University. Her works grace numerous significant private and public collections\, including that of the Boars Head Resort\, Dominion Energy\, the Federal Reserve Bank in Richmond\, and the Bank of the James in Lynchburg among others. URL:https://www.lydmgallery.com/events/annie-harris-massie-fleeting/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/Trees-Along-Opossum-Creek-Early-April-Afternoon-2023.-Oil-on-canvas-48-x-60-scaled.webp END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230915 DTEND;VALUE=DATE:20231030 DTSTAMP:20260504T082246 CREATED:20230918T161200Z LAST-MODIFIED:20231112T212455Z UID:32269-1694736000-1698623999@www.lydmgallery.com SUMMARY:Susan McAlister: Canopy DESCRIPTION:Press ReleaseExhibition WorksInstallation Shots\n \n \n \n \n \n \n \n Les Yeux du Monde is thrilled to announce Canopy\, an exhibition of new work by celebrated gallery artist Susan McAlister. Guided by a profound reverence for the natural world\, Susan McAlister’s work speaks to the sacred nature of place and the layered histories of a given site. \nMcAlister’s process\, deeply rooted in the tradition of en plein air\, begins outdoors as she sketches\, paints\, and collects artifacts\, which then inform her studio practice. Found materials from the outdoors in her Canopy works include: charcoal left from a wildfire\, soil from several significant historic sites\, feathers\, insects and shapes taken from a myriad of storm-felled trees. \nThe multidimensional assemblages McAlister makes with these found artifacts become both beautiful artistic expressions and captivating records of the places that inspired them. The artist’s abstract works are similarly conceived and grounded\, beginning with forms she gathers from the outdoors. Dances of color and shape\, these pieces evoke the patterns\, rhythms\, and motion of nature\, and communicate the essence of the places from which they came. In her richly layered and textured landscapes\, McAlister conveys the interplay of color\, light\, and atmosphere in ways that foster profound appreciation for the natural world. \nPer the artist\, “This exhibition\, ‘Canopy’ is an ‘ode’ to forests past and present. It considers the majesty of an uncut or virgin forest; the wonder of regeneration; the tragedy of an untamed wildfire… I am continually astonished by nature and the sanctuary it provides my heart\, mind and soul. It seems important in the light of the global climate shifts occurring all around us to honor these treasured but fragile spaces.” \nSusan McAlister earned her B.A. from Davidson College\, where she studied alongside numerous esteemed artists including Herb Jackson and Eric Aho. In the coming months\, she will be exhibiting in Homecoming\, a show of work by distinguished alumni artists at Davidson College on view from October 12 – December 7\, 2023. Her work can be found in significant public and private collections throughout the US. \n \n \n \n \n \n \n\nPlease enable JavaScript to view the artwork. URL:https://www.lydmgallery.com/events/susan-mcalister-canopy/ LOCATION:VA CATEGORIES:Exhibition END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230708 DTEND;VALUE=DATE:20230828 DTSTAMP:20260504T082246 CREATED:20230913T193842Z LAST-MODIFIED:20240108T174311Z UID:32222-1688774400-1693180799@www.lydmgallery.com SUMMARY:Monica Angle\, Heather Beardsley\, Michelle Gagliano\, Kris Iden: Organic Matter DESCRIPTION:Press ReleaseExhibition WorksInstallation Shots\n \n \n \n \n \n \n \n Les Yeux du Monde is pleased to present Organic Matter\, an exhibition of new work by Monica Angle\, Heather Beardsley\, Michelle Gagliano\, and Kris Iden. Each of these artists contemplates the natural world from a distinct point of view in their work\, often allying subject with medium through the use of natural materials. \nMonica Angle’s artistic practice combines painting and printmaking techniques to evoke the feeling of particular natural locales or topographies. Grounded in Angle’s observations of the physical world\, her interpretative landscapes also rely on personal memories and apoetic imagination to convey her experience of a place. Beginning with monoprint processes\, the artist first applies watercolor paint to glass\, which she transfers onto paper\, fabric\, or wood panels. Through the repetition of this process\, color is built up and its component watery traces as it moves across the glass plate are captured\, creating a visual map of its motion\, pathways\, and clearings that suggest alandscape. Angle received her undergraduate degree from Harvard\, an M.S. in Geography from Pennsylvania State University\, and did her graduate work in Printmaking and Bookmaking at the Minneapolis College of Art and Design. She has exhibited works extensively\, including in solo exhibitions at the Burchfield Penney\, SUNY Buffalo State\, and the Fralin Museum of Art. Her artwork can be found in notable collections private and public\, including that of the Burchfield Penney. \nHeather Beardsley’s interdisciplinary practice bridges the realms of art and science. Playing with scientific display conventions\, the artist imitates the style of high-tech visualizations such as spectrographs and 3D printing through low-tech craft media like modeling clay\, cyanotypes\, and embroidery. Beardsley’s artwork raises important questions about the impact of industrialization on the natural world and explores the concept of ruins and abandoned structures as agents of intergenerational communication. Per Beardsley\, “Looking at my work\, I want people to ask: Can the damage we’ve done be reversed? What will the world look like without us? And how long will evidence of our civilizations remain?” Heather Beardsley holds a B.A. in Studio Art from the University of Virginia and an M.F.A. in Fiber and Material Studies from the School of the Art Institute of Chicago. She has shown work nationally and internationally\, including exhibitions at Science Gallery Dublin\, Museo del Traje in Madrid\, the Virginia Museum of Contemporary Art\, and Museum Rijswijk in the