Biography

At the age of 10 Lineu Zadereski discovered his passion for drawing. In the 90’s his mother held a job at a local Museum, Solar do Barao, in Curitiba, Brazil. In one of his visits to his mother at the museum, he managed to escape and ended up in the beautiful artist’s loft. At that time he was immediately taken away, right then he sealed his soul to the arts.

Zadereski hoped to discover a better world, so he packed his bags along with his dreams and moved to Lowell, Massachusetts, at the age of 19. Despite all the challenges of an immigrant he continued to follow his dreams. Even if he had graduated in lithography and English in Brazil, he enrolled at Middlesex Community College where he received his associate degree in Liberal Arts, Graphic Design.

He learned to paint mostly on his own. His subject matter is figural, with large geometric shapes defined by thick smooth black lines. There are recurring motifs such as abstract eyes (always with one winking), dotted areas signifying skin, and shoes indicating the directional motion of the figure. A belt on the figure completes the composition, tying the elements together with the artist’s signature. His hands were trained to follow strict rules, but his heart did not conform. His pursuit is something new and different. He loves seeing the differences and contrasts among individual people and he hopes to show the impact of their unique selves in the big world in these new paintings.

After expressing himself in many different styles and techniques he found acrylics to be the one that currently represents him best. His works are done with mixed media on canvas, hoping for a three-dimensional cubist space.

Zadereski finds influences in the work of Picasso, Dali, and Brazilian artists Portinari and Denise Roman. He says of his paintings, “I try to find the specific beauty of everyday people through color and line. My figures are always smiling. I want them to be happy and bold.” He cheerfully invites you to be taken away.

Biography

The compulsive need for artistic creation has ruled Hermann Polz since childhood, sometimes to an uncontrollable extent. Attempted escapes led him through quite a few professional detours and wrong ways. However, during other occupations he was always driven back to the drawing table and easel. While studying Philosophy and Psychology at the University of Vienna (doctoral dissertation on: “Psychoanalysis in Modern Art”), he attended evening courses in figure drawing with Herbert Böckl at the Academy of Art. After finishing his degree, he participated in stage set design while working as a dramatic producer at the Scala Theater in Vienna. Later, as an editor for a publishing company he also designed book covers and as a theater critic was also creative as an illustrator and caricaturist. Most of his career was spent as editor in chief for an Austrian daily where he made a significant contribution to the formation of the political landscape in Austria. After having suffered the devastating consequences of fascism in Europe during the WWII, Mr. Polz devoted his career to actively fighting against even the hint of fascist ideology. The indelible mark of the wartime experience also manifests itself in many of his paintings.

In the second half of his life, Mr. Polz evolved into an alter Wilder (old wild one), a somewhat suspicious species because the aggressive impetus of the junger Wilde (young wild one) was reinvigorated by an array of experiences over the course of many years while not yet being diminished by age. Mr. Polz is interested in depicting the human being not without irony but in all of its inadequacies and defeats – a state more unequivocally revealing than any success or victory.

Artistic fear of publicity led to the materialization of a number of solo and group shows, including in Austria, Germany, Sweden and the United States.

Hermann Polz lives and works in Vienna, Austria.

JARRETT MIN DAVIS’s work deals with the bewilderment and uncertainty of identity. The figures are integrated from multiple Asian pop sources and dressed in clothing from both Eastern and Western culture. Along with avian imagery, these Asian pop icons inhabit a psychological landscape created by combining traditional Korean architecture, bombed-out Western ruins, and Flemish-style painting.
The particularized scenography is a blend of Korean and partially demolished Western architecture. It is the artist’s reflection on the duality of being Korean-American. The Western European images depict the ruins of architecture destroyed by various world conflicts. The Korean imagery is taken from traditional Confucian Sõwon architecture, from the Chõson period, and stylized Korean paper lanterns. Within the early Flemish-style landscapes are elements of Chinese, Italian and Korean cultures. The fusing of multiple differentiated image-streams into one is an attempt to deal with the uneasy liminal quality of being between two cultures.
The birds chosen for each painting are almost exclusively exotic Asian or African species. The avian imagery has three main functions:  as signifier of aggressive invasiveness, as an emblem of the resurgence of an extinct native species, and representative of the interaction between the West and the Orient.
A purposeful ambiguity is created through the layering and interlocking of images— the exploration of scale, proportion, volume, paint and charcoal. Inverting the scale of the figures, birds, and buildings, putting painted passages next to charcoal rendered objects, and layering images creates a fractured yet cohesive whole.
The work is built up to induce a narrative-like quality, yet the stories are meant as discontinuous ones. The inhabiting creatures cope with and adapt to the deserted and demolished architecture in a faux idyllic landscape. In the making of this work, the artist is learning to create personal, even private spaces. The paintings, to a greater or lesser degree serve as indicators of frustration and confusion within the everyday, as well as signposts of impending integration and resolution.

