BEGIN:VCALENDAR VERSION:2.0 PRODID:-//LYDM - ECPv6.17.1//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:20240913 DTEND;VALUE=DATE:20241104 DTSTAMP:20241111T193653Z CREATED:20240826T104532Z LAST-MODIFIED:20241111T193653Z UID:33693-1726185600-1730678399@www.lydmgallery.com SUMMARY:Picasso\, Lydia & Friends\, Vol. V DESCRIPTION:Press ReleaseExhibition WorksInstallation Shots\n \n \n \n \n \n \n \n Les Yeux du Monde proudly presents the fifth installment of an exhibition series orchestrated to honor the memory and scholarship of acclaimed Picasso scholar\, beloved former professor of Modern Art at the University of Virginia\, and sublime painter\, Lydia Csato Gasman. \nThe exhibition features work by both Lydia Gasman and Pablo Picasso\, the artist at the center of her scholarship\, along with eight other contemporary artists whose work or thinking they inspired: William Bennett\, Anne Chesnut\, Dean Dass\, Rosemarie Fiore\, Sanda Iliescu\, Megan Marlatt\, David Summers\, and Russ Warren. A portion of the proceeds from this show will benefit the Lydia Csato Gasman Archives for Picasso and Modernist Studies\, the non-profit organization that LYDM Founder Lyn Bolen Warren and Art Historian Victoria Beck Newman co-founded to preserve and disseminate Gasman’s scholarship. \nLydia Gasman’s groundbreaking Ph.D. dissertation\, Mystery\, Magic\, and Love in Picasso: Picasso and the Surrealist Poets\, 1925-1938 revolutionized the thinking around Picasso’s art. It was reverentially reviewed in The New York Review of Books by Picasso biographer\, John Richardson\, who noted\, “Dr. Gasman did more to unlock the secrets of the artist’s imagination than anyone else.” \nIn her obituary for Gasman in The New York Times\, celebrated art critic Roberta Smith praised Gasman’s contributions to the field and remarked: \n“Fluent in several languages and equipped with a formidable memory\, Dr. Gasman redefined Picasso studies. Most scholars had either analyzed Picasso’s art purely in terms of formal innovations and aesthetic progress or offered one-dimensional readings of his work in relation to his life story. Dr. Gasman found a middle way. \nOne of her more sensational achievements was to track down Marie-Thérèse Walter\, the great love of Picasso’s life\, in the south of France in 1972 and\, over a period of several days\, to conduct the frankest\, most detailed interview about their life together. \nBut Dr. Gasman’s most far-reaching accomplishment was to tie the imagery of Picasso’s paintings to the life of his mind: his reading (especially the poetry of the Surrealists)\, his writings and notebook jottings\, his psychic state and interest in all forms of mysticism\, magic and ritual.” \nPlease join us in celebrating the remarkable accomplishments of Lydia Csato Gasman\, and the extraordinary art of Pablo Picasso\, William Bennett\, Anne Chesnut\, Dean Dass\, Rosemarie Fiore\, Sanda Iliescu\, Megan Marlatt\, David Summers\, and Russ Warren. \n  \nLydia Gasman \nAll of Gasman’s primary interests\, preoccupations\, fears\, experience\, and enduring sense of hope coalesce in her monumental painting\, The Angel of History. The title is borrowed from Walter Benjamin’s description of Paul Klee’s Angelus Novus in his essay “On the Concept of History.” Written in 1940 as the shadow of fascism spread across the world\, Benjamin found in Klee’s hovering angel a way to express his despair: \n“A storm is blowing from Paradise; it has got caught in his wings with such violence the angel can no longer close them. This storm irresistibly propels him into the future to which his back is turned\, while the pile of debris before him grows skyward.” \nIn a general sense\, Gasman depicts what Benjamin describes. An angel appears in the foreground\, her cascading wave of a wing billowing behind her in vivid blues against a gray sky and landscape distinguished only by indeterminate forms underneath an ominous dark mass vaguely resembling an airplane. Remarkably though\, this angel advances in space rather than being blown backward in the manner of Klee’s angel. In fact\, Gasman has inserted some very specific circumstances of her own history into Benjamin’s schema. The angel with her silvery white hair and bright blue eyes is a portrait of her beloved mother\, Sara Csato. Cast as an angel\, the colorful mantle she pulls around her is the body of her grandson who died defending Israel\, carrying him away from danger just as she did