Netherlands. She has a solo exhibition at the Chrysler Museum in Norfolk\, Virginia on view June 30 – October 29\, 2023. \nMichelle Gagliano’s abstract paintings give shape to the forces of nature through strong expressive movements. Underlying the powerful sense of the elemental in her work is her devotion to a wholly natural studio practice\, where she has eliminated the use of all toxic materials. Instead\, the artist employs only paint she creates from pigment and organic matter including eggs\, vinegar\, clove\, walnut\, and lavender oils\, along with gold metal. Gagliano received her B.A. from Plymouth State University in New Hampshire and her M.F.A. from American University in Washington D.C.. She has exhibited extensively throughout the US\, Europe\, and Asia\, and her work can be found in important public and private collections\, including those of the Burchfield Penney\, the Gordon Ramsey Corporation\, and The Manes Hotel in Prague. Gagliano is currently preparing for a 2024 solo exhibition at the Casa Raffaello\, a museum in Urbino\, Italy that is the birthplace of Raphael\, where she will exhibit contemporary works made with the same natural paint “recipes” that Raphael used in the Italian Renaissance. \nKris Iden’s intaglio prints and encaustic drawings capture the intricate beauty and fragility of the natural world. A years-long investigation of formal and material concerns in intaglio printing has led the artist to both complexity and reduction in her work. Numerous etching plates are often used in a single work to layer compositional elements and interweave structure with metaphor. Fragments of poetic verse metamorphose into natural landscape elements as they float within the visual space of Iden’s intaglio prints. In her encaustic works\, the beeswax evokes a harmonious union between the organic and the ethereal\, and also serves as a natural preservative for the artwork itself. Kris Iden received her B.A. from Virginia Commonwealth University in Fine Arts\, Printmaking and Painting\, and received her M.F.A. from VCU in Printmaking. She has been the recipient of multiple awards including a prestigious 6-week residency in Denkmalschmiede Höfgen\, Germany\, and her artwork graces significant private and public collections\, including those of Hollins University and Mary Baldwin College. \n \n \n \n \n \n \n \n \n \n \n \n Installation shots coming soon. URL:https://www.lydmgallery.com/events/monica-angle-heather-beardsley-michelle-gagliano-kris-iden-organic-matter/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States CATEGORIES:Exhibition END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230513 DTEND;VALUE=DATE:20230626 DTSTAMP:20260504T082246 CREATED:20230709T164226Z LAST-MODIFIED:20240108T175101Z UID:30692-1683936000-1687737599@www.lydmgallery.com SUMMARY:Meg Hitchcock\, Dorothy Robinson\, Kurt Steger: Axis Mundi DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n \n \n \n \n \n \n \n \n \nPlease enable JavaScript to view the artwork. \n \n \n \n \n \n \nLes Yeux du Monde is pleased to present Axis Mundi\, an exhibition of new work by New York-based artists Dorothy Robinson\, Kurt Steger\, and Meg Hitchcock. The exhibition will run from Saturday\, May 13th to Sunday\, June 25th\, with an opening reception taking place on Saturday\, May 13th from 4-6pm. \nAxis Mundi\, a Latin term referring to the cosmological axis of the Earth between the celestial poles\, is a recurring and important trope in the history of art representing the conceptual connection between the higher and lower realms. As a symbolic link between Heaven and Earth\, it is often understood as a reference to the sacred. This notion finds relevance in each of the exhibiting artists’ work: Robinson’s paintings\, Steger’s sculpture\, and Hitchcock’s text-based mixed-media pieces. \nDorothy Robinson’s imaginative oil landscape paintings invite viewers to see and appreciate the natural world in new ways. Her mesmerizing compositions suggest a world coming into being. Characterized by swirling brushwork\, rich texture\, and vibrant colors\, some of them made from powdered pigments of earth and rocks themselves\, Robinson’s works invoke the organizing role of the Axis Mundi\, the means by which cosmic order is imposed upon primordial chaos. Her approach to painting is intuitive and open-ended\, resulting in fantastical imagery that echoes\, in her words\, the “larger\, invisible forces constantly at work in the world.” Dorothy Robinson holds an M.F.A. from UC Berkeley\, has exhibited at museums and galleries throughout the US\, and has won many awards for her art\, including one from the Pollock Krasner Foundation. \nKurt Steger’s striking sculpture represents a fusion of his interests in shamanism\, Western psychology\, and environmental issues. In his Environmental Structures\, Steger juxtaposes organic materials like found rock with geometric man-made forms\, inviting viewers to reflect on humanity’s relationship with the natural world. If these pieces lead viewers to consider the ground below\, his Outdoor Sculptures encourage us to consider what’s above. In the latter\, compositions of angular forms reach heavenward\, connecting earth with sky. As part of this exploration of the link between the above and the below\, Steger has hosted noteworthy interactive sculpture and healing ceremonies\, including one at the Smithsonian Institute in Washington D.C. honoring the ten-year anniversary of 9/11. Steger has had work commissioned for public spaces in California and New York\, has been the recipient of awards including a grant from the New York Foundation for the Arts\, and has work in significant museum and private collections nationally and internationally. \nMeg Hitchcock is known for text-based work that explores spirituality\, language\, and faith systems\, and invites us to consider how these structures shape our experience of the world. Methodically cutting letters from one sacred text to create intricate compositions that form the writings of another\, Hitchcock