BEGIN:VCALENDAR VERSION:2.0 PRODID:-//LYDM - ECPv6.15.20//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH 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:20180311T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20181104T060000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20240504 DTEND;VALUE=DATE:20240701 DTSTAMP:20260504T095950 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:20260504T095950 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:20260504T095950 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:20260504T095951 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:20260504T095951 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:20260504T095951 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:20260504T095951 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:20260504T095951 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:20260504T095951 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:20260504T095951 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:20260504T095951 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:20260504T095951 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:20260504T095951 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:20260504T095951 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:20260504T095952 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:20260504T095952 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:20260504T095952 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:20260504T095952 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 BEGIN:VEVENT DTSTART;VALUE=DATE:20201010 DTEND;VALUE=DATE:20201116 DTSTAMP:20260504T095953 CREATED:20200930T110939Z LAST-MODIFIED:20240108T181350Z UID:28370-1602288000-1605484799@www.lydmgallery.com SUMMARY:Anne Slaughter: Contrasts DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n \n \n \n \n \n \n \n The Wanderers\, 2019. Acrylic on canvas\, 54 x 104 inches \nThe Wall of Broken Dreams\, 2020. Acrylic on canvas\, 43 x 64 inches \nDesert Heat\, 2020. Acrylic on canvas\, 42 x 62 inches \nHope\, 2020. Acrylic on 100% rag paper mounted on board\, 41 x 26 inches   sold \nInto the Night\, 2020. Oil on canvas\, 46 x 36 inches  sold \nSolitude\, 2019. Acrylic on canvas 52 x 40 inches \nJoy\, 2020. Acrylic on mylar\, 22 x 22 inches sold \nAnguish\, 2020. Acrylic\, collage\, lead and graphite on 100 % rag paper mounted on board\, 17 x 18”  sold \nSunrise on the Lake\, 2020. Oil on canvas\, 30 x 40 inches \nStorm on the Lake. 2020. Acrylic on canvas\, 30 x 40 inches  sold \nStrata\, 2018. Acrylic on Japanese paper\, 21.75  x 16.5 inches  sold \nMorning Mist\, 2020. Acrylic on 100% rag paper\, 15 x 22 inches   sold \nEvening Sky 2020   Oil on 100% rag paper\, 14 x 22 inches   sold \nShallows\, 2020.  Acrylic on 100% rag paper\, 15 x 22 inches  sold \n \nClouds\, 2020. Acrylic on 100% rag paper\, 11 x 11 inches  sold \nNorth Sea #1\, 1990/2020. Oil on 100% rag board\, 14.5 x 16 inches  sold \nNorth Sea #2\, 1990/2020. Oil on 100% rag board\, 14.5 x 16 inches  sold \nMirage\, 2016. Acrylic on 100% rag paper\, 14 x 14 inches  sold \nAutumn Reflections\, 2020. Acrylic on 100% rag paper\, 11 x 12 inches \nThe Wave\, 2020. Acrylic on 100% rag paper\, 16 x 22 inches sold \nThe Wanderers\, 2019. Acrylic on canvas\, 54 x 104 inches \nThe Wall of Broken Dreams\, 2020. Acrylic on canvas\, 43 x 64 inches \nDesert Heat\, 2020. Acrylic on canvas\, 42 x 62 inches \nHope\, 2020. Acrylic on 100% rag paper mounted on board\, 41 x 26 inches \nInto the Night\, 2020. Oil on canvas\, 46 x 36 inches \nSolitude\, 2019. Acrylic on canvas 52 x 40 inches \nJoy\, 2020. Acrylic on mylar\, 22 x 22 inches \nAnguish\, 2020. Acrylic\, collage\, lead and graphite on 100 % rag paper mounted on board\, 17 x 18” \nSunrise on the Lake\, 2020. Oil on canvas\, 30 x 40 inches \nStorm on the Lake. 2020. Acrylic on canvas\, 30 x 40 inches \nStrata\, 2018. Acrylic on Japanese paper\, 21.75  x 16.5 inches \nMorning Mist\, 2020. Acrylic on 100% rag paper\, 15 x 22 inches \nEvening Sky 2020   Oil on 100% rag paper\, 14 x 22 inches \nShallows\, 2020.  Acrylic on 100% rag paper\, 15 x 22 inches \n \nClouds\, 2020. Acrylic on 100% rag paper\, 11 x 11 inches \nNorth Sea #1\, 1990/2020. Oil on 100% rag board\, 14.5 x 16 inches \nNorth Sea #2\, 1990/2020. Oil on 100% rag board\, 14.5 x 16 inches \nMirage\, 2016. Acrylic on 100% rag paper\, 14 x 14 inches \nAutumn Reflections\, 2020. Acrylic on 100% rag paper\, 11 x 12 inches \nThe Wave\, 2020. Acrylic on 100% rag paper\, 16 x 22 inches \n \n \n \n \n \n Les Yeux du Monde is pleased to present Anne Slaughter: Contrasts from October 10 through November 12\, 2020. Although the artist has been developing this body of work since her last show at LYDM in 2014\, the work is particularly pertinent at this moment in time\, tackling such major issues such as human migration\, climate change and what she calls “humans’ inhumanity towards other human beings.” \nSlaughter laments\, “right now\, millions of people suffer from wars\, violence\, poverty\, hunger\, displacements\, and political policies indifferent to their plight.” The Wanderers\, a massive 54 x 104” acrylic on canvas depicts a long winding procession of people\, young and old\, presented in sparse detail in tonal grays\, charcoals and blacks\, bringing to mind the momentous migrations that are currently happening all over the world and the inhospitable treatment of these populations. Pope Francis called attention to this “refugee crisis of a magnitude not seen since the Second World War” (in an address to Congress in 2015) and a recent New York Times Magazine focused on the migrations already in progress\, not just because of political and economic crises\, but because of climate change. Slaughter knows this theme personally as a migrant herself at age seven making it out of Belgium during the Nazi occupation with her mother and brother to walk all night from occupied to unoccupied France and then on a six month arduous journey to join her father in England.  