with her son and Lydia’s brother\, Yoash when she had him spirited out of their native Romania during World War II. Romania\, allied with the Axis powers\, was bombed by the Allies and the airplane shape in the upper background may be a reference to the bombers flying over Gasman’s childhood home there. Her riveting lectures on Picasso’s Guernica and related war-time works often referenced her own experience of the terror wrought by bombing raids and especially by the whistling sound of explosives dropped from above–the traditional seat of heaven–as she and her family fled to shelters in the night. Underlying her investigation of Picasso’s paintings\, drawings\, and writings during World War II in her book\, War and the Cosmos\, was her brave quest to interrogate\, understand and vanquish the evil they both witnessed. Knowing something of these circumstances might lead us to interpret The Angel of History as a bleak work\, but it is ultimately about courage and hope. Sara was always a figure of love\, comfort\, and admiration for Lydia and in painting her as an angel in a perilous universe she may well have been thinking of Benjamin’s summation of Klee’s inspirational subject: \n“The angel survives amid catastrophe\, powerless but undefeated.” \n  \nPablo Picasso \nPrintmaking was an integral part of Pablo Picasso’s prodigious artistic achievement. Beginning in 1904 with the Saltimbanque Suite\, a series of etchings depicting circus performers\, and culminating in 1972 with his Series 156\, featuring an extraordinary profusion of autobiographical elements\, Picasso created prints as a way of exploring his ideas and thoughts in a metamorphic way. Often his subjects were concurrent with those of his paintings and sculptures but the print medium and the innovative liberties he took with it\, gave him a unique flexibility and fluidity in expressing his thoughts and feelings. As he famously said\, “The movement of my thought interests me more than the thought itself.” \n Modèle\, Tableau et Sculpture (Model\, Painting and Sculpture)\, 1933 (March 21) \nTrois Femmes nues et une Coupe d’Anémones (Three Nudes et a Bowl of Anemones)\, 1933 (April 6) \nPicasso’s preoccupations during particular moments of his life are so beautifully and sensitively revealed in the prints included in Lydia\, Picasso\, and Friends. Modèle\, Tableau et Sculpture of 1933 is from the Suite Vollard\, a series of 100 prints made by Picasso in collaboration with the master printer Roger Lacourière. The simplicity of Picasso’s line in this work belies its conceptual sophistication:  Picasso’s print is self-referential—an artwork whose subject is art as both painting and sculpture—and also about the artist and muse who make and inspire them. Commissioned by the art dealer Ambroise Vollard and very loosely based on Honoré de Balzac’s Le Chef-d’oeuvre inconnu (The Unknown Masterpiece) many of the works celebrate Picasso’s love for his young mistress Marie-Thérèse Walter whose features and physiognomy inspired the neoclassical style in which the prints are conceived. Picasso’s relationship with Marie-Thérèse coincides with one of the most profound and complicated periods in his long artistic career and she is generally considered the most important of his muses. Marie-Thèrése is also the model for Trois nues et une Coupe d’Anémones. Picasso compares her to the Three Graces of Greek mythology embodying in triplicate their attributes of beauty\, charm\, and goodness. Picasso’s representations of Marie-Thèrése as the key to Picasso’s worldview is the focus of Lydia Gasman’s brilliant and ground-breaking study\, Magic\, Mystery and Love in Picasso\, 1925-1938. \n \nCrâne de chèvre sur la table (Table with Goat Skull)\, 1953 \nCrane de chèvre sur la table (1953) was also printed by Lacourière and is entirely different in subject\, mood\, and appearance. Using aquatint to create intense tonal variations and eschewing the lyrical linearity of the Suite Vollard\, Picasso depicts a textured\, ornate\, and strangely animated goat skull through densely woven webs of strokes in contrasting areas of light and dark. The goat figures prominently in Picasso’s iconography and carries multivalent meaning. In scenes derived from Greek mythology Picasso often depicted the animal as a sacrificial offering to the divine and there are intimations of this role in the goat’s skull. It also suggests an association with the ancient concept of memento mori frequently