creates space for the consideration of multiple religious traditions at once\, and asks whether their essential meanings might be the same. In her latest work\, Hitchcock combines sacred texts with painting\, sewing\, and burning\, incorporating visual elements and shadows that represent a diversity of perspectives and light sources in dialogue with the text in her pieces. Per Hitchcock\, “In the process of deconstructing and reconstructing sacred texts\, I found a way to express my deep reverence for the word of God.” Hitchcock received her B.F.A. from the San Francisco Art Institute and studied classical painting in Florence\, Italy. She has been awarded prestigious residencies throughout the US\, most recently at the Foundation for Spirituality and the Arts in Charleston\, South Carolina\, where she was the artist-in-residence in fall of 2022. Her work can be found in important public and private collections in the US and abroad. \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n *** URL:https://www.lydmgallery.com/events/axis-mundi/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States CATEGORIES:Exhibition END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230311 DTEND;VALUE=DATE:20230501 DTSTAMP:20260504T082247 CREATED:20230516T123732Z LAST-MODIFIED:20240108T175225Z UID:30621-1678492800-1682899199@www.lydmgallery.com SUMMARY:Russ Warren: The Denial of Death DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n \n \n \n \n \n \n \n \n\nPlease enable JavaScript to view the artwork.\n \n \n \n \n \n Les Yeux du Monde is pleased to present a solo exhibition of new work by Russ Warren\, The Denial of Death\, which will run from March 11th to April 30th\, 2023. \nThe title of Warren’s exhibition pays homage to the existentialist philosopher\, Ernest Becker\, and his book of the same name. Becker’s critique examines global perspectives on the subject of the human condition. He focuses in particular on different ideas surrounding mortality\, such as the construction of social shields against the reality of human vulnerability in an impassive universe\, and explores the relationship of madness and creativity in the revelation of “truth\,” notions Warren has pondered in his art throughout his career. These ideas have acquired a special resonance in his recent work in which he grapples with the loss of his wife and Les Yeux du Monde gallery Founder and Director\, Lyn Bolen Warren. \nWarren has long been inspired by Spanish masters Velázquez\, Goya\, and Picasso. The influence of Mexican artist Rufino Tamayo is also evident in his work. Still\, he has carved a path uniquely his own\, using dramatic color and line and wild variations in scale and shadow to depict his subjects in emotional and often humorous ways. \nIn this new body of work Warren takes a soberer and\, at times\, edgier\, tone. At the heart of this exhibition is the artist’s attempt to come to grips with the brutal irruption of death into life\, even as he explores existentialist concepts of mortality. The inevitable presence of death in life is something Warren has alluded to in previous work. His paintings of the 1980s\, in which strange angular figures populate precipitous border spaces of bright tilting grounds and dark plunging canyons\, suggest the unsettling proximity of the realms of life and death\, as do the works of his vibrant Magic Mountain series (2008-2013)\, starring expressive\, animated skulls. Arising out of the starkly dramatic landscape and cultural traditions of his native Southwest\, the earlier works allude to the existence of death in a kind of off-hand\, natural\, and often funny way. \nIn Warren’s new paintings\, death’s presence cuts closer to the bone. Conceived in the months following the loss of his beloved partner\, in these works the artist conveys the disorientation and dissolution wrought by death’s agent\, grief. He reduces himself to a gaunt aural entity in The Scream II and appears as broken and exposed on a spiraling wheel in High Anxiety. In some paintings\, he seems to have entered death’s realm himself: in A Good Man’s Dilemma\, a figure leaps from the high mountains into dark\, empty blue air. In other paintings the artist/subject is tellingly accompanied by a female partner who appears to suffer with him\, their shared anguish reflecting their love for one another\, even as she separates from him as in Jacob’s Ladder: The Fall from Grace. The artist makes the images in the absence of the muse but somehow the muse is there as a loving collaborator all the same. A series of smaller portraits depicting her in various attitudes reinforces our sense of her presence. Death may be inevitable\, but in Warren’s grief-stricken images it acquires a porousness with life: in The Denial of Death\, he paints himself amid the rocks and cacti of his birthplace gazing at the beautiful Lyn poised against a starry cosmos. In Warren’s work\, the space of death is vitalistic. \nRuss Warren was born in Washington\, DC in 1951\, grew up in Houston\, Texas and began his training as an artist at the University of St. Thomas\, Houston in 1969. He received his BFA in 1973 from the University of New Mexico\, his MFA in 1977 from the University of Texas in San Antonio\, and taught painting and printmaking at Davidson College from 1978 – 2008. \nWarren has exhibited work widely throughout the United States and abroad\, including in such prestigious exhibitions as the Venice Biennale and the Whitney Biennial\, as well as at the North Carolina Museum of Art\, the Mint Museum\, SECCA\, and the Hickory Museum of Art. His work is included in numerous important public and private collections\, including that of the New Orleans Museum of Art\, the Mint Museum\, the Gibbes in Charleston\, the Virginia Museum of Art and the North Carolina Museum of Art. Warren’s work has been reviewed in important publications including The New York Times\, Arts Magazine\, and Art in America\, and by critics including Roberta Smith\, Carter Ratcliff\, Barry Schwabsky\, and Donald Kuspit. URL:https://www.lydmgallery.com/events/russ-warren-the-denial-of-death/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230114 DTEND;VALUE=DATE:20230227 DTSTAMP:20260504T082247 CREATED:20230314T024259Z LAST-MODIFIED:20240108T175722Z UID:30573-1673654400-1677455999@www.lydmgallery.com SUMMARY:Janet Bruce: Locus Amoenus DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n \n \n \n \n \n \n \n \n\nPlease enable JavaScript to view the artwork.