Her experience and empathy find their way into this painting and into another large canvas\, The Wall of Broken Dreams\,  in which she\, with the same limited palette and suppressed detail\, zeroes in on figures cloaked and floating in a nondescript cold place\, some alone\, some huddled together\, all suggesting homelessness and hunger. \nThese figurative works are contrasted with large scale sublime landscapes\, Desert Heat and Night. She explains that her goal was to show “the beauty of nature in as simple terms as I could paint it without being abstract.”  These landscapes also contrast with each other—one is of a searing midday light and heat\, the other the cool colors of night. Solitude\, a sole figure staring out into the empty and infinite sea\, and Hope\, a white and black figure embracing\, round out the main part of her installation\, again contrasting and yet uniting figure and landscape\, white and black\, in hoped for unity and peaceful and positive coexistence. Her elimination of extraneous detail and much worked surfaces that bring to mind ancient frescoes or time worn stone or walls lend greater solemnity and universal timeless expression. \nIn the back gallery\, Slaughter presents another contrasting but related body of work\, dealing with variations on the theme of water. She depicts Sunrise\, a Storm on the Lake\, Currents and more\, again extracting the essentials in order to amplify the enduring and sublime. \nAnne Slaughter’s art has been exhibited widely and is in major public and private collections in the US and abroad. It is also the subject of numerous reviews and publications\, from reviews in the Washington Post to the 2006 book\, Anne Slaughter: Forty Years Terra Incognita published on the occasion of her Retrospective at Second Street Gallery and Les Yeux du Monde. URL:https://www.lydmgallery.com/events/anne-slaughter-contrasts/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200829 DTEND;VALUE=DATE:20201005 DTSTAMP:20260504T095953 CREATED:20200824T131354Z LAST-MODIFIED:20240108T181343Z UID:28179-1598659200-1601855999@www.lydmgallery.com SUMMARY:David Summers: Nothing but Light DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n \n \n \n \n \n \n \n Island Still Life with Calm Sea\, 2020. Oil on canvas\, 24 x 36″ \nBig Still Life with Mirrors\, Homage to Van Eyck (for D.W.)\, 2020. Oil on canvas\, 24 x 36″ \nSunny Studio Still Life with Still Life\, 2020. Oil on canvas\, 24 x 36″ \nBig Light\, Calm Sea\, 2020. Oil on  panel\, 24 x 36″ \nPlay of Light in the Net of Indra\, (2 Blue Pitchers) 2020. Oil on canvas\, 24 x 36″ \n \nAmaryllis (the Reader)\, 2019. Oil on canvas\, 24 x 36″ \nVenus Rising from the Foam\, 2019. Oil on canvas\, 24 x 36″ \nMondrian’s Recycling\, 2020. Oil on canvas\, 32 x 24″ Sold \nStill Life with Several Flavors\,  2020. Oil on canvas\, 16 x 20″ \nSky\, Sun/Light\, Stone. Fragment of A Net of Indra\, 2019. Oil on canvas\, 24 x 36″ \nFlora in the Wide Wide World\, 2020. Oil on canvas\, 18 x 24″ \nFlora the Great\, 2019. Oil on panel\, 24 x 18″ \nSquare Still Life with Passing Swan\, 2020. Oil on canvas\, 20 x 20” \nFragment of the Net of Indra  (Night)\, 2018. Oil on panel\, 18 x 36” sold \nThe Light in my own Backyard\, 2020. Oil on canvas\, 24 x 36″ \nCornucopia\, 2020. Oil on canvas\, 18 x 24″ \n\nReality is Abstract\, 2019. Oil on canvas\, 18 x 24″ \n\nWhite on White (Kasimir’s Dream of Home)\, canvas\, 12 x 16″ Sold \n\nPetunias\, Candle\,2020. Oil on canvas\, 12 x 24″ \nNothing but Light\, 2020. Oil on canvas\, 16 x 20″ \nStill Life with Million-Dollar Balloon Dog\, 2019. Oil on canvas\, 12 x 16″ sold \n\nStill Life with Sunrise\, 2020. Oil on canvas\, 12 x 24”. sold \n\nModern Plate with Votive Candles\,  2020. Oil on panel\, 12 x 16” sold \nThe Gourds of 2019. Oil on canvas\, 10 x 20″ \nAn Entanglement of Gourds\, 2019. Oil on canvas\, 10 x 20” \nSunny Gourds\, 2019. Oil on canvas\, 12 x 24” \nWorld among Stars and Onions I\, 2018. Oil on panel\, 16 x 20” \nWorld among Stars and Onions II\, 2018. Oil on panel\, 16 x 20” \nCommodity Ghosts Dancing in the Sun\, 2020. Oil on canvas\, 12 x 24″ \nNine Pomegranates\, 2019. Oil on panel\,  16 x 20” \n \nA Second Pitcher of Baubles\, 2020. Oil on canvas\, 12 x 24″  sold \nStill Life with Apothecary Jar\, 2020. Oil on panel\, 16 x 20″ \nSmall Net of Indra\, Text\, 2020. Oil on canvas\, 12 x 24″ \nStill Life with Silver Bowl\, Blue Shadow\, 2020. Oil on panel\, 18  x 24” \nA Bowl of Light\, 2020. Oil on canvas\, 9 x 12″ sold \nSmall Birth\, 2020. Oil on canvas\, 10 x 10” sold \nTitanium\, Cobalt\, Cadmium\, Silicon\, Silver\, Aluminum\, 2020. Oil on panel\, 8 x 10″ sold \nA Cube of Baubles\, 2020. Oil on canvas\, 10 x 8″ \nThe Myth of Narcissus\, 2019. Oil on canvas\, 8 x 10” sold \nA Lesser Judgment of Paris\, 2019. Oil on canvas\,  7 x 5” sold \n \n \n \n \n \n David Summers: Nothing but Light will initiate the fall season at Les Yeux du Monde\, opening on Saturday\, August 29 and running through Sunday October 4\, 2020. In this unprecedented time of worldwide pandemic and social injustice\, this show seems particularly relevant. Summers\, Professor Emeritus Professor of Art Theory and Italian Renaissance art at UVa\, is well known for his scholarship\, such as his 2003 tome\, Real Spaces. World Art History… and his more recent “Manifesto to a World Art museum” for the Louvre Abu Dhabi\, that levels the differences between and among civilizations and diverse histories to reveal what is common to them all. His preoccupation with Light and his vast knowledge of history and philosophy inform not just his writing but every painting he makes.  