alluded to in still life throughout the history of art. The reference to death can certainly be understood in terms of the horrors of World War II from which the western world was just beginning to recover. Like the bull\, the goat has been interpreted as one of Picasso’s artistic alter-egos. The somber presentation of this specific goat’s head may relate to his sense of rejection and sorrow following his breakup with another important muse\, Françoise Gilot\, who left him in 1953. \n \nPommes\, Verre\, et Couteau (Apples\, Glass\, and Knife)\, 1947 (March 11) \n La Tasse et La Pomme (The Cup and the Apple)\, 1947 (April 21) \nFleurs dans un Verre\, nº 6 (Flowers in a Glass #6)\, 1947 (April 22) \nMore prosaic are the quietly poetic print still lifes Picasso made in the 1940s at Fernand Mourlot’s Paris print studio where his experiments with lithographic techniques yielded a whole new body of iconoclastic works. Sometimes forgoing a print brush or crayon\, he used his fingers to draw\, change\, or erase compositions\, leaving a physical manifestation of his mark and a literal record of “the movement of his thoughts.” While the goat skull print is filled with a mysterious and profound sadness\, the lithographs he made with Mourlot are meditations on everyday elements of daily human life—bread and cutlery upon a table presented in a close and immediate way\,a geometricized coffee pot and cup and a simple bouquet of flowers in a vase. All from the 1940s\, these simpler arrangements reference ordinary human needs—for nourishment and beauty—and their fulfillment. They can be read as a kind of calming corrective to the undercurrents of  anxiety running through many of Picasso’s still-life compositions of the war years. \n  \nDean Dass \nDean Dass was a colleague of Lydia Gasman in the Art Department at the University of Virginia. In this exhibition\, Dass presents a work on paper titled Passenger Manifest\, which draws on the influence of both Lydia Gasman’s scholarship and Picasso’s drawing\, Nude Woman Imploring the Heavens. Like Picasso and Gasman\, Dass explores all experience–physical and metaphysical–to understand the mysteries of human existence. About his work\, Dass once noted: “The idea of looking up\, into the future – that’s the human predicament. And we’re all just passengers.” \nAbout Lydia Gasman\, the artist writes: \n“I started in the Art Dept. in 1985 and Lydia started in 1990. Despite our many differences I would nevertheless say we had everything in common. As both a developing artist and developing professor\, Lydia was really important to me. She encouraged and nurtured everything that I would come to believe was important\, namely\, that to think and read and write and to draw and paint all went together naturally\, and the practice in every event would involve prolonged and passionate discussions. It meant everything to me that an important scholar like Lydia gave me permission as an artist to read and talk about the world outside the studio. Our offices were at opposite ends of the print studio in old Fayerweather Hall\, 1990-2004\, and Lydia often strolled through the shop while we were working. Over these years I came to understand our print studios as ateliers. Our spaces were studios – places to work filled with simple printing presses; we’re in a very old greasy machine shop. But these press rooms are also an undergraduate chemistry lab; we’re etching copper. Is that really safe? And primarily\, we have gathered there to talk\, and to talk about all of our other classes throughout the humanist studies of the liberal arts. I suppose it is accurate to say it took a long time for me to understand that Lydia was modeling all this for us. \nIn the time period in question\, 1990 through 2004 – when the Studio Program moved out and Fayerweather Hall was renovated for Art History\, themes in both my own work and in the readings and assignments\, so-called\, that I provided for my students were primarily Jungian. Or I would use his cross-cultural approaches to symbols and imagery applied to themes derived from folklore. But of primary importance\, I would say\, Is that we learned to think history itself as symbolic form. Lydia’s innovative scholarship linking Picasso’s images and texts helped us see that our task is to create metaphoric languages from our own times\, our histories\, and try to come to terms in that way. One of her later publications explored the topic of “War and