\n \n \n \n \n \n Les Yeux du Monde is pleased to present its first show of 2023\, Locus Amoenus\, a new body of work by Janet Bruce. \nJanet Bruce’s new work began in the time of isolation brought by covid\, during which she embarked on an extensive\, near-obsessive color exploration. 360 color studies emerged from this period\, many of which are included in a 160-inch-tall installation in her exhibition at LYDM. Her wall installation offers a joyful history of our cultural fascination with color. With a nod to the long-ranging influence of color theorists Johann Wolfgang von Goethe and Eugène Chevreul\, Bruce engages in a visual discourse with modern colorists ranging from Vincent van Gogh\, Henri Matisse\, Paul Klee\, Mark Rothko\, Joan Mitchell to the contemporary work of Gerhard Richter\, Stanley Whitney and even the design team at Pantone. A chromatic tour de force\, the scale and brilliance of this installation is flooring. \nDuring this time of creative development\, Bruce balanced her rigorous investigations of color  with quiet\, meditative walks in the woods. Rooted in place\, and especially inspired by Nicholas Poussin’s and Cy Twombly’s respective interpretations of the four seasons\, she composed her own visual odes to nature’s seasons. Combining sequences of layered colors with the gestural line for which she is known\, Bruce taps into the expressive aspects of the natural world in sometimes lyrical and other times powerfully dramatic ways. \nPer Bruce\, “The title for this body of work is Locus Amoenus – meaning an idealized place of safety and comfort\, for me in the studio\, pushing limits of color relationships into abstract realities.” The locus amoenus is also understood as a pleasant natural space in a literal sense–a forest or garden\, for example–that often manifests in a metaphoric way as an unrestricted state of being where feeling and imagination have free reign. Bruce’s show is aptly named. \nJanet Bruce received her B.A. in studio art from Amherst College\, where she studied with Abstract Expressionist Grace Hartigan\, and also studied at the Art Institute of Boston and the Corcoran in D.C. with William Christenberry. Born in Washington\, D.C.\, Bruce’s early influences include the Washington Color School and the modernist paintings at the Phillips Collection\, where she worked for 10 years after graduating college. Bruce has been awarded prestigious residencies nationally and internationally\, most recently at Moulin à Nef\, the VCCA residency in Auvillar\, France. Her work can be found in important public and private collections in the US and abroad. URL:https://www.lydmgallery.com/events/janet-bruce-locus-amoenus/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20221118 DTEND;VALUE=DATE:20221223 DTSTAMP:20260504T082247 CREATED:20221226T193522Z LAST-MODIFIED:20240108T180110Z UID:30442-1668729600-1671753599@www.lydmgallery.com SUMMARY:Richard Crozier & David Hawkins: Perspectives on Place DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n \n \n \n \n \n \n \n \n\nPlease enable JavaScript to view the artwork. \n \n \n \n \n \n Les Yeux du Monde is thrilled to announce its last exhibition of 2022\, Richard Crozier and David Hawkins: Perspectives on Place\, opening Friday\, November 18th and running through Thursday\, December 22th. \nWorking in the plein air tradition\, Richard Crozier is widely recognized for his work painting vanishing land and cityscapes. His recent paintings are scenes much closer to home than those of the past\, and many serve as visual time stamps of rapidly-changing Charlottesville vistas. Yet Crozier does not make a statement so much as evoke a feeling and a sense of the particularities that define a specific place. As he notes\, “My concerns are about painting\, not about narrative… I want the act of looking and the process of choosing among the myriad bits of information the eye receives and the mind processes to be useful and interesting to others as well as to me. \nDavid Hawkins\, on the other hand\, constructs scenes in his monotypes and paintings that evoke dream-like spaces rather than alluding to an actual place or time. Per Hawkins\, “I tend to think of myself as an image maker or craftsman rather than artist: I make pictures that tell stories or parts of stories. All my work is inspired by a massive messy library of half-forgotten poems and stories that revolve around the unseen\, mystic\, ghostly\, and forgotten… While I don’t set out to depict specific places\, I celebrate the specificity that fuels the associative and emotional engines of the representational tradition.” \nWhile presenting different perspectives on place\, the works of Crozier and Hawkins both offer viewers stirring meditations on space and time. \nRichard Crozier earned a BFA from the University of Washington in Seattle and an MFA in painting at the University of California\, Davis\, where he studied with Wayne Thiebaud\, Roy de Forest\, William T. Wiley and Robert Arneson. He began teaching at the University of Virginia in 1974\, where he was a beloved professor of art for over 36 years\, and his work can be found in private and public collections including the J.B. Speed Museum\, Louisville\, KY\, and the Southeastern Center for Contemporary Art in Winston-Salem\, NC. \nDavid Hawkins received his BA from Middlebury College\, his MFA from The Pennsylvania Academy of the Fine Arts\, and studied at Slade School of Fine Art\, New Orleans Academy of Fine Art\, and the University of Virginia. He has exhibited paintings and prints nationally and internationally\, and his works are held in public and private collections including the Emily Couric Cancer Center at the University of Virginia\, Dominion Energy\, Boar’s Head Resort\, and the University of Louisville. URL:https://www.lydmgallery.com/events/perspectives-on-place/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20220924 DTEND;VALUE=DATE:20221031 DTSTAMP:20260504T082247 CREATED:20221108T121502Z LAST-MODIFIED:20240108T180153Z UID:30158-1663977600-1667174399@www.lydmgallery.com SUMMARY:David Summers: Bright Lines DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n \n \n \n \n \n \n \n \n\nPlease enable JavaScript to view the artwork.