Juror's Statement | Return to Exhibition
Welcome to the “13th Annual Landscape Juried Online International Art Exhibition” which, although one of our smallest sized shows, has some quite nice examples of artwork by talented artists working with the landscape. Following are some comments by the juror.
ESTHER AKRISH of Mercer Island, Washington has given the show a fresh and lyrical display of her use of watercolor as seen in her work “Feathered Visitors”.
DON BERGLAND of Victoria, British Columbia, Canada shows are remarkable ability with digital media. His use of imagery is quite fantastic and skillfully executed. “Autumn Sporefield” is indeed richly imaginative and somewhat playful. And too his “Leaving Eden” is unique with the strategically placed shallow depth clouds and trees. And "Paradise Set No. 11” also shows the use of the shallow, overlapping and decorative panels in a stage-like setting with the figurative element holding center stage.
DOUG GARDER of Brooklyn Center, Minnesota shows a stylized approach to aerial views with the divided gridded sections of the terrain as seen in “View from Northwest Flight 127, V” done handsomely in acrylic. Similarly, “View from Northwest Flight 127, VI” shows the rich patterning.
GEORGE S. GATI of Poughquag, New York is an excellent photographer and in this show he provides proof of his exquisite sense of space and composition. “Glowing Desert” speaks well, capturing the topographical character of rolling hills. “Grand Canyon Detail #5” shows the play of the triangular found in the section of the canyon, framed by the trees. And creating an interplay of reflection and overlay, “Lisbon the New” shows the strength of the architectural features. Also showing a section of Lisbon, Portugal, he captures the essence of the neighborhood with the terra-cotta tiled roofs juxtaposed in rows in "Lisbon the Old". Last but not least he shows the beauty of simplicity in “One Dead, One Alive” wish shows dead and living tree staged on a hill with the bright blue sky giving them a strong voice together.
NORMA GERBER of Flushing, New York has a keen eye for capturing natural and urban settings. In “Tuscan Olive Trees Dance in the Sun” there are two centrally located trees bending toward each other with the curving bends of the trunk and branches. “Villa Balbianello Lake Como” was photographed at just the right time of day wherein the white statue is lit up by the sun amidst the rather darker setting. And in an ‘L’ shaped composition she captures the very close and very distant aspects of the landscape in “Villa Carlotta Lake Como”. The composition shows strength in that the warm close left side works well with the cool distant right side.
DUANE GORDON of St. Laurent, Quebec, Canada paints in oil with well-developed control. In his “Shining” he uses an analogous blue, blue-violet predominately to show a nicely orchestrated counter positioning of fanciful cloud forms in the upper right half in contrast to the geometric building structures in the left half.
HOWARD LIEBMAN of Manalapan, New Jersey has a very strong acrylic painting, his only entry, appropriately titled “12 Cows” wherein the animals graze in the foreground and the buildings in the distance across the waterway. This painting is handled masterfully in the super-realistic mode deserving of high praise.
CHRISTOPHER McGEE of Cheektowaga, New York takes a rather abstract approach to the subject of the landscape as seen in his “Forest of Faces” with an interlacing of linear passages with faces appearing here and there. And with a sense of the pine tree shape he creates “Pinefield” with thick areas of acrylic and latex paint.
ANDREW NANCE of San Marcos, Texas creates panoramic statements of very inventive ideas. “’Hudson River ‘Hybrid Island’ – Plan'” is quite engaging with the rhythm of the various parts. This idea is further illustrated in his adjoining work “’Hudson River ‘Hybrid Island’ – Elevation”’ with the backdrop of the cityscape.
EILEEN S. PANEPINTO of Weston, Connecticut takes installation to an unusual level in that the display of arranged paintings all deal with an area of the landscape and its surroundings. In “Around the Lake (Installation)” she depicts a number of various sizes of paintings all related to the lake area. She furthers this concept in another work "Around the Tree, Around the Lake" with a total of seven mixed media works.