the Cosmos.” Her topic created for me a constellation of influences that continue to resound in my recent exhibitions. To say war and cosmos together is to create a metaphor. I trace the conceptual influences surrounding my shadowy Pilot/Passenger protagonists directly to Lydia’s scholarship. To manifest is to leave everyday chronos for kairos. Thank you\, Lydia.” \n \nRosemarie Fiore \nRosemarie Fiore studied under Lydia Gasman at the University of Virginia and credits Gasman with significantly influencing her life and work. Gasman was the first to teach Fiore about the Surrealist artist\, Wolfgang Paalen\, and his technique\, fumage\, in which candle smoke was used to paint. This discovery ultimately inspired Fiore’s Smoke Paintings\, which she creates leveraging tools she has built to harness smoke expelled from firework canisters\, and layering this smoke residue with acrylic paint and\, at times\, pigmented ground. \nAbout Gasman\, Fiore writes: \n“I am fortunate because I was both a student and assistant to Lydia. She was a real artist and generous mentor. Her life-long devotion to research and teaching fed her painting. She processed her research through her painting and her painting through her research. At times she used her own work to explain profound concepts related to Picasso\, Foucault\, Kiefer\, Apollinaire etc. She viewed drawings by Picasso with razor sharp vision fascinated by his quick sketches on random napkins and discarded scraps of paper. To her\, these works were especially magical. They were like cryptic star charts and she earnestly tried to decode them. She explained how every dot\, line and scribble was imbued with meaning and intention. It all connected and made perfect sense because when you were a student of Lydia\, you became a student of the cosmos.” \n  \nRuss Warren \nLydia Gasman and Russ Warren shared a close friendship. Both college professors–Gasman taught Art History at the University of Virginia and Warren led the Studio department at Davidson College–they had many mutual intellectual interests and a profound love of Picasso’s art. Gasman once referred to a series of black and white “psychoanalytical portraits” painted by Russ Warren in the early aughts as “brilliant distillations of Picasso.” For this installment of Picasso\, Lydia & Friends\, Warren returns to black and white portraits\, this time in a 40 x 120 inch triptych entitled: FACES.About Picasso and Lydia Gasman\, Warren writes: \n“My debt of gratitude belongs to my mother\, who decorated my room with Picasso posters while I was away at camp. The images from Mandolin and Guitar by an Open Window haunts me to this day. I left home at an early age and found myself on a driven search for the original\, which I found at the MET. I was blown away by the scale\, color\, and magnetism. I’ll never forget the experience\, not knowing that Picasso’s charm would be easy to copy yet impossible to duplicate. He was a great teacher for an open mind and impossible for a closed one. Picasso’s line\, form\, rhythm\, mark and color\, scale\, and humor are forever my teacher. \nConsidered “old hat” by my critics and “forceful” by my friends\, I finally met my match when Lyn Bolen Warren introduced me to Lydia Gasman. In Lydia\, I finally met my aesthetic soulmate. Her knowledge of Picasso was unsurpassed. \nPicasso’s painting\, prints\, drawing\, sculpture\, poetry and monumental designs grasped an entire century like no other. Lyn Bolen Warren and Vicki Beck Newman together with Lydia were a modernist powerhouse. I was finally surrounded by like-minded Picasso enthusiasts. Lydia with the entire 20th century\, Vicki with Picasso’s Golden Years\, and Lyn with her modern dance created a modernist’s dream. \nMy passion for Picasso might never have taken root\, had it not been for my mother’s decorating zeal. Thanks\, Mom! And thank you\, Vicki\, for bringing Dora Maar back to life\, and Lyn\, for keeping Picasso’s choreography in our hearts.” \n  \nSanda Iliescu \nSanda Iliescu and Lydia Gasman were colleagues as faculty at the University of Virginia\, and also both Romanian-born artists living and working in America. For this exhibition\, Iliescu shares a series of ink drawings on paper entitled Angels. In these lyrical but also careful and contained renderings\, Illiescu\, like Gasman in The Angel of History\, seems to invoke Paul Klee’s Angelus Novus and the predicament of the sacred in the modern world. \nAbout