\n \n \n \n \n \n Les Yeux du Monde is pleased to announce Bright Lines\, an exhibition of new work by David Summers\, which opens Saturday\, September 24th and runs through Sunday\, October 30th. \nCelebrated artist and distinguished art historian\, David Summers holds a B.A. from Brown University and a Ph.D. from Yale University. He was the William R. Kenan\, Jr. Professor of Art Theory and Italian Renaissance Art at the University of Virginia from 1984 – 2015\, before which he taught at Bryn Mawr College and the University of Pittsburgh. Summers was elected to the American Academy of Arts and Sciences in 1996 and has written multiple groundbreaking books. Among others\, these include the influential\, 700+ page\, Real Spaces: World Art History\, and his more recent manifesto for the Louvre Abu Dhabi\, A World Vision of Art. \nIn addition to his vast knowledge of art history and philosophy\, Summers’s work is informed by his masterful understanding of light and color. Per Summers\, “If I paint a glass of water on a white table against a white wall—which I have often done–my fresh canvas is titanium white\, and both the glass and the water it contains are transparent.  Of course\, everything we call “white” is not the same\, and even glasses of water cast shadows.  So far my painting is a surface of slightly contrasting whites\, and my glass is defined by the edge of one of these shapes. Manet (as I recall) said that there are no lines in nature\, and what a line drawn around the edge of the shape represents is the surface of the glass as it turns away from me and into the virtual space of a painting.  Understood in this way\, no two “lines” are the same color; instead each contour is a dense compression of refractions and reflections.  Over the years\, I learn to see the colors in formative contours\, which thus take their place in an unbroken field of light and color.  As I paint I also find the pigments and mixtures that let me most closely approximate the colors I see.  As I assembled the paintings for this show it struck me that the study of colors mingled and concentrated in contours had increased my ability to see colors in the forms they bounded and in the shadows of these forms.  Paintings might thus be said to be made up of double qualia\, the colors I seem to see and the pigments that seem to match them.  Out of all this subjectivity\, however\, the world takes shape\, a world absolutely personal but visible to everyone.  What is common is the light in which everything and everyone appears.  This light is not governed or legislated by my perspective or point of view.  The world represented as color is adjunct to feelings and associations of all kinds\, to something as open to endless invention as music.” URL:https://www.lydmgallery.com/events/david-summers-bright-lines/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20220709 DTEND;VALUE=DATE:20220828 DTSTAMP:20260504T082247 CREATED:20220914T144345Z LAST-MODIFIED:20240108T180302Z UID:29950-1657324800-1661644799@www.lydmgallery.com SUMMARY:Isabelle Abbot: Convergence DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n \n \n \n \n \n \n \n \n\nPlease enable JavaScript to view the artwork.\n \n \n \n \n \n In her new paintings\, Abbot explores those places where differing topographies come together: where mountains meet piedmont and cultivated land disappears into the wilderness. Per Abbot\, “The tension these convergences create intrigues me both visually and emotionally. They reveal the shape of the land\, they open our awareness of where we fall in our environment. Capturing where one space shifts into another highlights the truths of both.” Her representations of the convergent space where physical changes take place also serve as meditations on the transformations occurring within the interior landscape of the psyche. \nLike Paul Cézanne and Joan Mitchell\, who sought to convey the essence of their own natural habitats through the visual distillation of elements in the physical world\, Abbot’s poetic landscapes are inspired by the beauty of central Virginia. Through direct observation of her environment\, the paring down of extraneous detail\, and subsequent reconstruction on canvas of what is essential about a locale\, Abbot invites viewers to reflect on their own sense of place and the land that defines\, nourishes and heals us. \nThe beauty in Abbot’s work also reminds us that the earth is our greatest gift and protecting it is our greatest responsibility. Abbot and LYDM will be donating 5% of the proceeds from this exhibition to The Citizens Climate Lobby (CCL)\, a bipartisan organization combating climate change that is near to the artist’s heart. CCL promotes policy that puts a price on carbon to help systemically limit emissions and promote the development of green energy alternatives. \nAbbot received her BA in Studio Art with distinction from the University of Virginia in 2005 and her MFA in Painting from the University of North Carolina\, Greensboro in 2011. In 2011\, she returned to Virginia to teach as an adjunct faculty member at the University of Virginia through 2013 and  has been a visiting lecturer at Bridgewater College. Abbot has received prestigious residencies in the US and internationally\, including a residency with the Crawford College of Art and Design in Cork\, Ireland. Her work can be found in important public and private collections throughout the US. URL:https://www.lydmgallery.com/events/isabelle-abbot-convergence/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20220507 DTEND;VALUE=DATE:20220627 DTSTAMP:20260504T082247 CREATED:20220707T180244Z LAST-MODIFIED:20240108T180448Z UID:29514-1651881600-1656287999@www.lydmgallery.com SUMMARY:Rosemarie Fiore & Ana Rendich: Modern Alchemy DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n \n \n \n \n \n \n \n \n\nPlease enable JavaScript to view the artwork.