Mary Reilly
2000 Toke, 2014
Graphite on paper
6 x 8.5 in.
MRE026

Mary Reilly
Field of Flowers 1, 2016
Graphite on paper
8 x 6 in.
MRE030

Julia Randall
Bubblemouth #2, 2012
colored pencil on paper
62 x 45 in.
JR010

Julia Randall
Dandelion, 2012
Colored pencil on paper
60 x 45 in.
JR019

David Morrison
Firewood Series No. 9, 2018
Colored pencil on paper
24.5 x 14 in.
DVMO111

David Morrison
Pomegranate, 2021
Colored pencil on paper
18 x 28 in.
DVMO123

David Morrison
Iris Series No. 4, 2021
Colored pencil on paper
26 x 14 in.
DVMO127

David Morrison
Iris Series No. 8, 2020
Colored pencil on paper
26 x 14 in.
DVMO131

David Morrison
Chinese Lantern, 2022
Colored pencil on paper
21 x 26 in.
DVMO134

Emil Lukas
Square Blue Green, 2010
Thread over frame, nails, and paper
18.8 x 18.8 x 2 in.
EL003

*NOT FOR SALE

Lori Larusso
Eating Animals (Watermelon Shark), 2022
Acrylic on panel
31 x 30 in.
LLS030

Lori Larusso
Lucky Lemon Pig, 2021
Acrylic on panel
6 x 6 in.
LLS001

Lori Larusso
Kitchen Sink Still Life (Coffee and Metrocard), 2021
Acrylic on polymetal panel
8 x 6 in.
LLS002

Lori Larusso
Eating Animals (Eggplant Penguin), 2022
Acrylic on panel
27 x 16 in.
LLS029

Kacper Kowalski
Seasons/Autumn #28, 2015
Archival pigment print
27 x 41 in.
ed. 1 of 7
KKO013

Kacper Kowalski
Seasons/Autumn #32, 2015
Archival pigment print
27 x 41 in.
ed. 1 of 7
KKO014

Jenifer Kent
Odyssey, 2021
Ink on panel
30 x 30 in.
JKT001

Jane Hammond
Can You Draw This?, 2008
Selenium toned silver gelatin print
11 x 14 in.
JH009

*NOT FOR SALE

Margot Glass
Orange Envelope, 2016
Watercolor and pencil on archival watercolor board
4 x 5.5 in.
MAG002

Margot Glass
Light Envelope with Tape, 2016
Watercolor and pencil on archival watercolor board
3.75 x 5.5 in.
MAG012

Margot Glass
Dandelion with Bud, 2018
Graphite on paper
12 x 9 in.
MAG028

Margot Glass
Two Dandelions, 2018
Graphite on paper
12 x 9 in.
MAG029

Margot Glass
Violet Envelope, 2021
Watercolor and pencil on board
5 x 7 in.
MAG063

Joshua Flint
Carousel, 2017
Oil on canvas
36 x 48 in.
JOF016

Daisy Craddock
Amy's Colossal, 2020
Oil pastel and oil stick on Arches paper
15 x 28 x 2 in.
DC121

Daisy Craddock
Moros, 2020
Oil pastel on Arches paper
Framed: 12.25 x 19.5 x 1.5 in.
DC108

Daisy Craddock
First Heirloom (cherry tomato), 2021
Oil pastel on Arches paper
12.25 x 19.5 x 1.5 in.
DC131

Dozier Bell
Flight, 2011
Charcoal on Mylar
3.5 x 4 in.
DBL028

Dozier Bell
Keep, 2010
Charcoal on Mylar
2.5 x 4.75 in.
DBL024

Dozier Bell
Streamside, 2017
Charcoal on Mylar
2.75 x 4.75 in.
DBL026

Dozier Bell
Surface, 1998
Acrylic on canvas
30 x 34 in.
DBL021

Dozier Bell
Flock, city, 2015
Charcoal on Mylar
2.75 x 6.25 in.
DBL031

Reality Check: Shifting Perspectives

Garvey|Simon Fine Art, 538 San Anselmo Ave., San Anselmo, CA 94960

August 30 – October 29, 2022

FOR IMMEDIATE RELEASE

 