Lydia Gasman\, the artist wrote: \n“Fearlessness. Freedom. Exuberance. These are some of the qualities that characterize the working methods of Lydia Gasman and Pablo Picasso. She tenaciously broke boundaries between traditional disciplines such as art history\, artmaking\, and philosophy\, and she wrote\, painted\, and lectured with fearless exuberance. He broke the standards of Western realistic representation and continually reinvented his way of painting\, moving nimbly from abstraction to naturalism. They both worked with what I’d like to call “elan\,” a Romanian word—both Lydia and I were born in Romania—that describes dynamic\, fluid\, and joyful actions. \nWhile “elan” is what I always hope to have when I paint\, draw\, or make collages\, I confess it is on occasion difficult to achieve. I become very cautious. I doubt what I am doing\, and I am tempted to return to what I already know\, or what is acceptable\, or conventional\, or safe. It is at such moments that I often think of Picasso and Gasman. \nWhen I first began drawing angels in 2019\, I remember being excited and feeling bold: although these drawings did not resemble anything I had done before\, they flowed from my hand naturally and seamlessly. The finished drawings are delicate\, minimal\, and somehow strange. But this strangeness was necessary to create the mood I wished to convey—the sense of quietness\, simplicity\, and child-like serenity. Still\, I sometimes begin to ask questions. Why was I being so inconsistent with my other work? Why the minimal\, “barely there” manner—only very thin and sparse black lines? And why angels? Last year\, I was unsure of myself and briefly set aside the Angels project. Then\, one day\, I came across this quote by Henri Matisse: \n“… the artist must never be a prisoner. Prisoner? An artist must never be a prisoner even of himself\, a prisoner of a style\, a prisoner of a reputation\, a prisoner of good fortune.” \nThe quote made me think of artists I love\, among them Pablo Picasso and Lydia Gasman\, who were not “prisoners.” They were fearless\, free\, and exuberant. I returned to my drawings of angels\, a project that I continue to pursue today. As I draw\, I regain that quality Romanians call “elan”—that dynamism\, fluidity\, and freedom.” \n \nDavid Summers \nDavid Summers was a friend and colleague of Lydia Gasman in the Art Department at UVA. For this exhibition\, Summers shares his own rendition of Picasso’s 1947 lithograph Pommes\, Verre\, et Couteau (Apples\, Glass and Knife) that is also included in this show among other new oil on panel still life works. Summers\, Gasman\, and Picasso all seem to recognize that everything we can perceive–objects\, light\, colors\, form\, space–lead us toward an always incomplete\, always imperfect\, but deeper awareness\, even understanding\, of what we can possibly know in the course of this existence. \nAbout Lydia Gasman\, Summers wrote: \n“Lydia once told me how wonderful it was to be a beautiful young girl in Venice\, and she kept that happy assurance about herself through all her days. Such bright memories aside\, her young years were actually filled with the epic darkness of the end of the Second World War\, followed by the crushing bureaucratic routines of red Rumania. Lydia herself was one of the two or three most brilliant people I have ever met. She immediately grasped everything she read\, heard or saw\, and connected it with everything else she had read\, heard or seen. These were explosive capacities. Lydia was certainly also the most passionate person I have ever met\, and after escaping from Romania she seemed bent on reclaiming the years she had lost. What if she had been young in Paris in the Banquet Years\, the first decade of the 20th century? She had been trained as a painter in Rumania\, but she loved Picasso\, who stood for the freedom she had been denied. She devoted herself to the interpretation of Picasso’s surrealism\, a subject worthy of her brilliance\, a project resulting in her deep meditation on the civilizational catastrophe of 20th century. The spectacle of Lydia’s mind at work\, her love of art and her faith in its transformative power\, together with the humane concern sharpened by her own life\, made Lydia Gasman an inspiring teacher\, colleague\, and a beloved advisor\, as this tribute testifies.” \n \nMegan Marlatt \nMegan Marlatt and Lydia Gasman were colleagues in the Art Department at UVA. For this