\n \n \n \n \n \n Les Yeux du Monde is pleased to present Modern Alchemy\, a two-person exhibition of works by Rosemarie Fiore and Ana Rendich.  \nLike Les Yeux du Monde founder\, the late Lyn Bolen Warren\, Rosemarie Fiore studied under groundbreaking art historian Lydia Gasman at UVA and credits Gasman with significantly influencing her life and work. A resident of the Bronx\, New York\, Fiore has exhibited work nationally and internationally\, and her work has been reviewed by The New York Times\, New York Magazine\, Art in America\, and Artforum\, among others.  \nInspired by Wolfgang Paalen\, Fiore employs the surrealist technique fumage to create her Smoke Paintings\, leveraging tools she has built to harness smoke expelled from firework canisters and layering this smoke residue with acrylic paint and at times pigmented ground. This alchemy produces stunning works that are dramatic in color and kinetic in feel\, which challenge the concept of control and speak to known and unknown\, intent and chance\, adversity and resilience.  \nFiore will demonstrate her process in a Smoke Painting Performance\, a dance of artist with smoke tools\, at 3pm on Saturday May 7th immediately before the opening that is not to be missed. \nLes Yeux du Monde artist Ana Rendich brings a new body of work to this exhibition. Born in Argentina\, Rendich too has shown nationally and internationally\, and most recently has had her work exhibited at The Phillips Collection in Washington DC. Like Fiore\, Rendich creates work with a unique mix of elements – powders\, silicone\, epoxy\, paper and oil – to stunning effect. Vibrant in color\, Rendich arranges her cast resin pieces in visually compelling compositions that communicate with each other and the viewer. While their shapes and exteriors are seemingly flawless\, marks beneath their surfaces speak to the concepts of perfection and imperfection\, perception and reality\, and\, not unlike Fiore’s work\, to the notion of control and its limits.  \nPer Ana\, “The mind\, heart and soul are also part of human alchemy… each one creates endless possibilities. Hope is part of this alchemy. It is a contest with the self\, towards something that we wish for… transformation\, healing\, faith\, magic…if those exist. At least here\, they do.” URL:https://www.lydmgallery.com/events/modern-alchemy-exhibition/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20220305 DTEND;VALUE=DATE:20220501 DTSTAMP:20260504T082247 CREATED:20220501T221427Z LAST-MODIFIED:20240108T182103Z UID:29362-1646438400-1651363199@www.lydmgallery.com SUMMARY:Turn on the Light! A Memorial Show in Honor of Lyn Bolen Warren DESCRIPTION:Exhibition WorksInstallation Shots\n \n \n \n \n \n \n \n \n\nPlease enable JavaScript to view the artwork. URL:https://www.lydmgallery.com/events/turn-on-the-the-light-lyn-memorial/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20211016 DTEND;VALUE=DATE:20220201 DTSTAMP:20260504T082247 CREATED:20220202T185033Z LAST-MODIFIED:20240108T173400Z UID:29256-1634342400-1643673599@www.lydmgallery.com SUMMARY:Dean Dass: Signs of the Day DESCRIPTION:Exhibition Works\n \n \n \n \n \n \n \n   \nFlare\, 2021. Oil on linen\, 22 x 36” \nFlare\, 2021. Oil on linen\, 54 x 84″\, SOLD \nFireflies\, 2021. Oil on linen\, 16 x 20″\, SOLD \nBridge at Rainey Creek\, 2021. Oil on linen\, 24 x 32” \nBrookside\, 2020. Oil on board\, 16 x 24”\, SOLD \nWest Leigh\, 2021. Oil on wood\, 27.5 x 20”\, SOLD \nWalnut Creek\, 2021. Oil on canvas\, 24 x 30” \nWalnut Creek\, 2021. Oil on linen on wood\, 18 x 29” \nKiilopää\, 2021. Oil on board\, 16 x 20” \nNude Imploring the Heavens\, 2020. Gouches\, pigments\, gold leaf\, pencil on paper\, 11 x 9″ \nTage\, 2021. Gouache\, ink\, graphite\, collage and gold leaf on paper\, 11 x 9”\, framed by the artist 18.5 x 14”\, SOLD \nAlexander and Roxanne Gaze the Future\, 1999-2021. Pigments\, gouache\, pencil\, collage\, mica on paper\, 8.5 x 33″\, SOLD \nFigure in Space\, 2021. Gouache\, acrylic\, pigments\, gold leaf on paper on panel\, 44 x 40.5″\, SOLD \nFigure in Space (Mica Version)\, 2021. Gouache\, acrylic\, pigments\, collage\, mica\, 28.25 x 40.5″ \nOrange Cloud\, 2015. Gouache\, pigments\, marble dust\, ink\, acrylic on paper mounted on panel\, 19.75 x 27” \nClouds\, 2019. Gouache\, pigments\, ink on paper\, 12.5 x 9.5” framed by the artist 18.5 x 14” \nLos Cerrillos Road\, 2021. Oil on linen board\, 12 x 16″ \nLos Cerrillos Road \, 2021. Oil on linen board\, 12 x 16″ \nLos Cerrillos Road I\, 2021. Oil on canvas\, 40 x 60″ \nLandscape in Flames\, 2021. Oil on canvas\, 16 x 20″\, SOLD \nKiilopää\, 2021. Oil on linen\, 16 x 20” \nKiilopää\, 2021. Oil on linen\, 72 x 96” \n \nKiilopää\, 2021. Oil on linen\, 20 x 24″ \n \nKiilopää\, 2021. Oil on linen board\, 20 x 24″ URL:https://www.lydmgallery.com/events/dean-dass-2021/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20210828 DTEND;VALUE=DATE:20211011 DTSTAMP:20260504T082247 CREATED:20211012T111320Z LAST-MODIFIED:20240108T180803Z UID:28924-1630108800-1633910399@www.lydmgallery.com SUMMARY:The Printmakers Left: Catalog DESCRIPTION:Exhibition Works\n \n \n \n \n \n \n \n The Unmoored Room: Fugitive Botany Lab\, 2021.\n \nSee more images of the Lab here.  \nThe fabrication of the Fugitive Botany Laboratory was made possible with the generous support of Prof. Cassandra Frazer and the UVA Page Barbour FUGITIVE Workshop\, and National Science Foundation.The laboratory glassware was kindly gifted by Paul Freedman.