July 1, 2006
"The more one studies the paintings of Clay Wagstaff, the more it becomes clear that not only are they working on a multitude of levels and meaning, but that they can all be traced back to a complex system of layers, both physically and mentally."
Download Article (PDF)March 23, 2006 - Kimberly Whinna
Sears-Peyton Gallery is pleased to present the second solo exhibition of works by MaryBeth Thielhelm, opening March 23rd and continuing through May 26th , 2005. There will be an opening reception for the artist on Thursday, March 23rd, from 5-7pm.
When the sun rises in Abqaiq, a town near the Persian Gulf, the sand dunes turn a magical purplish blue. The horizon is low and flat and the wind-etched dunes roll endlessly into the distance. A gaseous sort of heat resonates from the sand, creating a shimmering mirage of color particles. MaryBeth Thielhelm’s earliest visual memories revolve around these shifting hues of warm, dusty light which saturated her childhood in Saudi Arabia.
Read More >> Download Article (PDF)January 23, 2004 - Ken Johnson, The New York Times
April 27, 2003 - D. Dominick Lombardi, The New York Times
"The current show here, of paintings by Shawn Dulaney, was inspired by a recent trip to the Dingle Peninsula of Ireland. Stylistically, the paintings are a cross between the atmospherically intense seascape paintings of J.M.W. Turner, and the impulsive, intuitive abstractions of Cy Twombly. One distinct characteristic of Ms. Dulaney's work is the use of poetry; enigmatic words inscribed directly into the wet acrylic paint. A soupy, drippy, texture to the acrylic paint characterizes all these works. Ms. Dulaney must work at a fevered pitch, constantly repainting, reorganizing, bringing the essential elements of her natural surroundings to the fore to get these effects. The mixture of elements, the layered textures and the hazy intensity of the palette give a sense that the artist is taking everything in -- the time of day, her distractive thoughts, the feel of the air, the touch of the brush -- as she reaches her own realizations. Each painting, regardless of the commonalities, is very different. There is an uneasiness, even a bit of anxiety in works like ''Clean, Deep Water'' or ''Thin Places.'' Both are coastal views, where a rocky coast line defines an edge. ''Three Things'' is a marsh view, which is more restful, vast and calming. The exquisitely painted surfaces of all are a pleasure to see."
June 14, 2002 - Ken Johnson
May 13, 2001 - William Zimmer, The New York Times
"The paintings of Shawn Dulaney might be compared with clouds, since a viewer can read almost anything into them. This doesn't mean, however, that they are not carefully composed; Ms. Dulaney is deliberately out for grandeur. But she is also out for intimacy.
"The kind of painting to which Ms. Dulaney's work is most closely related, at least superficially, is the Mark Rothko branch of Abstract Expressionism, in which a sense of deep space is sought. Since almost all abstract painting seems to be out of the spotlight now, if one goes by what's covered in the art magazines, it might seem that this is an artist who is skilled in an old idiom, not the most enviable position. But the 20 paintings she shows at Weber Fine Art here take advantage of their innate ambiguity and declare themselves to be very current in the thinking that lies behind them."