Saturday, 3 September 2016

"NEW WORKS" BY KAREN COLANGELO Available for viewing and purchase NOVEMBER 2016



SURVIVAL: [ser-vahy-vuh l].  state or fact of continuing to live or exist, typically in spite of an accident, ordeal, or difficult circumstances. A natural process resulting in the evolution of structure.
The Persistent Halt
“SURVIVING THE CONTRADICTION”
The Emerged Disappearance
Karen has always had a constant desire to create bold works that stray from conventional application methods. At a young age she used small paint brushes to apply the paint to the canvas. Over her teenage years she changed to larger brushes, palette knives or other found objects around the studio like a CD jewel case. The colours followed increasingly becoming stronger and more vibrant.
Karen’s painting style is abstract; her medium is acrylic paint on canvas. She paints the concept of Contradiction. Karen has always been attracted to bringing opposite colour combinations together and thus what would typically be an opposite is now its complement. She uses large brushes and the opposite of brushes - sheets of plexi-glass to apply her paint to her large canvases.
Her work illustrates the dance or fight of colour. She drags acrylic paint across the canvas creating interesting shapes, impact, movement, and curiosity - ultimately creating a work of art that is in its purist form.
The Horizontal Vertical
KAREN COLANGELO Takes the Concept of Contradiction into Survival Mode.
Karen’s recent work represents the theme of Contradiction illustrating opposing colours and application methods. Her work conveys either a fight or dance of colour. The final decision is left up to the viewer. It is a comment on challenges that individuals are faced with daily.
Karen tells us how the paint ‘survives’ during the painting process;
“In its purist form the paint leaves the tube and lands directly onto the painting tool. The paint is then dragged along the canvas. It has a purpose to survive by creating engaging shapes, impact, movement, and curiosity. It is happy and carefree. The paint is confident and vibrant in its appearance yet bold in its behaviour, but there are circumstances that the colours are faced with.
The colour needs to develop a controlled behaviour on the canvas surface. The colour battles with limits, patience and ultimately survival.   The paint soon realizes that its limits are being pushed, literally. As it travels and glides across the canvas, the edge is near and fast approaching.   It is decision time. It must decide to jump to the next canvas and remain in the spotlight, or it clings to the painting tool and allows its creator to decide its fate. If it falls off the canvas edge, it will try its best to leave its mark. It becomes a struggle between creator and survivor.
It is no accident when the paint decides to fall off the edge of the canvas. It intentionally marks every surface trailing its journey. The paint wants to survive and win the battle of its difficult circumstance. It decides to leave its mark by creating an eye-catching and engaging edge detail.” ~KC 

Karen extends her concept globally. “This series of work also comments on society and individuals as a whole. We all have a survival mode we all switch on when faced with challenges and life changing decisions. This mode allows us to dance or to fight our way through our battles.   We are always faced with taking a leap and jumping into something new or challenging. It is these decisions in life that need a bold, confident, and happy individual to take those chances and create positive impressions in the world, contradicting the norm.” ~KC

JAMES MAXWELL

Artist James Maxwell works primarily in metal. He uses the techniques of industry, such as welding and machining, to create objects. His subject matter often employs the iconography of machinery and the objects they create. He is interest in form, and how ideas, once realized in three dimensions, transform. Materials, scale and surface become agents of change. By removing an object from its context, reconfiguring its composition and scale, Maxwell allows it to be something other than it was. In a sense, he is enabling us to reconfiguring ourselves.


"The use of systems is important to the work I do, both in the creation of objects and the development of ideas. Operations have orders. Yet the system does not always determine the final piece. Nor is it always employed. I am not a hostage to the orthodoxy of the original concept. Often the idea changes as the piece percolates over time and new ideas bubble up. Older ideas that keep returning are given their due and are executed. New ones sometimes jump the line." - James Maxwell





Monday, 4 July 2016

JULY 2016 EXHIBITION: "SPACE TIME AND MOTION" AT THE ELAINE FLECK GALLERY


SPACE TIME AND MOTION 

features new artwork by

Jacqueline Veltri exhibiting until July 31, 2016 

Cindy Dyson and Scott Kish exhibiting until July 16, 2016 

This artwork is for sale.