Opening Reception May 1: 2:00 to 6:00 pm

Gallery @ Spencer Lofts is proud to host an exhibition of artwork of teachers and students in the Chelsea Public Schools. The exhibition is suppored in part by a grant from the Chelsea Cultural Council, a local agency supported by the Massachusetts Cultural Council.

Ink on paper.

“Additive Knowledge/ Cumulative Presence.”

According to St.Germain:

“While creating a work of art, empirical knowledge is consistently gleaned and channeled back into the work. This knowledge is cumulative, just like the works in this exhibition which were created simply through the addition of material…”

Please join the artist for an opening reception at Gallery at Spencer Lofts on Friday, May 7, from 6-9 pm.

The gallery is located at 60 Dudley Street in Chelsea, MA (02150).

Saturday gallery hours are from 1-4 pm on May 8, May 22 and May 29.

Private showings may be arranged by calling 617-448-4313.

Breanne Duffy and John Norton are two distinctly different painters from Belmont who share a common interest in the possibilities of exploring the visual and conceptual texture of man made and natural environments. Their sources of inspiration range from the people and streets of contemporary Manhattan and Coney Island in New York City to the recycled milled wooden remnants of bygone quiet Maine forests. (more…)

Exhibiting Procedures for Gallery@Spencer Lofts, Chelsea MA

Next Deadline May 7, 2010:  ALL submissions must be in hands of the Gallery by Friday May 7, 2010. Applicants will be notified of the results by May 31^st.

The Gallery@ Spencer Lofts presents monthly exhibits by regional and out of state artists in the Gallery, a state of the art facility. Open by appointment and artist receptions only.

Artists interested in exhibiting in the Gallery should submit the following via snail mail (email submissions will not be considered).

• 10 high quality digital images of recent work on a CD in 300 dpi jpg, 4×6 format only. (We no longer accept slides, power point or PDF’s of images please.) Each image must be clearly numbered 1-12.

• A Word document that gives a numbered list noting the medium and size of each images and gives titles where possible. (Please provide a hard, paper copy, do not put the document on the disc with the images

• A resume with the artist name and contact information including an email address and phone number and a brief description of the works to be considered. (Please provide a hard, paper copy, do not put the document on the disc with the images).

• A self-addressed, stamped, letter size envelope so that we may notify you of the committee’s selections. In addition, if you would like your CD returned, please send a stamped self-addressed mailer large enough to accommodate the disc.

• Incomplete or incorrect submissions will not be considered.

Information should be sent to:

Gallery@ Spencer lofts

C/O Darlene DeVita

60 Dudley St. Unit 107

Chelsea, MA 02150

• Once an artist’s work is accepted and a show scheduled, an opening reception may also be planned. The artist is responsible for food and drinks at the reception and for sending out invitational postcards.

• The Gallery untilize a special hanging system for artwork. Work must be framed with a wire across the back to accommodate this system. Artist are responsible for hanging their work and may not place anything directly on our walls.

Publicity:

Publicity is handled by the Gallery Communications group, including Press Release, and any signs that are needed for the show.  Any promotional materials produced by the artist need to be approved by the Gallery.

Sales:

The gallery receives a 10% commission on all works sold. We are a non-profit self-sustaining venue, thank you for your support!

Insurance:

The Gallery does not hold insurance  for art work on exhivit and is not responsible for loss or damage of the artist’s work.  Exhibiting artists will be asked to sign a waiver.

*Still have a question?  Call or email Darlene DeVita 617-466-0403 or info@galleryspencerlofts.com

Claudia Venon Designs, www.meandlouise.com:
Vintage Inspired Handmade Fashion with Modern
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Georgia Gersch, Georgiawear:
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Contemporary Costume Jewelry.

Erica Von Schilgen, Vonica Designs: vonicadesigns.com
Designed and Finely handcrafted handbags using uniquely textured and
often vintage fabrics…with an earthy yet urban appeal.

Andrea Testa • Jewelry Designer

November 2-30, 2009

Opening Reception Nov. 12th, 2009 6pm-9pm

Andrea Raynor has taught photography for the past 15 years as well as maintaining a painting studio for he past 10 years. This current body of work represents working with both photography and painting within a subtractive process.

The photographs are all found portraits from a cemetery in Venice Italy.

None of the images have been altered digitally only to be cropped and enlarged. They were documented to demonstrate how little information could

be conveyed but still read as a portrait of a person. The process of time passing and different levels of decay slowly working the portrait away to the

bare minimum of representation.

Raynor’s large scale paintings begin as fields of black. She then carves out form using gold paint, creating negative space. The resulting images are linear and gestural. The reduction of color to simply black and gold creates a strong graphic sensation. The goal of the painting to see how much can be reduced and still have the painting read as an active gesture. Both the photographs and

paintings use light to reduce the images, what remains is hopefully where the content lies. 

Raynor’s background in photography has strongly influenced her approach to these paintings, as both forms allow her to use light as the subject of her work, as well as the instrument for creating reaction to the piece.