For example\, his Net of Indra paintings which consist of rows of reflecting bottles and surfaces repeating across the canvas\, reference the ancient Buddhist/Hindu story about the Net of Indra—a net of jewels that hangs over Indra’s palace (symbolic of the center of the universe) and in each jewel are reflections of the others. \nSummers’ still life paintings range from wonderfully humorous recreations of ancient myths such as Narcissus seeing its reflection in shiny coffee cans\, to impressive paintings of paintings within paintings\, as in Sunny Studio Still Life with Still LIfe. They are exquisitely painted oils on canvas or panel of seemingly “ordinary” objects or bottles or items often discarded or recycled (Mondrian’s Recycling wittily combines his chosen subjects with the early modern pioneer of geometric abstract art\, Piet Mondrian). His seemingly everyday characters and objects of observation\, be they gourds on a reflective surface or vases of flowers\, sprouting onions\, bottles and orbs all acknowledge the Light and\, even if performing as humble characters in a play\, may be seen as symbolic of the interpenetration and interconnectedness of all phenomena and humanity. Also in his rare land and waterscape paintings\, such as The Light in my own Backyard\, Light is the central character. URL:https://www.lydmgallery.com/events/exhibitions-2020-david-summers-nothing-but-light/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200516 DTEND;VALUE=DATE:20200817 DTSTAMP:20260504T095953 CREATED:20200824T150728Z LAST-MODIFIED:20240108T174159Z UID:28217-1589587200-1597622399@www.lydmgallery.com SUMMARY:Light in Darkness: An online group exhibition DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n \n \n \n \n \n \n \n Lydia Gasman\, The Angel of History\, 2000. Oil and acrylic and mixed media on canvas and aluminum\, 40 x 60″ \nRuss Warren\, Night Fishing at Moms’\, 2018. Acrylic on canvas\, triptych\, 60 x 144″ \nDean Dass\, Fireflies\, 2019. Oil on linen\, 54 x 84″ \n \nDavid Summers\, A Lesser Net of Indra (Cadmium)\, 2018. Oil on canvas\, 24 x 38″ \n \nEd Haddaway\, From the House where the Would Be Shadow Lives\, 2013. Painted Steel\, 20 x 8 x 5′Janet Bruce\,L’oiseau d’espoir\, 2020. Oil on canvas\, 48 x 36″ \nDean Dass\, Chub\, 2018. Ink jet\, mica\, collage\, gouache gold leaf on paper\, 13 x 18″\, 17.5 x 23.75″ framed \nMichelle Gagliano\, Off the Page\, 2020. Mixed media on wood panel\, 23 x 58″ \nDorothy Robinson\, Same Difference\, 2019. Oil on canvas\, 46 x 60” \n \nKurt Steger\,Environmental Structure No. 8\, 2019. Wood\, stone\, rust patina\, pigment 12 x 11 x 7″ \n \nMillicent Young\, cantos 11-13\, 2017. Lead\, horse hair\, steel bolts\, 66 x 30 x 5″ (Copyright(c) Michael Bailey) \n  \nSusan McAlister\,EVE\, sister of Sairey\, 2016.Mixed media on paper\, 42 x 36″ \nPriscilla Whitlock\, Summer Meadow\, 2017. Oil on canvas\, polyptych\, 30 x 118″ \nSanda Iliescu\, Blanket I\, 2019. Acrylic on wood panel\, 12 x 12″ \n  \nJohn McCarthy\, Assateague Sunset\, 2003. Oil pastel on paper\, 11 x 13.75”\, 17.25 x 19.25” framed \nEllen Hathaway\, Frenetic\, 2016. Acrylic on canvas\, 40 x 30″ \n \nAna Rendich\, Hearts Mend\, 2020. Oil and resin on board\, 36 x 36″ \n \n \n \n \n \n In response to the worldwide tragedy of the Coronavirus\, Les Yeux du Monde presents the online exhibition\, Light in Darkness through July 2020. At the beginning of the 20th century artists from Kandinsky to Mondrian were attempting to represent the spiritual and a deeper reality through their art\, thus leading art historian and artist Lydia Gasman to define Modernism as a “quest for new forms of the sacred.” Over 100 years later\, the artists in this exhibition also subscribe to this goal\, albeit in varying ways. Lydia Gasman’s Angel of History\, based on an essay by Walter Benjamin about a watercolor by Paul Klee of the same title\, announces our theme. Gasman\, a Jewish Romanian immigrant with first hand memories of the horrors of World War II\, transforms the theme of an angel witnessing the destructive path of history behind it to one of hope\, as her weighty citron yellow angel with massive celestial blue and white wing seems to triumph over the dark explosions painted on airplane aluminum behind it. Also featured are gold leaf multi-media paintings on paper and on panel of shimmery golden chub fish and clouds by Dean Dass\, and light filled still life paintings of bottles and their infinite reflections by the consummate painter and scholar of Light\, David Summers. In Russ Warren’s huge triptych Night Fishing at Moms\, several brilliant spiraling lemon yellow orbs illuminate the subterranean aquatic world below the surface. Michelle Gagliano’s Raffaello’sPallette\, intended for a celebration of Raphael’s life in Urbino Italy that was cancelled because of the Pandemic\, glows with the pigments and materials used by the Renaissance master along with her own non-toxic colors and shimmery golds.  Three artists living and working in New York’s Hudson River Valley are also included. Recently celebrated in Sculpture Magazine\, Millicent Young uses luminous white horse hair atop and surrounded by lead and iron\, in her cantos 11-13\, as a moving meditation about the fragility of our constructed systems and interdependence on this small earth. Kurt Steger\, similarly highlights the delicate balance of humanity and our buildings and environment in his sculpture\, while Dorothy Robinson paints rich textural abstractions that continuously morph into awe-inspiring natural or architectural scenes\, prompting contemplation about the worlds we humans co-create and inhabit throughout our shared history on the planet. URL:https://www.lydmgallery.com/events/light-in-darkness/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200125 DTEND;VALUE=DATE:20200302 DTSTAMP:20260504T095953 CREATED:20200106T160110Z LAST-MODIFIED:20260119T211702Z UID:17730-1579910400-1583107199@www.lydmgallery.com SUMMARY:Ann Lyne\, John McCarthy\, Ana Rendich: Time DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n \n \n \n \n \n \n \n Ann Lyne\, Still Life with Compote\, 2018. Oil on linen\, 36 x 48″ \nClick here to see more work by Ann Lyne in the exhibition \nJohn McCarthy\, The River Birch\, 2004. Oil pastel on paper\, 11 x 13″To see more work by John McCarthy in the exhibition click here.  \nAna Rendich\, A Sense of Common Purpose\, 2019. Resin and oil\, 22 x 28 x 2″   sold \nTo see more work by Ana Rendich in the exhibition click here.  \n \n \n \n \n \n To kick off 2020\, the  year of LYDM\, the gallery will contemplate our history and Time\, looking back at our past and forward into our hoped-for future. In so doing\, we will honor some of the artists who have been part of the gallery for a long time while we also introduce promising new or emerging talents.In Time  we will show two artists who have been with the gallery since our beginning\, John McCarthy and Ann Lyne \, while also featuring the innovative resin work of relative newcomer Ana Rendich The late John McCarthy was one of the first visitors to Les Yeux du Monde in 1995 and he was bearing impressive paintings and a brilliant artists’ statement that revealed his thorough knowledge of current philosophy as well as the artistic tradition in which he worked.class=”s3″> His work\, though usually modest in size is stunning in impact. His colors and gauzy paint handling brings to mind Rothko\, Matisse andWolf Kahn with whom he studied. Another artist we have shown since our beginning Ann Lyne\, is also well versed in the history of modernist art. She studied art history and aesthetics as well as studio art at Queens College\, University of Richmond and VCU before completing her MFA at American University. Her still lifes and landscapes merge reality and abstraction\, drawing from her favorite modernists from Cezanne to Matisse and Diebenkorn in her own gestural brushwork and calligraphic sure line. A more recent addition to the gallery’s stable is the Argentinian born Ana Rendich\, who creates exciting jewel like brilliantly hued works in resin and oil. These pieces she arranges to create dialogues through space and time with one another and with the viewer through the literal reflections on their surfaces. \n \n \n \n \n \n \n \n \n \n\ URL:https://www.lydmgallery.com/events/time-ann-lyne-john-mccarthy-ana-rendich/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20191109 DTEND;VALUE=DATE:20200120 DTSTAMP:20260504T095954 CREATED:20200817T160132Z LAST-MODIFIED:20240108T181706Z UID:28063-1573257600-1579478399@www.lydmgallery.com SUMMARY:Dean Dass: Venus and the Moon DESCRIPTION:Exhibition WorksPress Release\n \n \n \n \n \n \n \n Venus and the Moon\, 2019. Oil on linen\, 54 x 84 inches sold \nChub\, 2019. Ink\, pencil\, pigments\, acrylic\, gold leaf on paper mounted on panel\, 30 x 62 inches. sold \nFireflies\, 2019. Oil on linen\, 54 x 84 inches \nChippewa Falls\, 2019. Oil on linen\, 54 x 84 inches \nWest Leigh\, 2019. Oil on linen\, 45 x 54 inches \nFigure in Space\, 2019. Acrylic\, pigments\, gold leaf on paper mounted on panel\, 27.75 x 55 inches \nBog Near Sault Ste. Marie\, 2019. Oil on canvas\, 30 x 40 inches \nSeven Clouds\, 2019. Oil on linen\, 46 x 72 inches \nIvy Creek Near Garth Road\, 2019. Oil on linen\, 24 x 20 inches sold \nVenus and the Moon\, 2019. Oil on linen\, 20 x 28 inches Sold \nStream into Youghiogheny\, 2019. Oil on linen\, 24 x 36 inches  Sold \nFigure in Space\, 2019. Pigments\, kaolin\, gouache\, acrylic\, ink\, gold leaf on paper mounted on wood panel\, 38 x 75″ \nFlower Blooming\, 2019.  Ink\, pigments\, kaolin\, marble\, dust\, gold leaf on paper mounted on panel\, 34 x 75 inches \nChippewa Falls\, 2019. Oil on linen\, 16 x 20 inches \nEtna Highlands\, 2019. Oil on linen\, 24 x 36 inches  Sold \nWhitefish Point U.P.\, 2019. Oil on panel\, 24 x 20 inches \nLandscape with Explosion\, 2019. Oil on linen\, 15 x 11.25 inches \nBirch Near Superior\, 2019. Oil on canvas\, 20 x 24 inches \nFrozen Bog\, Etna Highland\, 2019. Oil on panel\, 20 x 24 inches Sold \nChippewa Falls\, 2019. Oil on linen\, 17.5 x 28.25 inches \nAxis Mundi\, 2019. Oil on canvas\, 16 x 20 inches \n \nDean Dass and Jyrki Markkanen\,Astronaut\, 2009. Pencil\, gouache\, collage\, photogravure on paper\, 13.5 x 8 inches\, 18.5 x 14 inches framed Sold \nDean Dass and Jyrki Markkanen\,Standing Woman with Birds\, 2009. Pencil\, gouache\, collage\, photogravure on paper\, 11.5 x 8.5 inches\, 18.5 x 14 inches framed \n \nRed Cloud Drawing\, 2017. Ink on paper\, 13 x 9 inches\, 18.5 x 14 inches framed  Sold \n \nStanding Man in Pink Cloud\, 2007. Gouache\, pencil\, ink\, and pigments on paper\, 13.5 x 9.5 inches Sold \nBirds in Golden Clouds\, 2019. Ink jet\, mica\, collage\, gouache\, gold leaf on paper. 11 x 14.5 inches \nChub\, 2018. Ink jet\, mica\, collage\, gouache\, gold leaf on paper\, 17.5 x 23.75 inches  Sold \nSix Clouds\, 2019. Gouache\, collage\, and pigments on paper\, 11.5 x 8.25 inches \n \nBlue Cloud Drawing\, 2017. Ink on paper\, 13.5 x 9.5 inches  Sold \n \nFour Tents\, 2019. Gouache\, ink\, and pigments on paper\, 12.5 x 8.5 inches \nBird on the Ground (c)\, 2019. Oil on canvas\, 11 x 13 inches \nBird on the Ground (e)\, 2019. Oil on canvas\, 12 x 16 inches \nBird on the Ground (b)\, 2019. Oil on linen\, 8 x 10 inches \nBird on the Ground (d)\, 2019. Oil on linen\, 8 x 10 inches Sold \nBird on the Ground (f)\, 2019. Oil on linen on board\, 10 x 16 inches \nBird on the Ground (a)\, 2019. Oil on canvas\, 12 x 16 inches Sold \nBird on the Ground (g)\, 2019. Oil on canvas 10 x 12 inches \n \nGreen Cloud\, 2019.  