The Artists’ House May exhibit features the works of four outstanding artists, presenting a distinctive blend of figuration and tradition, this exhibit has something for a wide variety of tastes.

SASKIA OZOLS EUBANKS

Since ancient times, many have seen painting as either an exercise in artifice or in poesis. Saskia’s interest lies in the combination of the two, exploring relationships she notices through observation and expressing them in ways which both defy and define the boundaries of representation.

She finds greatest inspiration working from nature, observing sublime dualities of destructive and reconstructive elements through temporal relationships of color, subject, and form.  She perceives the resulting images as reflecting the search for beauty, as a journey through the fluidity of perception, revealing aspects of process, points of departure for inspiration, and image as integral elements in the practice of painting.

CAROLYN PYFROM

Carolyn Pyfrom’s work reveals her attitudes about art:  that searching belongs to the art of perceptual painting:  nothing good happens without investigation, without a deeply felt empathy for a subject.

Paradoxically, she feels that nothing at all happens without intention… that  every part of the process involves the deliberate and conscious assignation of meaning to the shapes and colors that go on the canvas.  There is, unavoidably, the imposition of the artist’s  individual person on the subject.  This paradox belongs to the art of living:  the tension between expectations and surprises. In painting, she sets out to order her world, but considers that if she is really looking, the thing she is looking at will refuse merely to satisfy her expectations.  In fact, it will defy them--gloriously. 

PATRICK CROFTON

Patrick’s paintings are a series of variations on single images. They contain passages both softly-focused and sharp, and play with light and shade, abstraction and realism, simplification or minute detailing in the interests of achieving a fuller understanding of the subject. The scale and the use of abraded or corroded metal are meant to evoke icons, votive offerings and other artifacts which show the effects of time, abuse or devotion.

ROBERT SAMPSON

Robert looks for beauty in the ordinary views of city life; scenes that go mostly unobserved.  His subject is the effect of light on color, a glimpse of it on a distant wall framed by the shadow of a bridge or on a car as it passes by. These brief moments in time excite him, and he works to keep these moments in his painting.