(San Anselmo, CA) Garvey|Simon is pleased to announce its inaugural exhibition in their new California gallery space, Reality Check: Shifting Perspectives, on view from August 30 - October 29, 2022. Each of the artists in this group exhibition explores and disrupts the way we process our surroundings. Whether it be through subtle, controlled deployment of their medium, or bombastic and destabilizing confluences of imagery, this wide array of artistic modes comes together to present a prismatic and ever-evolving challenge to what is seen and known. Reality Check: Shifting Perspectives features work by Dozier Bell, Daisy Craddock, Joshua Flint, Margot Glass, Jane Hammond, Jenifer Kent, Kacper Kowalski, Lori Larusso, Emil Lukas, David Morrison, Julia Randall, and Mary Reilly. Garvey|Simon’s grand opening will be held on September 10, 2022 from 5-9pm.

 

Perhaps the most inconspicuous in their subversion are the artists who use their medium to beguile the viewer. Their challenge is one of tactility, drawing the viewer closer and daring them to touch. Emil Lukas’s deftly webbed thread paintings create extraordinary illusions of light and form. Dozier Bell’s poetic charcoal drawings on Mylar masquerade as nineteenth-century photographs as the translucent surface of the paper luminously transforms the medium. Lori Larusso’s shaped, pop-art paintings are dizzying contradictions: flat or voluminous, painting or sculpture? By altering the form of her metal panels, Larusso calls into question the very nature of her objects and simultaneously toes the line of art and artifact. Jenifer Kent’s hand-drawn abstractions appear almost mechanized in their precision. Organic bursts reveal themselves as a complex network of hash-marks, dissolving the image into miniature, individual vibrations. 

 

Daisy Craddock, Margot Glass, David Morrison, and Mary Reilly each treat reality itself as a font of fantasy. They dive to such depth into their details that their representations surpass the image of their subjects. Daisy Craddock observes her fresh produce at a near-microscopic level, finding discrete features across their skin and flesh. Her specificity and care has a dual effect: her diptychs are at once abstracted studies, and intimate portraits of individual sitters. David Morrison takes a similar approach in his work, but to a hyperrealist effect. His colored pencil drawings are saturated with vivid detail, bringing the texture of his specimen to the surface of the pictorial plane. Coupled with the density of his shadows, Morrison achieves a trompe l'oeil that destabilizes the very idea of two-dimensionality. Margot Glass uses detail to enhance the fragility of her drawings of ephemera. Glass also toys with trompe l’oeil, gathering shadows around creases and scars on her envelopes, and the filigree in her graphite dandelions gestures towards their own capriciousness. Mary Reilly’s handling of graphite also allows her to amplify the details of her signature graffiti trees and seashells. Each of these artists uses their proximity to their subjects to present a heightened version of reality. 

 

Where the previous artists used tactility and detail to shift the way in which their works are viewed, Joshua Flint, Jane Hammond, Kacper Kowalski, and Julia Randall abandon the accuracy of time and space almost entirely. Their surreal scenes upset temporal sequencing and point back to the subjectivity of perception. Joshua Flint’s paintings are amalgams of memory. Fragments of narratives and icons blur together and interrupt one another, defying a linear passage of time. Jane Hammond marries layers of artistic eyes: the lens of the camera, the lens of the art students, and finally the lens of the viewer. The fallibility of these perspectives challenge the veracity of the image; what, if any, elements of the scene are real? Kacper Kowalski’s aerial images have a similar impact. His distant vantage point changes the fabric of the Polish landscape, transforming valleys, trees, and fields into technicolor blasts of abstracted texture. Julia Randall approaches the body with this same sense of scope and surrealism. Her massive drawings of mouths and gum bubbles reframe lips as inhuman beings, breathing life into magical terrariums. Randall’s scope brings together macro and microcosm, gleefully wiping away any sense of space or scale. The surrealist quality of each of these artists’ works pulls the viewer back and asks them to question the objectivity of their vision. 
 