Sold \n \n \n \n \n \n \n Les Yeux du Monde is honored to present for its final show of 2019\, and to kick off 2020\, the gallery’s 25th year\, Dean Dass: Venus and the Moon. Dass\, a well known and beloved professor printmaking at UVa since 1985 who has shown with the gallery since our beginning\, is also known worldwide for his artistic innovations and contributions. In the past\, he has gained inspiration from the Lapland north of Helsinki. For this show\, he traveled north to the wilds of Northern Michigan and Ontario\, places where Canada’s famous Group of Seven artists painted over a century ago. If the sublime paintings of the past celebrated vast vistas of nature and discovery (often accompanying colonization) his might focus on a bog or the forgotten riverbank monumentalized. He writes\, “Rather than suggesting discovery\, my paintings aspire to a kind of quiet and resolve; the view of eternity\, to paraphrase the late Mary Oliver.” The resulting paintings are meditative and moving\, evocative scenes of the power and mystery of nature minus human interference. \nIn other monumental oils\, such as Fireflies\, Dass returns to his collages and prints of 25 years ago which were attuned to video games and sci-fi films. Historical consciousness is always present\, whether in his contemplations about what it means to paint landscape today or in his musings on the recurrence of history from Alexander the Great’s days of empire building to our own. \nAlso included will be some of Dass’s innovative large scale works on paper mounted on panel made with pigments\, gold leaf\, kaolin and more. In many of these pieces he introduces pink pigments inspired by prehistoric rock formations encountered on his Canadian sojourn. Some are microcosmically attuned to Chub fish in a river spawning golden new worlds or macrocosmically focused on the extraterrestrial—the moon and stars\, figures in space. \nDean Dass’s works have been included in numerous exhibitions in museums in Poland\, Brazil\, England\, Finland\, the Netherlands\, Egypt\, as well as in many university and private galleries here and abroad. He has been acknowledged in countless publications and through many fellowships and awards over the years. He has been a guiding light to his students at UVa since 1985 and to the Printmakers Left\, a collaborative art making group of colleagues hailing from all parts of our country\, with 4 art books now to its name. URL:https://www.lydmgallery.com/events/dean-dass-venus-and-the-moon/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190928 DTEND;VALUE=DATE:20190929 DTSTAMP:20260504T095954 CREATED:20190822T145118Z LAST-MODIFIED:20240108T181714Z UID:17025-1569628800-1569715199@www.lydmgallery.com SUMMARY:Susan McAlister: Field Days DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n \n \n \n \n \n \n \n \nDreams & A Blue Sky Day\, 2019. Mixed media assemblage\, 48 x 36″. sold \nDown by the River\, 2019. Mixed media assemblage\, 46 x 40″\, 48 x 41″ framed sold \n \nCold AM Sunrise\, 2018. Oil & mixed media on canvas\, 40 x 40”. sold \nSummering Grounds & Grasses\,2018. Mixed Media on Canvas\, 40 x 40″. sold \nPassages\, 2019. Oil & mixed media on canvas\, 40 x 40″   sold \nSairey’s Land\, 2018. Mixed media on paper\, 42 x 36″  sold \nEve\, Sister of Sairey\, 2018. Mixed media on paper\, 42 x 36″ sold \nStreamside\, 2019. Oil and mixed media on canvas\, 40 x 40″  sold \nWaiting on the Light\, 2019. Pigment and mixed media on paper\, 42 x 32″ sold \nSummer Rhythm\, 2019. Oil and mixed media on canvas\, 48 x 48″ sold \nBlue Forest II\, 2018.  Mixed media on paper\,  51 x 36″ paper\, 57 x 42″ framed \nPathway\, 2019. Mixed media on canvas\, 48 x 56″  sold \nGrasses & Creek\, 2019. Oil on canvas\, 30 x 24″ sold \nWading\, 2019. Oil an mixed media on canvas\, 30 x 24″ sold \nNo-one Imagined\, 2018. Oil and mixed media on canvas\, 30 x 24” sold \nSoft Soft Morning\, 2018. Oil and mixed media on canvas\, 30 x 24” sold \nGrace in the Hilltops II\, 2017. Oil on canvas\, 24 x 30” sold \nSpoken in a Dream\, 2019. Mixed media on canvas\, 48 x 52”. sold \nAgain & Again\, 2019. Mixed media on canvas\, 42 x 48″ sold \n \n \n \n \n \n Les Yeux du Monde is pleased to present Susan McAlister: Field Daysfrom 28 September through 2 November 2019. McAlister writes: “Field Days is comprised of work initiated out ‘in the field’. Long walks\, observations\, collected objects. Begun with what the land provides\, this diverse body of work is a tribute to the land I love.” Included will be the gestural and painterly landscape paintings in oil and mixed media she is well known and loved for\, as well as multi-media pieces that hover between representation and abstraction\, these veering more toward the abstract. She also will introduce some new more three-dimensional assemblage paintings that are created with cut outs a la Matisse and also actual objects she has picked up in her “field” work.  This new direction she explains allows her to tell the stories of specific geographic and historical sites\, which has become increasingly important to her. \nAnother inspiration for the work in this show is Walt Whitman. McAlister writes: “A poet of the everyman\, I find inspiration in his use of our nation’s landscape to describe our diverse yet common humanity. Possibly these spaces represent what is ‘best’ about our country and provide a platform for unity. If mountains are our heart\, the rivers are our soul; the streams our everyday; the forests our history…both the good and the bad of it.” \nMcAlister grew up in the Hunt Country of Virginia and now resides in Charlotte NC\, but the sea and skyscapes of South Carolina and Montana are inspiration for her work as well as travels\, most recently to Iceland. Her work is in many private and public collections (including the University of Virginia Health Care System and the Boar’s Head Inn Resort) and has been shown in museums and galleries throughout the south. \n \n \n \n \n \n Installation shots here. Use the “visual” tab. URL:https://www.lydmgallery.com/events/susan-mcalister-field-days/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190824 DTEND;VALUE=DATE:20190923 DTSTAMP:20260504T095955 CREATED:20200817T174838Z LAST-MODIFIED:20260113T220940Z UID:28096-1566604800-1569196799@www.lydmgallery.com SUMMARY:Sanda Iliescu: Arrivals\, Angels DESCRIPTION:Exhibition WorksArtist Statement\n \n \n \n \n \n \n \n \nAngel with Birds and Flowers (St. Francis)\, 2019. Ink on paper\, 19 x12”\, 22 x 16” framed (sold) \n \nAngel with Dog and Serpent\, 2019. Ink on paper\, 19 x12”\, 22 x 16” framed \n \nAngel with Notebook and Bird\, 2019. Ink on paper\, 19 x12”\, 22 x 16” framed \n \nAngel with Birds\, 2019. Ink on paper\, 19 x12”\, 22 x 16” framed \n \nAngel Starting on a Journey\, 2019. Ink on paper\, 19 x12”\, 22 x 16” framed   sold \n \nAngel: After