\n \n \nAnne Beck\, Searching for the Sky Gods\, 2021. Pisolithus\, oak gall\, and cochineal inks on muslin\, 22.5 x 14.5″ \n Berenika Boberska\, The Unmoored Room: Fugitive Botany Lab\, 2021 collage\, spillage of oak gall ink 20  x 18″ \nJoshua Dailey\, Evidence to the Contrary\, 2021. Acrylic\, graphite\, and collage on \, 60 x 48″ \nDean Dass\, Bear\, 2021. Gouache made from local Indian yellow pigment and acrylic on muslin\, 60 x 48″ \nLydia Diemer\, Cockle\, 2021. Collage on scored and folded TPL paper (acrylic and watercolor washes\, found trash\, lithography\, thread)\, approximately 9 7/16” x 10 3/8” \nKirsten Hemrich\, Untitled\, 2021. Collage\, spray paint and embroidery on muslin. 60 x 48″ \nEmma Lappalainen\, A4-1/2′ (A four minus half)\, 12 cyanotypes on muslin \nJohn Leahy\, Parachute\, 2021. Laser etched ripstop muslin\, wood dowel\, eyelets\, 41″ in diameter \nJyrki Markkanen\, Equator\, 2021. Photo etching/gumprint\, one image printed in 4 pieces\, 12 x 10″ each \nLydia Moyer\, No Pillows\, 2021.Hand-sewn muslin\, stilt grass\, various other weeds\, 12 x 12” each \nAkemi Ohira\, Ring of Quicksand 2021 Artist’s book Size: 8 1/4” x 5 1/4”’ (closed)\, 8 1/4” x 19” (fully open) \nJohn Schulz\, Blacked out Fallen Open True Refuge Issueless\, 2021. Inkjet and collage\, 18 x 18″ \nRachel Singel\, Fungi\, 2021. Graphite\, charcoal\, acrylic on muslin\, 48 x 60″ \nMark Snyder\, Gas Pump Handle Bee\, 202. Color linocut and charcoal on paper mounted on panel \nRandall Stoltzfus\, Fill\, recto\, 2021. Carbon digital print\, gold leaf\, collage\, and acrylic on muslin\, 56 x 45″ \nMaggie Sullivan\, Planar Functions\, 2021. Textile painting medium\, dyes (turmeric powder\, vinegar\, red cabbage\, salt)\,  thread\, crochet elements\, epoxy putty\, and grommets on muslin\, 50 x 40” \nBarbara Campbell Thomas\, Siderum Year: 2021 Size: 21.5″x23.5″ Medium: fabric and thread \nChristopher Thomas\, Charlottesville Studio\, December 2019. Ink and acrylic on paper on canvas\, 60” x 44” \nAnnu Vertanen\, Minor Plans\, 2004. Color woodcut\, 22.75 x 18.5″ \nAdam Wolpa\, The Pearl of the World\, 2021. Woodcut\, 20 x 16″ URL:https://www.lydmgallery.com/events/the-printmakers-left-catalog/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20210522 DTEND;VALUE=DATE:20210816 DTSTAMP:20260504T082247 CREATED:20210815T180829Z LAST-MODIFIED:20240108T180848Z UID:28913-1621641600-1629071999@www.lydmgallery.com SUMMARY:Susan McAlister: Evergreen DESCRIPTION:Exhibition Works\n \n \n \n \n \n \n \n   \nEvergreen\, 2020. Oil & mixed media on canvas\, 48 x 60″ sold \n \nStories Told in the Light ii\, 2021.Archival paper & mixed media assemblage\, 60 x 44″ \n \nStories Told in the Light i\, 2021.Archival paper & mixed media assemblage\, 60 x 44″ \nLand Story\, 2020. Paper & mixed media assemblage\, 36 x 25″ sold \nSpring Stranded\, 2020. Oil on canvas\, 44 x 40″ sold \nSpring and a Walk and a Way\, 2020. Oil on canvasa\, 44 x 40″ sold \nChestnut Groves ii\, 2020. Oil and mixed media on paper\, 42 x 30″ \nChestnut Groves i\, 2020. Oil and mixed media on paper\, 42 x 30″ \nThe Vale\, 2021. Mixed media assemblage\, 54 x 44″ \nStanding in the Grass\, 2020. O/c\, 30 x 24″ sold \nThe Glare\, 2020. Oil on canvas\, 30 x 24″ \nEffortless Grace\, 2019. OIl and mixed media on canvas\, 36 x 72″ \n \nNo Clearing in the Woods\, 2021. OIl and mixed media on paper\, 72 x 41″ sold \nBeautiful Valley\, 2014. Oil and mixed media on canvas\, 36 x 24”. Sold URL:https://www.lydmgallery.com/events/susan-mcalister-evergreen/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20210306 DTEND;VALUE=DATE:20210517 DTSTAMP:20260504T082248 CREATED:20210221T121357Z LAST-MODIFIED:20240108T173255Z UID:28598-1614988800-1621209599@www.lydmgallery.com SUMMARY:Russ Warren: The Disciple DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n \n \n \n \n \n \n \n Read Sarah Sargent’s review in C-ville here. \nSee online catalog here \n \nThe Disciple\, 2020. Acrylic on canvas\,72 x 48″ \n \nDr. Fauci\, 2020. Acrylic on canvas\, 72 x 48″ \n \nPineapple Ascending\, 2020. Acrylic on canvas\, 60 x 40″ \n \nBounty at Wolf Trap\, 2020. Acrylic on canvas\, 60 x 40″ \n \nOh\, Tamayo!\, 2020. Acrylic on canvas\, 60 x 40″ \n \nTwo Guitars\, 2020\, Acrylic on canvas\, 60 x 40″ \n \nGuitars and a Ten Cent Moon\, 2020. Acrylic on canvas\, 60 x 40″ \n \nCognin\, 2020. Acrylic on canvas\, 60 x 40″ \nQueen Anne’s Revenge\, 2020. Acrylic on canvas\, 60 x 40″ \nDeep into August\, 2020. Acrylic on canvas\, triptych\, 60 x 120″ \nI Dreamed of Zeke and Sisyphus\, 2020. Acrylic on canvas\, 60 x 40″ \nGuitar and Lutes\, 2020. Acrylic on canvas\, 60 x 40″ \nArtist Outstanding in his Field\, 2020. Acrylic on canvas\, 60 x 40″ \nTwo Houston Rodeo Clowns Meet on the Yellow Brick Road\, 2020. Acrylic on canvas\, 60 x 40″ \nCXII\, 2020. Ink\, livestock marker\, oil stick\, scraper on paper\, 30 x 22″ Sold \nCIX\, 2020. Ink\, livestock marker\, oil stick\, scraper on paper\, 30 x 22″ \nCVIII\, 2020. Ink\, livestock marker\, oil stick\, scraper on paper\, 30 x 22″ \nCVII\, 2020. Ink\, livestock marker\, oil stick\, scraper on paper\, 30 x 22″ \nCIV\, 2020. Ink\, livestock marker\, oil stick\, scraper on paper\, 30 x 22″. Sold \nFrom the Sketchbooks\, 1/28/18. India ink on paper\, 6 x 8″ \n \nFrom the Sketchbooks\, 11/21/17. India ink on paper\, 6 x 8″ Sold \n  \n \n \n \n \n \n Les Yeux du Monde is honored to present Russ Warren: The Disciple from March 6 – May 16\, 2021.  