JIM PEARSON of Lawrenceville, Illinois shows some very outstanding digital drawings as seen in the works "Anonymous Landscape AQ", "Anonymous Landscape TW", "Anonymous Landscape UY", with contrasting large areas of less activity, "Forgotten Garden HX" and "Forgotten Garden SL" with a development of spatial characteristics. All of these compels one to be rather transfixed within the rhythm of a symphony of intricacies delighting the visual sense. These are truly awesome works.
LORI POND of Los Angeles, California uses digital photography to excel, presenting well constructed compositions that bespeak of the richness of the land. In "Pond" she emphasizes the pond with a blue tint. And in her "A Winter's Day" she creates a rich textural grass-like foreground and marries the linear character in the sky area. In "Touch the Sky" she centralizes a small grouping of trees bridging the softness of the sky which contrasts with the crustiness of the land. And in "Zion Plateau" she gives the unusual topography special treatment with the overlapping rock formation with a sienna coloration.
JAMES E. RICE of New Hyde Park, New York has a keen sensibility for detail as seen in his earth toned oil painting "Perfume to Molech". He further shows this ability with gouache with the work entitled "Site of Cognition". Another super realistic piece that is also successful is his depiction in "Suckled at the Praetorium". "Roosting Before the Sabbath" is also quite fine in his attention to the many nuances of the subject matter.
DIANE SHAW of Martin, Tennessee gives a sense of drama in her acrylic work called "Tree Dream" with a small set of trees framed with larger bolder trees. And in "Woodland Blues" she gives a rather impressionistic approach to a grouping of trees.
JULIE SORENSEN of Sycamore, Illinois takes the idea of the landscape creating with enamel (glass) fused to copper in relief in the richly textured piece "Red Shadow of the Crescent Moon".
WENDY TEAKEL of Murrumbateman, New South Wales, Australia has a unique concept in more abstract terms as seen in her piece "Crop Traces" wherein she overlays large and small linear patterns. And in "Farm Traces" she gives a sense of space in the underlapped dot pattern. Also, "Farrow Paddocks" is a highly developed piece. Another fine work is "Tracks" with a more organic rhythmic orchestration.
THOMAS TEAMOH of Chongqing, PR China has used abstraction to create some interesting concepts of land forms. “Desert Winds Landscape I” shows the subtle gradation of values and the colors of green yellow, orange and violet with fluid movements. Another work with shows a sense of a valley as seen in “Shangrila Valley Landscape”. Also with “Desert Winds Landscape II” he shows the wispy chromatic tonal changes.
ROBERT P. WEISS of Brooklyn, New York presents a stunning talent in his use of acrylic on panels. His work “View Uptown” is full of the city buildings in detail which also shows the sun reflections and shadows. Interspersed amidst the structures are greenery areas. In his ‘L’ shape composition entitled “Kentile Floors” he uses the perspective that plays the idea of floors which can be considered as below, yet shown here in the area of the sky which is above. The contrast of the large and close and the small and distant works well in his “9th Street”. He captures well a snow scene in “Old Stone House” in a more panoramic viewpoint. His oil on panel “Summer School” is also quite nice showing the softness of the blue sky contrasted with the warm geometric structure of the school building.
SHAUN WILLIAMS of Ypsilanti, Michigan works in soft pastel quite successfully as seen in his piece “Childhood” wherein he shows the small child contrasted with the large ocean. Also his work “Silent Hope” shows the still waters, the distant row of trees, overlapped with the delicate lines of the foreground trees. Combining soft pastels on acrylic paint he creates a wonderful mood with the light in “Softer Steps”. And in “War and Peace” he uses the massive rock formation against the calmness of the gentle waves to get his message across. His “Whole Again” shows his ability to create a sense of moving water combining the pastels on acrylic.
Thanks to all the artists who submitted their work confirming that there is still a love for the land.
Curator, Professor of Art