For more information or high resolution images, please contact Catherine Simon at catherine@garveysimon.com or Elena Rossi at elena@garveysimon.com, or call 415-720-9252


 

ABOUT THE ARTISTS

 

Dozier Bell

Dozier Bell was the recipient of a Fulbright Fellowship as artist-in-residence at the Bauhaus University in Weimar, Germany, and has been awarded grants from the Pollock-Krasner Foundation and the Adolph and Esther Gottlieb Foundations, residencies on Monhegan Island, at the MacDowell Colony, and the Skowhegan School of Painting and Sculpture. In 2014, she received a Purchase Prize award from the American Academy of Arts and Letters, New York. Bell’s work appears in the permanent collections of the Bates, Colby, and Bowdoin College museums; the Portland Museum of Art in Portland, ME; the Denver Art Museum; the Museum of Fine Arts, Houston, TX; and the Wadsworth Atheneum in Hartford, CT, among others. She lives and works in Waldoboro, ME.
 

Daisy Craddock

Daisy Craddock’s work has been exhibited widely throughout the United States. Recent one person shows include Harvest, Garvey|Simon; Summer Produce, Garvey|Simon; and Daisy Craddock: A View of One’s Own, John Davis Gallery. Daisy’s work has been reviewed in Art in America, The New York Times, Art & Antiques, American Artist, Art News, and Arts Magazine among numerous other publications. Public collections include the Anderson Museum, Newark Museum, Memphis Brooks Museum of Art, Georgia Museum of Art, the Milwaukee Museum of Art, Ogden Museum of Southern Art, Roswell Museum, Rubin Museum of Art, and the Weatherspoon Art Museum. Daisy is the recipient of a 1989 Roswell Artist in Residency and a 2002 New York Foundation for the Arts, New York Arts Recovery Grant. The artist lives and works in Germantown, New York.
 

Joshua Flint

Joshua Flint was the recipient of a solo exhibition at the Sumter Gallery of Art, Sumter, SC. His work has been placed in the city collection of Astoria, OR.  His “memoryscapes” can be found in Coléccion Solo in Madrid, Spain, the Hinson Art Museum at Wingate University, and in private collections in the US and Europe. He is an associate professor at Pacific Northwest College of Art.

 

Margot Glass

Margot Glass grew up in New York City, and studied art at The Art Students' League, Brown University, Rhode Island School of Design, and Fashion Institute of Technology. Glass’s work has been widely exhibited in galleries and museums the United States and internationally and is in private and public collections including the Hunt Institute for Botanical Documentation at Carnegie Mellon, Pittsburgh, PA, Midwest Museum of American Art, Elkhart, IN. Her work has been featured in publications such as Orion Magazine, Watercolor Artist, American Art Collector and others. She was the recipient of a Massachusetts Cultural Council STARS Artist Residency and is currently working on a project for the Department of State under their Arts in Embassies division.  She currently lives and works in Western Massachusetts. 

 

Jane Hammond

Hammond’s works can be found in numerous museum collections including the Museum of Modern Art, New York; Metropolitan Museum of Art, New York; National Gallery of Art Washington, D.C.; Walker Art Center, Minnesota; Whitney Museum of American Art, New York; Museum of Contemporary Art Chicago, Illinois; and Albertina, Austria. Her works have been the subject of solo museum exhibitions at institutions including the Museum of Contemporary Art San Diego, California; Mount Holyoke College Art Museum, Massachusetts; deYoung Museum, California; Museum of Contemporary Art Denver, Colorado; Detroit Institute of Arts, Michigan; and FLAG Art Foundation, New York.  Hammond was born in Bridgeport, Connecticut, in 1950. She currently lives and works in New York City.
 

Jenifer Kent

Jenifer Kent lives in Northern California and has exhibited in locations there, such as the Sonoma Valley Museum of Art, Marin Museum of Contemporary Art and the San Jose Institute of Contemporary Art. Recently, Jenifer’s work was selected for inclusion in Garvey|Simon Select 6, West Marin Journal, New American Paintings and the Drawing Discourse Exhibition of Contemporary Drawing at UNC Asheville. She illustrated Thich Nhat Hanh’s Moments of Mindfulness and has been awarded an Artist in Residence at Wildlands, Kala Art Institute and the Lucid Arts Foundation. Her work is in the Alameda County Arts Collection as well as numerous private collections. Jenifer is represented in San Francisco by the Dolby Chadwick Gallery, and in Charleston, SC by Landing Contemporary. 