Brancusi’s Portrait of James Joyce\,2019. Ink on paper\, 19 x12”\, 22 x 16” framed \n \nAngel in Greek Costume\,2019. Ink on paper\, 19 x12”\, 22 x 16” framed \n \nAngel Crying with Bird\, 2019. Ink on paper\, 19 x12”\, 22 x 16” framed \n \nAngel Brings Medicine\, 2019. Ink on paper\, 19 x12”\, 22 x 16” framed sold \n \nAngel Bringing Snow\,2019. Ink on paper\, 19 x12”\, 22 x 16” framed. sold \n \nAngel with Snail\,2019. Ink on paper\, 19 x12”\, 22 x 16” framed \n \n Angel Crying\, 2019. Ink on paper\, 19 x12”\, 22 x 16” framed \n \nAngel Crying\, 2019. Ink on paper\, 8 ½ x 5 ½”\, 12 x 9” framed \n \nAngel\, 2019. Ink on paper\, 8 ½ x 5 ½ “\, 12 x 9” framed sold \n \nAngel Crying\, 2019. Ink on paper\, 8 ½ x 5 ½ “\, 12 x 9” framed \n \nYoung Angel\, 2019. Ink on paper\, 8 ½ x 5 ½”\, 12 x 9” framed \n \nAngel (The Engineer)\, 2019. Watercolor on paper\, 10 x 10”\, 14 x 14” framed \nAngel Reading\, 2019. Watercolor on paper\, 10 x 10”\, 14 x 14” framed sold \n \nTwo Angels\, 2019. Watercolor on paper\, 10 x 10”\, 14 x 14 ” framed \n \nAngel Crying: in Garden\, 2019. Ink wash on paper\, 10 x 8”\, 14 x 12” framed sold \n \nAngel Crying: at the Source\, 2019. Ink wash on paper\, 10 x 8”\, 14 x 12” framed Sold \n \nAngel Crying: with Hope\, 2019. Ink wash on paper\, 10 x 8”\, 14 x 12” framed sold \n  \n \n \n \n \n \n These angels were not anticipated: I did not make a conscious decision to draw angels. The subject simply grew from certain feelings one day. I felt very low. I felt like crying.  Somehow\, as an act of defiance—a sort of resistance if you will—I picked up a pen and drew a figure crying. Perhaps this was a sort of self-portrait\, but a self-portrait that did not really look like me. In fact I did not know whether this was a man or woman or child. But\, as I drew\, I felt a sense of compassion for this unknown person. After drawing the tears\, I began wanting to give this figure (this child or man or woman crying) something to hold on to—something that was not entirely hopeless. So\, without really knowing why\, I had a desire to draw wings. And so the figure crying became an angel. \nSanda Iliescu\, Notes on Work URL:https://www.lydmgallery.com/events/sanda-iliescu-arrivals-angels/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/Angel_With-Brids-and-Flowers-St.-Francis_SFSmith_190619_3037.-resized.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190824 DTEND;VALUE=DATE:20190923 DTSTAMP:20260504T095955 CREATED:20190922T194914Z LAST-MODIFIED:20260119T213136Z UID:17207-1566604800-1569196799@www.lydmgallery.com SUMMARY:Sanda Iliescu: Arrivals DESCRIPTION:Exhibition WorksInstallation ShotsPress Release\n \n \n \n \n \n \n \n \nIn the City of Z\, Memories of Rome\, 2018. Watercolor and gouache on paper\, 10 x 12.5″ sold \n \nAlphabet on the Beach\, 2019. Colored pencil on paper\, 32 drawings unframed\, 10 x 8″ each \n \nIn the City of Zi : At Water’s Edge #2\, 2018. Oil on canvas\, 23.5 x 29.25″ \n \nIn the City of Zi: At Water’s Edge #2\, 2018. Oil on canvas\, 23.5 x 29.25″ sold \n \nPeter’s Park: Lagoon\, 2018. Media: Graphite\, Watercolor\, and Gouache on paper\, 10 x 10″To see more from the Peter’s Park series\, click here. \n \nMy Mother’s Bird\, 2015. Thread\, ink and collage on paper\, 8 x 8″  soldTo see more from the Birds Series\, An Unexpected Aviary\, click here. \n \nAngel with Bird\, 2019. Ink on paper\, 18 x 12 inchesTo see more from the Angels Series\, click here. \n \nSonnet XI\, 2019. Oil on canvas\, 18 x 18″To see more from the Sonnets series\, click here. \n \nBlanket #1\, 2019. Oil on board\, 12 x 12″To see more from the Blankets Series\, click here. \n \nThe Blue Pool: Color Meditation\, 2017. Color pencil on paper\, 10 x 10″ sold \n  \nEstelle’s Collection: Broken Umbrellas (No. 2)\, 2015. Collage\, pencil\, and ink on paper\, 9 x 9”\, 14 x 14”\, framed \n \nSand Sketches:  No. 2\, 2015. Watercolor on paper\, 8 x 10”\, 12 x 14” framed \n \nSand Sketches:  No. 1\, 2015. Watercolor on paper\, 8 x 10”\, 12 x 14” framed \n  \nEstelle: At the Beach\, 2015. Mixed media\, 9 x 9”\, 14 x 14” framed \n  \n \nMemories from Childhood: Objects on the Beach\, 2015. Watercolor on paper\, 8 x 10”\, 12 x14” framed \n \nMemories from Childhood: Objects on the Beach\, 2015. Watercolor on paper\, 8 x 10”\, 12 x14” framed \n \nEstelle’s Collection: Broken Umbrellas (No. 1)\, 2015. Collage\, pencil\, and ink on paper\, 9 x 9”\, 14 x 14” framed \n \nIn the Gray Courtyard: Color Meditation\,2017. Colored pencil on paper\, 10 x 10”\, 11 ½ x 11 ½” sold \n \nThe Red House: Color Meditation\, 2017. Colored pencil on paper\, 10 x 10”\, 11 ½ x 11 ½” framed sold \n \nCastle Indigo: Color Meditation\, 2017. Colored pencil on paper\, 10 x 10”\, 11 ½ x 11 ½” framed sold \n \nIn the City of Zi: At Water’s Edge #3\, 2018. Oil on canvas\, 23.5 x 29.25″ \n \nIn the City of Zi: At Water’s Edge #4\, 2018. Oil on canvas\, 23.5 x 29.25″ \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\nLes Yeux du Monde is excited to present for our initial show of the 2019 fall season Sanda Iliescu: Arrivals\, from August 24 to September 22. Born in Romania\, Iliescu received her BSE in Civil Engineering and her Masters of Architecture from Princeton University. She is a well-known and beloved professor of art and architecture at UVA\, winning the National Beginning Design Faculty award in 2017\, and an artist who has exhibited her art globally and has received many prestigious awards including the Rome Prize\, a McDowell fellowship\, and the Distinguished Artist Award of the New Jersey State Council of the Arts. Her writing on aesthetic issues in art and design includes the book The Hand and the Soul: Aesthetics and Ethics in Architecture and Art and the forthcoming Looking Deeply: Essays on Art\, Architecture\, and Design as well as countless articles including “The Garden as Collage\,” “Beyond Cut-And-Paste\,” and “Art and Community: Making Public Art on a University Campus.” With her students\, she has created many public art projects\, responding to current campus and world issues of discrimination and violence. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nThis exhibition will feature a wide sampling of Iliescu’s paintings\, drawings and collages\, all bound together with a common theme of magic or a surprising eruption of the sacred in the mundane. The artist writes of the show’s title: “Arrival suggests for me arriving at a magical\, imaginary place of both presentness (being in the present) and memories (remembering the past).” Magical messengers—birds\, angels\, some weeping\, flying umbrellas and more—populate the paintings and collages. Her birds are from a series she drew with her non-dominant\, left hand\, producing one a day for about 5 years\, and their freedom and expressiveness is astounding for such spare and linear compositions. Sometimes she embellishes with sewing and collaged paper or texts. Of birds\, she writes\, “Birds are somewhat fantastical—miraculous even.  They do something we humans cannot naturally do: they fly\, float\, and dance in the air.” Angels are also marvelous messengers and intermediaries from another realm. She writes that they “arrived” as a surprise one day when she was feeling down and she started drawing figures\, neither male nor female\, but weeping. She began to feel compassion for them and wanted to give them “something to hold on to\,” so she gave them wings and thus this series was born. It grew to include a wide variety of angelic beings in many different personalities and guises. They are deceptively simple\, though infinitely varied and expressive through only her sure and masterful line.  Other works in the show are from the series In the City of Zi\, and Peter’s Park\, created during her time in Zurich in 2018 as a Truninger Art Fellow. These give a nod to one of her favorite\, also Swiss\, artists of Modernism\, Paul Klee\, in their rhythmic and surprising geometry\, color and subjects. \n\n\n\n\n\n\n\n\n\n\n  URL:https://www.lydmgallery.com/events/sanda-iliescu-arrivals-2019/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/Memories-of-Rome_SFSmith_190619_3012.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190824 DTEND;VALUE=DATE:20190923 DTSTAMP:20260504T095956 CREATED:20190827T175413Z LAST-MODIFIED:20260113T184636Z UID:17162-1566604800-1569196799@www.lydmgallery.com SUMMARY:Sanda Iliescu: Arrivals\, Peter's Park DESCRIPTION:Exhibition WorksInstallation Shots\n \n \n \n \n \n \n \n \nPeter’s Park: Garden with Birds and Snake\, 2019. Watercolor\, gouache\, and collage on paper\, 10 x 10”\, 14 x 14” framed \n  \n \nPeter’s Park: Pond\, 2018. Watercolor\, gouache\, and collage on paper\, 10 x 10”\, 14 x 14” framed \n  \n \nPeter’s Park (No. 10): At the Lake\, 2018. Watercolor\, gouache\, and collage on paper\, 10 x 10”\, 14 x 14” framed \n  \n \nPeter’s Park (No. 7): Regatta\, 2018. Watercolor\, gouache\, and collage on paper\, 10 x 10”\, 14 x 14” framed \n  \n \nHephaestus in Love\, 2018. Watercolor\, gouache\, and collage on paper\, 9 x 9”\, 14 x 14” framed\, \n  \n \nPeter’s Park (No. 3.): Garden Plots\, 2018. Watercolor\, gouache\, and collage on paper\, 10 x 10”\, 14 x 14” framed \n  \n \nPeter’s Park (No. 8): Lagoon\, 2018. Watercolor\, gouache\, and collage on paper\, 10 x 10”\, 14 x 14” framed URL:https://www.lydmgallery.com/events/sanda-iliescu-arrivals-peters-park/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/Peters-Park_With-Blue-Birds_SFSmith_190304_1780.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190824 DTEND;VALUE=DATE:20190923 DTSTAMP:20260504T095956 CREATED:20190827T144907Z LAST-MODIFIED:20260113T224243Z UID:17158-1566604800-1569196799@www.lydmgallery.com SUMMARY:Sanda Iliescu: Sonnets DESCRIPTION:Exhibition WorksArtist Statement\n \n \n \n \n \n \n \n \nSonnet XII\, 2019. Acrylic on canvas\, 18 x 18” \n  \n \nSonnet XI\, 2019. Acrylic on canvas\, 18 x 18” \n  \n \nSonnet X\, 2019. Acrylic on wood panel\, 12 x 12” \n  \n \nSonnet IX\, 2019. Acrylic on canvas\, 12 x 12” \n  \n \nSonnet I\, 2019. Acrylic on canvas\, 12 x 12” \n  \n \nSonnet II\, 2019. Acrylic on canvas\, 12 x 12” \n  \n \nSonnet IV\, 2019. Acrylic on wood panel\, 12 x 12” \n  \n \nSonnet I\, 2019. Acrylic on canvas\, 12 x 12” \n \n \n \n \n \n Sonnets \nI made these paintings after coming home from a month long period in Switzerland on an arts fellowship.  I had enjoyed this time of intense painting\, but I had also missed my husband very much\, and when I came home I found myself drawn to read Shakespeare’s sonnets\, many of which concern love and the writer’s feelings for the beloved. I read carefully and took notes. At some point I decided to try to make paintings that would convey something of the mood of each sonnet.  So that’s what these paintings are: mood pieces based on Shakespeare’s sonnets.  Some of the paintings\, like the sonnets\, are melancholy\, even dark; some are more joyful.  Somewhere in the painting I would write the first line of the sonnet.  The mood is defined by the colors I choose\, by the types of lines I draw\, and by the relationship of the often square patches of color in the pieces and the free flowing lines running through and around them. I think of it as a kind of dance that takes place between lines and colors. \nSanda Iliescu\, Notes on Work\, 2019 URL:https://www.lydmgallery.com/events/sanda-iliescu-sonnets/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/12_Sonnet_SFSmith_190619_2914.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190824 DTEND;VALUE=DATE:20190923 DTSTAMP:20260504T095956 CREATED:20190827T135344Z LAST-MODIFIED:20260113T182502Z UID:17153-1566604800-1569196799@www.lydmgallery.com SUMMARY:Sanda Iliescu: Arrivals\, Blankets DESCRIPTION:Exhibition WorksInstallation ShotsArtist Statement\n \n \n \n \n \n \n \n \nQuiet\, 2019. Acrylic on wood panel\, 12 x 12″ \n \nQuilters Castle\, 2019. Acrylic on wood panel\, 12 x 12” \n \nOde to a Quiltmaker\, 2019. Acrylics on wood panel\, 12 x 12” \n \nSonnet VI\, 2019. Acrylic on canvas\, 12 x 12” \n \nBlanket No. 2\, 2019. Acrylic on wood panel\, 12 x 12” \n \nBlanket No. 3\, 2019. Acrylic on wood panel\, 12 x 12” \n \n \n \n \n \n \n \n \n \n \n \n Blankets \nLike the sonnets\, these paintings are very much about love\, except this time it’s my love for my son.  