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This time and space series is about the way we use time. This series is dedicated to my mom who taught me that we can choose to use our time to be happy and fulfilled. I used the compasses to represent the space we occupy, and that we choose the direction we take in life. Ultimately time doesn't control us because we choose how we spend our time. I illustrate this by changing the scale of the compasses and making them much larger than the time pieces. - Jacqueline Veltri 

https://elainefleckgallery.com/collections/jacqueline-veltri







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My fascination with everyday street scenes reflects my hope and struggle to believe that the most beautiful moments in life are not always as expected. Perhaps these precious times are all at once – mundane and frenzied, fragile and strong, peaceful and painful, sunny and dark.
I work with acrylic paint and palette knives.  I find that the endlessness to the variety of mark I can make with these tools challenges and fascinates me.  I love the physicality and range of the knife – aggressive slices, delicate dabs, focused scrapes and thick bold swaths of colour.  The paint is so flexible – I can spray, splatter, blob and pour it. These qualities enable me to express a wide range of emotion in each piece.
I am greatly influenced by the European Impressionists. Their sensitive offerings physically and emotionally connect me to their 19th century world. My application of paint does not result in realistic representation.   Rather, I am satisfied with a rough familiarity and mood of subject.  My goal is to present an intriguing balance of roughness and tenderness; boldness and vulnerability, representation and expression. Cindy Dyson 




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Scott Kish paints "motion" in all its variable forms. The four paintings curated by Elaine Fleck for this exhibition are, large in scale 40 x 70 inches, life size forms of runway models painted with oils on aluminum providing the viewer immediate context turning a static artwork into stylized motion.

In early 2016, Scott received word that his motion  paintings were the inspiration behind New York fashion designer Vivienne Hu's Fall 2016 collection. After viewing the collection at the runway show at NYFW, he was inspired to depict this collection in a series of paintings.


Friday, 17 June 2016

New Paintings by Amy Shackleton and Mark Liam Smith

We are very excited to have brand new work by Amy Shackleton and Mark Liam Smith on display and for sale this June.


Shackleton's paintings explore the evolving relationship between nature and cities. Using natural forms as examples for sustainable design, she suggests innovative solutions for urban planning and development. Amy Shackleton's paintings are highly sought after, and sell fast. Don't miss this opportunity to see her newest work in person.

Recover (New York and Vancouver) -SOLD
Acrylic and Enamel on Canvas, 35 x 50 inches, 2016 

Season Finale (New York and Vancouver) -SOLD
Acrylic and Enamel on Canvas, 35 x 50 inches, 2016 


Renewal (New York and Vancouver) -SOLD
Acrylic and enamel on canvas, 35 x 50 inches, 2016 



Mark Liam Smith's paintings are visual works of fiction: he creates a narrative using shape, colour, and characters, carefully considering the chromatic and spatial relationships in his paintings to achieve movement and balance. Mark Liam Smith is an emerging artists recently discovered by the Elaine Fleck Gallery. He is extremely prolific and is gaining momentum quickly. Smith will also be showing at SCOPE BASEL 2016 from June 14-19 in Basel, Switzerland.
THE AUCTION HOUSE -SOLD 
oil and acrylic on canvas, 48 x 36 inches, 2016

Flowers for Fibonacci
oil and acrylic on canvas, 48 x 36 inches, 2016


Game Theory 
oil and acrylic on canvas, 48 x 60 inches, 2016

Thursday, 28 April 2016

FLECK FINE ART GROUP SHOW MAY 2016


This May 2016 discover 13 EMERGING ARTITS and 12 GALLERY REPRESENTED ARTISTS

FLECK FINE ART GROUP SHOW

Once an artist has produced a body of work, the promotion and marketing of the artist and their work is a huge determining factor in their success and advancement. The Fleck Fine Art Catalogues and Group Shows are invaluable promotional venues for artists.
The Fleck Fine Art Catalogue is published twice a year. The spring/summer 2016 issue marks our 14th publication.
“The catalogue is a group activity, we all promote together to potential art buyers.” Elaine Fleck, Gallery Owner, Curator, Art Dealer
Elaine Fleck has a reputation for her discerning eye, great taste and a passion for representing artists who are innovators and create works that resonate with the public.
Come to the Elaine Fleck Gallery this May... get stimulated, get inspired! 
TRUE ART TRULY ELEVATES US!

PAULETTE SAUVE - VALERIE AMADIO - ELIZABETH HARDINGE - April 18 - 30, 2016

PAULETTE SAUVE  
LATOMICITE PROFONDE DU PONT archival print 33”x48” 2016

























VALERIE AMADIO
BRAIN MECHANICS acrylic and Ink on wood panel 24”x36” 2016


























ELIZABETH HARDINGE
PEONY PASSION  oil on canvas  60” x 75”  2016