 

Kacper Kowalski

Kacper Kowalski’s photographs have been honored by World Press Photo (2009, 2014, 2015) and Picture of the Year International (2012, 2014, 2015, 2016), among many others. His first book of photography, Side Effects, received awards from Photo District News and the Moscow International Foto Awards. He lives in Gdynia, a port city in northern Poland. Kowalski has had two solo exhibitions at The Curator Gallery, 2015’s Above & Beyond and 2016’s Fade to White.  
 

Lori Larusso

Lori Larusso’s work has been featured in numerous group exhibitions, and most recently in her solo exhibition Precarious Planopy at the Aronoff Center for the Arts, Cincinnati, OH. Lori has been awarded numerous residency fellowships including Bemis Center for Contemporary Art, McColl Center for Art + Innovation, Sam & Adele Golden Foundation, Art + History Museums Maitland, chaNorth, and MacDowell where she received a Milton and Sally Avery Fellowship. She is the 2019 Kentucky South Arts Fellow and is the recipient of the 2020 Fischer Prize for Visual Art.

 

Emil Lukas

Emil Lukas has exhibited throughout the United States and abroad. Solo museum shows include “Emil Lukas: Connection to the Curious” at The Aldrich Contemporary Art Museum in Ridgefield, CT (2005); “Emil Lukas” at The Weatherspoon Museum, Greensboro, NC (2005); “Things with Wings,” The Mattress Factory, Pittsburgh, PA (2005); and “Moderate Climate and the Bitter Bison” at the Hunterdon Museum, Hunterdon, NJ (2008). In 2016, a solo exhibition of his work was held at the Pennsylvania Academy of Fine Arts, Philadelphia, PA. His work is in important private and public collections, including the Panza Collection, Italy; the Dakis Joannou Collection, Greece; Margulies Collection, Miami; Allentown Art Museum, PA; the Anderson Collection at Stanford University; Baltimore Museum of Art; Crystal Bridges Museum of American Art, Bentonville, AR; Museum of Contemporary Art San Diego; Pennsylvania Academy of the Fine Arts, Philadelphia; San Francisco Museum of Modern Art; San José Museum of Art; UBS Art Collection; and Weatherspoon Art Museum, Greensboro, NC.

 

David Morrison

David Morrison has had four solo exhibitions with Garvey|Simon, most recently, David Morrison: New Drawings. A visiting lecturer and guest artist at numerous universities, he is very involved in the world of printmaking, specifically stone lithography, and he is the Professor Emeritus at Indiana University’s Herron School of Art and Design in Indianapolis. Morrison has exhibited widely, and his work is included in numerous public collections including The Whitney Museum of American Art, The New-York Historical Society, The National Gallery of Art, The Smithsonian American Art Museum, The Nelson-Atkins Museum of Art, the Figge Art Museum, the Arkansas Museum of Fine Arts, and the Portland Museum of Art, to name a few. 

 

Julia Randall

Julia Randall has been featured in solo exhibitions at Garvey|Simon and Jeff Bailey Gallery in New York City, and Esa Jaske Gallery in Sydney, Australia. Julia Randall is the recipient of numerous fellowships, including two fellowships from the New York Foundation for the Arts. She is also the recipient of multiple artist residency awards, including Arts/Industry Program at the John Michael Kohler Art Center, Yaddo, and multiple residencies at the Cité Internationale des Arts in Paris, France. Her work has been reviewed in The New York Times, NY ARTS, Art on Paper, Flash Art, and The Sydney Morning Herald. Additionally, her drawings have been featured in New American Paintings, American Artist, and Beautiful/Decay magazines.

 

Mary Reilly

Mary Reilly is devoted to drawing in graphite, her medium of choice. Her work has been exhibited in solo and group shows in New York City since 2001, and is featured in the permanent collections at Bronx Museum of the Arts, Bronx, NY, New York Historical Society, New York, NY, The Arkansas Museum of Fine Arts, Little Rock, AR, The Mint Museum, Charlotte, NC, and the Eskenazi Museum of Art at Indiana University, Bloomington, IN. The artist lives and works in Stowe, Vermont.