They’re called “Blankets” because when he was very little he had a blanket that was special to him.  It was a beautiful\, soft blanket\, knitted\, with very pale colors – pale blues and pale rose shades.  It also had a beautiful scent – at least I thought it was a beautiful scent\, because it was his scent. I tried to convey the spirit of that blanket in these paintings. They’re grid paintings and\, like the sonnets\, they use color to convey moods – the peace\, the wonder\, the warmth of childhood.  As I kept working\, some of the paintings departed from the original blanket of my son and became just mood pieces where the different moods were suggested by colors and color relationships.  Some of them are like quilts or rugs.  But they’re all about mood and also scent and texture\, since I think soft colors\, soft lights\, can convey a sense of smell and touch. URL:https://www.lydmgallery.com/events/sanda-iliescu-arrivals-blankets/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/6_Rosy-Fingered-Dawn_SFSmith_190628_0754-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20190824 DTEND;VALUE=DATE:20190923 DTSTAMP:20260504T095956 CREATED:20190816T174304Z LAST-MODIFIED:20260113T215638Z UID:16953-1566604800-1569196799@www.lydmgallery.com SUMMARY:Sanda Iliescu: Birds DESCRIPTION:Exhibition WorksArtist Statement\n \n \n \n \n \n \n \n \nFemale Yellow Warbler\, Dendroica Petechia\, Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 sold \n  \n \nFish Crow\, Corvus Ossifragus\, Mixed media on paper\, 8 x 10”\, 12 x 14” framed\, $1200 \n  \n \nTufted Titmouse\, Baelophus Bicolor\, Mixed Media on paper\, 8 x 8”\, 12 x 12 framed\, $1200. sold \n  \n \nRose-Breasted Grosbeak\, Pheucticus Ludovicianus\, Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \nPine Siskin\, Carduelus Pimus\, Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \nMy Mother’s White Bird\, Aris Alba est Mater Mia\, 2013. Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 sold \n  \n \nMy Mother’s White Bird\, Aris Alba est Mater Mia\, 2013. Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 sold \n  \n \nMocking Bird\, Mimus Polyglotos\, Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \nGreen Heron\, Butorides Virescens\, Mixed media on paper\, 11 x 8 ½”\, 15 x 12 ½” framed\,$1200 \n  \n \nDove\, Columba\, Mixed Media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \nCity Pigeon\, Columba Liria\, Mixed media on paper. 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \nCity Pigeon\, Columba Liria\, Mixed media on paper. 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \nGray Catbird\, Dumetella Carlinensis\, Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 sold \n  \n \nBlack and White Warbler\, Muiotilta Varia\, Mixed Media on collage on paper\, 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \nBlack Bellied Plover\, Plovialis Squatarola\, Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 \n \nBarred Owl\, Strix Varia\, 2013. Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \nBaltimore Oriole\, Icterus Galbula\, Mixed Media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 sold \n  \n \nCarolina Chickadee\, Poecile Carolinemsis\, Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \n \n \n \n \n An Unexpected Aviary: Birds Drawn with My Left Hand\nApproximately 8 x 8 inches; mixed media on paper; 2010-2015 (196 drawings) \nI started this series in order to teach myself to draw with my non-dominant\, left hand. The more I drew\, the more I enjoyed using my “other” hand.  I liked its delicacy and deliberateness\, its awkwardness and slowness… The left hand insisted I draw in a steady and minimal way. I had to be precise and concise. Every line had to mean something: there could be no wasted marks.   \nIt seemed like magic: the way I could convey a bird’s distinctive character—her personality—with just a few lines. Some birds are fragile and shy\, others incredibly bold; some are angry or petulant\, others exuberantly happy; some soar\, others float gently\, and others simply stand their ground… \nPerhaps more than the right\, my left hand delights in the endless possibilities of drawn lines moving on a page.  Fast lines\, and slow lines; broken and gently sweeping ones; harsh and jagged ones; sweet lines; lines that echo each other… lines that touch and lines that do not touch… With just lines I could suggest not only the peculiar character of the bird but also a set of relations between the bird and its specific context… I knew the drawing was going well when an atmosphere emerged: a way of seeing and of being in thatplace where the bird lived. \nBut why draw birds?  I could have used my left hand to draw any number of things. The truth is that I simply love birds and pictures of birds—yes\, even those cheesy ones printed on hallmark cards. A bird can be so adorable\, delicate\, and innocent. Like all animals birds lack guile and dishonesty. And\, of course\, all birds are somewhat fantastical—miraculous even.  They do something we human cannot naturally do: they fly\, float\, and dance in the air. \nMy love of birds made it easy to draw them over and over.  Each morning\, I rested my soul by looking at a bird. I did this almost every day\, for five years\, between 2010 and 2015.  I stuck with it. I drew\, erased\, tore up\, and stitched fragments of drawings together. My drawing models varied. I drew birds I found in books\, birds on greeting cards\, birds I remembered\, and birds I saw in our backyard: alighting on our bird feeder\, resting on branches of bushes\, or just hopping around grassy areas looking for worms…   \nSanda Iliescu URL:https://www.lydmgallery.com/events/sanda-iliescu-birds/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/Yellow-Warbler_SFSmith_4000_Adj.jpeg END:VEVENT END:VCALENDAR