This show features a series of large vertical diptychs that pay homage to other artists Warren admires and has studied through the years\, from the Spanish master Pablo Picasso and the Oaxacan Rufino Tamayo to his former teacher at the University of St. Thomas in Houston\, Earl Staley. Picasso inspired Warren’s larger than life “combines” merging several facial profiles into one; Tamayo\, the magical creatures\, and Staley—with whom Warren also exhibited in an early site specific show in Beaumont TX in 1976 and in the 1984 Venice Biennale—stoked Warren’s work ethic and insatiable curiosity and study of other great artists’ works. \nThis selection of paintings will include large 78 x 42” verticals he began in the garage\, when he grew out of his studio over the W.G. Clark designed Les Yeux du Monde gallery. He continued the same unique vertical diptych format when he moved in April 2020 into his new studio space designed by Josh Stastny (and built by Peter Johnson Builders)\, tackling some timely subjects\, one of which was an over-life-sized “portrait” celebrating Dr. Anthony Fauci and a triptych\, Deep into August\, the title evoking the seemingly endless and strange nature of “time” during the ongoing pandemic. Warren evokes the fiery hellish spaces of anguish in the side panels of this triptych\, yet\, as is often the case with Warren’s work\, humor and hope reign in its central panel. Other paintings like Pineapple Ascending\, Bounty at Wolf Trap and his dancing and levitating guitars are hopeful images of resurrection after struggle and pain. \nThe show will include smaller works on paper in livestock marker\, oil and acrylic and it will be accompanied by a new book of Warren’s poetry\, also entitled The Disciple. \nNumerous exhibitions\, reviews and articles chronicle Warren’s artistic journey from his early days in Houston\, Albuquerque and San Antonio through his widely and internationally exhibited Neo Expressionist work of the 1980s and his continued probing and artistic innovating of the following decades evident in his 2015 Survey exhibition Russ Warren:Works. The Disciple reveals an artist wrestling with the greats\, just as Picasso did throughout his oeuvre\, but also still striving and surprising with his own unique language and contributions\, a master to be studied as well. URL:https://www.lydmgallery.com/events/russ-warren-the-disciple-2/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20201121 DTEND;VALUE=DATE:20210118 DTSTAMP:20260504T082248 CREATED:20201208T115807Z LAST-MODIFIED:20240108T181132Z UID:28459-1605916800-1610927999@www.lydmgallery.com SUMMARY:Annie Harris Massie: Inhabited Light DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n \n \n \n \n \n \n \n See online catalogue here \nGarden at Daybreak\, 2020. Oil on canvas\, 72 x 72″ \nBlue Cedar\, 2020. Oil on canvas\, 48 x 48″ sold \nBlue Maple\, 2020.Oil on canvas\, 72 x 60″ sold \nBlackhaw Viburnam on the Edge of our Field\, 2020. Oil on canvas\, 60 x 48″ sold \nLate Summer Apples at Noon\, 2020. Oil on canvas\, 72 x 60″ \nLast Leaves on the Maple\, Late Afternoon\, 2020. Oil on canvas\, 72 x 60″ soldDaisies and Queen Anne’s Lace in our Field\, 2020. Oil on canvas\, 50 x 40″ \nBlue Hydrangea on a July Afternoon\, 2020. Oil on canvas\, 48 x 36″ sold \nMaple on the Edge of our Field\, 2020. Oil on canvas\, 30 x 40″ sold \nBeehives in the Snow and an Edge of the House\, 2020. Oil on canvas\, 48 x 60″ sold \nBlue Hydrangea in a Circle\, 2020. Oil\, encaustic on panel\, 46 x 50” \nPale Sunset on the Snowy Road\, 2020. Oil on canvas\, 30 x 40” \nApples and  a Piece of our Fiield\, 2020. Oil on canvas\, 48 x 36″ \nSix Hydrangea\, 2020. Oil and encaustic on panel\, 30 x 40″ sold \nFaded Light on the Apricot Snow\, 2020. Oil on canvas\, 30 x 40” sold \nBlue Hydrangea Ring\, 2020. Oil on panel\, 46 x 60″ sold \nOrchard in Spring\, 2020. Oil on canvas\, 60 x 48″ sold \n \n \n \n \n \n For the final exhibition of 2020\, Les Yeux du Monde is honored to present Inhabited Light\, new paintings in oil by well-known veteran of LYDM\, Annie Harris Massie. Over the past two decades Massie has steadily increased the scale and abstract\, all-over quality and often tonal colors of her paintings\, but her primary concern is still Light and its dematerializing and unifying effect on her subjects\, be they a familiar garden or city scene\, tree\, or cut hydrangea. \nGarden at Daybreak\, in its sheer 72 x 72 inch over life-sized scale and its loose\, shifting planes of colors and brushwork\, invites and engulfs the viewer in its depiction of early morning light on the dew-covered flowers. Her colors are complex and indescribable (are they mainly green\, yellow\, lavender?) in the variations she achieves from layering\, and the shapes of flower and background interlock as the light both reveals and conceals. In her monumental vertical 72 x 60 inch Blue Maple Treethe negative space\, or intangible light and atmosphere around the tree\, is shattered and web-like and as tangible as the actual tree. She thus creates a painterly line-free almost cubist composition\, which invites the viewer into its brilliant cacophony of color and light. Even in her striking cut hydrangea paintings\, the shadows and background\, painted in layers of subtle creams\, lavenders\, greens are as animated as are the flowers. These extraordinary creations\, related more to the still life genre than to landscape\, become refined and magisterial reminders of the fleeting ever changing nature of beauty and life. \nMassie’s training in the plein-air tradition\, painting outside in nature and the garden\, and her degree in studio art from Hollins and Masters in Art History from VCU inform not only her art but also her founding\, with her brother\, McKinnon and Harris\, which makes widely touted and awarded furniture for the landscape. She is aware of and pays homage to the great traditions in both furniture and art. Her paintings\, for example\, can be placed within the Venetian side of the Renaissance dichotomy between the painterly Venetians vs. the more linear Florentines\, and linked to the late 19thcentury Impressionist and plein air painters as well as to the gestural all over abstraction of mid-century Abstract Expressionists\, yet Massie has ultimately forged her own unique path. She expertly manipulates the material substance of oil paint to reveal the immaterial nature of light. Taking subjects or scenes most of us would see but not truly see\, she extracts and magnifies the essentials\, capturing the timeless and evanescent through painting the moving and transformative nature of light itself. URL:https://www.lydmgallery.com/events/exhibition-annie-harris-massie-inhabited-light/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT END:VCALENDAR