exhibition\, Megan Marlatt shares her Bird Book of Hours\, a ten-page book of Japanese watercolor and gouache works on paper that move from day to night. As Gasman notes in her writing\, Picasso’s artistic menagerie is also full of birds–owls\, doves\, pigeons–which are often of autobiographical\, philosophical\, socio-political\, or symbolic importance. \nAbout Lydia Gasman\, Marlatt wrote: \n“I once was complaining to Lydia about living in a place where there wasn’t much intellectual stimulation in the community. She laughed it off and said\, “It doesn’t really matter where you live\, because when you’re doing your work\, you’re ‘up there.’” And she pointed to the sky. Knowing what little I did about her life and the difficult places she had lived\, it was both humbling and liberating at the same time.” \nAbout her Bird Book of Hours\, Marlatt wrote: \n“I began this book after returning from Belgium in 2018\, where I had been studying carnival culture and the work of James Ensor under a Fulbright Scholarship. I’ve always enjoyed the different sizes and quality of European paper\, so I purchased this blank book in Brussels\, thinking it was a portfolio of loose papers. It was only when I got it home that I realized it was a bound book. I immediately felt obligated to utilize it as such. \nLater that summer of 2018\, I took it with me to Mountain Lake Biological Station in Giles County\, Virginia. I have been leading an artist residency there since 2010 with my colleague\, Amy Chan\, and it was my turn to head the residency that year. Each time I had visited MLBS over the 14 years span of residencies; I would create with their bird specimen collection. In 2018\, I began painting my Bird Book of Hours. \nThe MLBS bird collection is a hundred years old. Snuggly situated in a large flat file cabinet\, one need only pull out the large\, flat drawers to see hundreds of taxidermized birds. The smell of moth balls is strong\, and the birds must be handled with surgical gloves to avoid the poisons used to preserve them a hundred years ago. One can carefully pick up a flicker or a wren and read the small\, handwritten identification tag in fountain pen ink tied to their little feet; “Falls Church\, VA\, 1896.”Whichever bird I choose to paint that day is carefully placed under a large glass bell jar for observation. As a painter\, I try to bring life back into the mummified birds. Working wet into wet\, I endeavor to push the pigmented puddles of paint into a free-flowing form\, like the once effortless flights of these ghost birds. \nThe Bird Book of Hours moves from morning to night\, marking out the progressive hours of light in a day. All the pages were derived from my time at Mountain Lake\, except for the ninth page. The Twilight with Loons painting was created at Skowhegan\, Maine in 2021 during the pandemic\, as MLBS was closed for 2 years during that time.” \n  \nAnne Chesnut \nAnne Chesnut was a friend and collaborator of Lydia Gasman’s for many years\, having designed the book cover for Lydia’s War and the Cosmos in Picasso’s Texts\, 1936-1940. In this exhibition\, Anne Chesnut exhibits the cover artwork that she designed for this book\, which prominently features Picasso’s bull\, a focal point of Gasman’s academic research\, along with other Picasso drawings and text. \nAbout Lydia Gasman\, Chesnut wrote: \n“While others knew Lydia at the University\, where she was a force to be reckoned with; I knew her in the incubator for that vigor\, her apartment in downtown Charlottesville. Lydia completely inhabited her space; there were no boundaries between living\, studio\, and study. The walls served as an easel\, gallery\, and support for her art and books. The kitchen was both a source of refreshment and an archive for her research. These papers were not solely scholarly but a rich visual collage of colorful annotations made with markers and Post-its. \nLydia’s home was also part salon\, not just for peers and students as might be expected\, but also for her friends’ children. When developing projects with her\, my son was welcomed there as a small child just as were Lyn’s children and anyone who happened by as we worked. \nTo collaborate with Lydia\, on a design project for her publications\, was to engage in an enjoyable act of intellectual stimulation and reconsideration for all. Reviewing her paintings or my prints with Lydia was an active process of discovery and rediscovery.” \n  \nWilliam Bennett \nWilliam Bennett and Lydia Gasman were colleagues in the art department at the University of Virginia. In this exhibition\, he shares two works: Anchor to the Stars\, and Back-to-Back: Hands to Earth Mother. The former was created during the years in which Bennett and Gasman were helping to shape the study of modern and contemporary art at UVA. Gasman’s interest in the artistic creation of cosmologies and cosmographies finds a visual parallel in Bennet’s sculptures of “star anchors\,” “ladders in space\,” and animistic “earth mothers.” \nAbout Lydia Gasman\, the artist wrote: \n“Lydia Gasman was a remarkable mind and a remarkable beauty. I remember her delivering a lecture like a Cabaret singer within the curve of a piano\, turning the UVA Campbell lecture hall into a Smoky Jazz club. She loved Picasso but loved the art of the present as well and invited myself and my studio colleagues to lecture to her 20 th century art history course. Her voice was delicious and flowed out of her mouth like the richest chocolate. We all bathed in this exotic sweetness and followed her down the dark mythic rivers of her mind and scholarship where she unearthed the magic\, mystery\, and ritual at the core of Picasso’s art. She was the living breathing part of the Banquet Years in our midst! Anchor to the Stars\, 1986\, was created during the Lydia years in the Art Department’s Fayerweather Hall where the magic and mystery of Lydia infused us all.” \n  \nLydia Csato Gasman Archives for Picasso & Modernist Studies \nA portion of the proceeds from this exhibition will benefit the Lydia Csato Gasman Archives for Picasso and Modernist Studies\, the non-profit organization that LYDM Founder Lyn Bolen Warren and Art Historian Victoria Beck Newman co-founded to preserve and disseminate Gasman’s scholarship. \nTo learn more about the Archives\, visit: www.lydiagasmanarchives.org/ \n \n \n \n \n \n \n \nPlease enable JavaScript to view the artwork. URL:https://www.lydmgallery.com/events/picasso-lydia-friends-vol-v/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/DSC_0032-2-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240712 DTEND;VALUE=DATE:20240826 DTSTAMP:20240826T111825Z CREATED:20240620T194321Z LAST-MODIFIED:20240826T111825Z UID:33653-1720742400-1724630399@www.lydmgallery.com SUMMARY:Barbara Campbell Thomas & Isabelle Abbot: Influence + Conversation DESCRIPTION:Press ReleaseExhibition WorksInstallation Shots\n \n \n \n \n \n \n \n Longtime LYDM artist Isabelle Abbot studied with celebrated artist Barbara Campbell Thomas in her MFA program at UNC Greensboro. This exhibition showcases Campbell Thomas’s influence on Abbot’s artistic practice and the compelling dialogue between the work of these two accomplished artists. \nBarbara Campbell Thomas is known for a unique studio practice grounded in and influenced by the creative practices of her matrilineal ancestors. Combining painting\, sewing\, and collage techniques\, the artist creates intricately assembled works with richly-textured surfaces that convey movement and depth through an articulate vocabulary of material and form. \nAbout this exhibition\, the artist writes: “In thinking of my paintings conversing with Isabelle’s\, and in planning the work I would make for the exhibition\, I began contemplating my relationship to landscape. Like Isabelle\, I live in the country\, surrounded by fields\, trees and the quiet of the natural world. Nearly every day\, I walk the roads around my home\, my steps traversing the open expanse of rural North Carolina. This countryside nurtures my being. As my body falls into the familiar rhythms of walking\, I perceive my connection to a place where I am at home. Exterior spaciousness lays a pathway to interior spaciousness and I wonder\, what spaces do I also traverse within? And how do I cultivate an interior landscape as resonant\, generative and generous as the land comprising my home? The paintings in Influence + Conversation engage these questions.” \nIsabelle Abbot’s work\, grounded in direct observation of her surroundings in central Virginia\, distills the essence of her environment into compelling oil on canvas compositions. Her paintings communicate the textures\, colors\, and atmosphere of specific moments in the landscape\, inviting viewers to experience her connection to a place. \nAbbot credits Barbara Campbell Thomas with a lasting impact on her studio practice\, writing: “From Barbara\, I learned the importance of taking visual notes. Of always observing and pulling from your surroundings to build a visual vocabulary\, an alphabet of your own unique way of seeing and capturing the world. I remember that Barbara walked a lot on the country roads and through the fields around her home and would jot down things she noticed\, accumulating marks and information to take back to the studio. In my work now\, I see repeating lines\, marks\, and combinations of colors that have evolved directly from my own experience of my environment\, my own deep noticing of the world around me. All I can bring to the table that is new and fresh in the dialogue of painting is myself\, my unique way of seeing and translating that seeing into paint.” \nBarbara Campbell Thomas is the Director of the School of Art at UNC Greensboro. She received her BFA from Pennsylvania State University\, her MFA from the University of California at Berkeley\, and has studied at the Yale Summer School of Art and Music. Her work has been featured in significant publications including Art Papers\, Two Coats of Paint\, and Burnaway\,  and she has attended prestigious residencies including the Skowhegan School of Painting and Sculpture\, the Elizabeth Murray Artist Residency in Granville\, New York\, and the Virginia Center for Creative Arts in Mount St. Angelo\, Virginia. The artist’s work has been exhibited at noteworthy galleries and museums\, including at the Weatherspoon Art Museum and the North Carolina Museum of Art. \nIsabelle Abbot received her BFA in Studio Art from the University of Virginia in 2005 and her MFA in Painting from the University of North Carolina\, Greensboro in 2011. In 2011\, Abbot returned to Virginia to teach as an adjunct faculty member at the University of Virginia through 2013\, and has been a visiting lecturer at Bridgewater College. She has attended esteemed residencies in the US and internationally\, including the Crawford College of Art and Design in Cork\, Ireland and the Virginia Center for Creative Arts in Mount St. Angelo\, Virginia. Abbot’s work can be found in important collections both public and private. \n \n \n \n \n \n \n\nPlease enable JavaScript to view the artwork. URL:https://www.lydmgallery.com/events/barbara-campbell-thomas-isabelle-abbot-influence-conversation/ LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/Tile-for-website-16-x-9-in-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240504 DTEND;VALUE=DATE:20240701 DTSTAMP:20240701T231226Z 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:20240423T142217Z 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:20240104T191239Z 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:20231112T212455Z 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:20240108T174311Z 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:20240108T175101Z 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:20240108T175225Z 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:20240108T175722Z 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:20240108T180110Z 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:20240108T180153Z 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:20240108T180302Z 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:20240108T180448Z 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:20240108T182103Z 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:20240108T173400Z 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:20240108T180803Z 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:20240108T180848Z 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:20240108T173255Z 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:20240108T181132Z 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:20240108T181350Z 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:20240108T181343Z 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:20240108T174159Z 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:20260119T211702Z 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:20240108T181706Z 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:20240108T181714Z 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:20260113T220940Z 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:20260119T213136Z 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:20260113T184636Z 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:20260113T224243Z 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 END:VCALENDAR