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Jack Wax

By All Together

Doking-Frieze, 2020
Ultra Black pigment and Hardtmuth colored pencil
on duralar and yupo papers, with grommets
22 x 61 inches
$3,400

Doking-Frieze Study, 2020
Ultra Black pigment on duralar and yupo papers,
with grommets
16 x 31 inches

In Japanese elementary schools they teach the children (when they are very young) about viruses. This is to motivate them to practice a very high level of personal hygiene (which they do!). A virus in Japan is “Baiking”….and then (as everything in Japan is) “characters” are created to illustrate the “stories” of the travels of Baiking (they actually call him Baiking-chan). Anyway, Baiking-chan has a girlfriend, her name is Doking! (Doking-chan). They quite often are found playing together and generally creating havoc!
Thus….my Doking Frieze (tribute?)

Spending time in Japan, California and New York, elements of Western and Eastern culture weaves itself into Jack Wax’s obsessive, back-painted drawings. Thin lines of ink form delicate patterns both organic and geometric, creating visions of nets, intricate specimens, or imagined cages. Across all works, his subjects are mysterious yet seemingly living; each form conjures natural elements of the land or body, emitting its own personality.

Wax was born in 1954 in the Hudson River Valley region. He received his BFA from Temple University’s Tyler School of Art and MFA in Sculpture from the Rhode Island School of Design (1978, 1983). He has held teaching positions at the Tyler School of Art, Ohio State University, The Cleveland Institute of Art, RISD, and Toyama Institute in Japan. Currently, he is a professor in Richmond at VCUarts, where he is head of the Glass Department in Craft and Material Studies. His work is held in numerous collections, including the Los Angeles County Museum, CA; Corning Museum of Glass, Corning, NY; Tittot Museum, Taipei; Smithsonian Institute, Washington, DC; Altria Group and Markel Corporation, both, Richmond, VA.

Sam Tudyk

By All Together

As a long-time practitioner of postal correspondence, when the pandemic crisis occurred my initial urge was to reach out to my friends and family with mail. Delivering a small piece of artwork with a handwritten sentiment felt like the closest action to giving a hug I could take. After mailing out dozens of 5” x 7” sketches with the title “Emergency Optimism,” I started working on the 24” x 30” painting of the same name. While I painted I thought about the entertainment of puzzles, windows of houses, intersecting lines of connectivity in this shared experience, and the optimism of color.

Emergency Optimism, 2020
Acrylic on panel
24 x 30 inches

Fascinated by symbols of communication and how they can be impacted by the passage of time, S. Tudyk depicts looming, imagined billboards which appear worn down by age. Rather than an advertisement or other expected imagery, these billboards act as a stage for fragmented lettering within a diverse grid of colored panes, with openings which reveal glimpses of a complex underlying framework. Each piece is painted onto sturdy birch panel, often with embedded pieces of deconstructed paper giving a rough and ridged quality to select areas of the surface. Tudyk is a 2001 BFA graduate of Savannah College of Art and Design and currently lives in Richmond, Virginia.

Sandy Williams IV

By All Together

Time Travel #5 (25 Nikhil Ct), 2020
Oil on canvas, thread, 4 hours
13.4 x 13.8 inches
$2,200
Framed

Wax Monuments #01, 2020
Wax, Wick, 3D Scan of the Lincoln Memorial in Washington D.C., the Robert E. Lee Monument in Richmond, Virginia, and a Thomas Jefferson Monument in Charlottesville, Virginia
9 x 17 x 17 inches
$2,000

My work right now is dealing with a sense of inertia. I am interested in the way time can be passed down, transformed, and gathered inside of us, as well as in the things around us, through a propensity towards rest, also called history. I started making these Time Travel paintings as a way to capture the time I spent making an artwork. For these, I paint a grid or template, and then spend a specific amount of time sewing in the spaces I’ve created. The result is then an object that formally presents the time and effort that went into its making; an aesthetic record of my activity. As I work on them, I often think about all of the other things I could be doing with my time; and in particular, my distance away from my loved ones, as a way of traveling or projecting in place. Now that I am in quarantine, and it has become so much harder to visit my family, these works hold a particular resonance.

These Wax Monuments were first made as a proposal towards public sculpture. Traditionally, monuments are made to sit and collect a patina, as they withstand change in order to reflect a record of a people’s history. I am interested in visualizing change, and building monuments able to keep a record of activity. By circulating miniature wax versions of these monuments, people are given agency over these forms that are normally immobile. If these candles were made to be monumental, they would be within reach, adorned with wicks, and visitors would be invited to mold, burn, shape, look at, take from, or add to their forms, working together in a sort of public democracy.

Artist Statement, Spring 2020

Sandy Williams IV is an artist and filmmaker working in sculpture, cinema, performance, painting, photography, text and the public. His work is about the persistence of memory, the body, and resistance. Through various media, Williams performs acts of persistence, as a dynamic engagement with the historical, in pursuit of the threads that connect diasporic origin stories to the official record. This work gives agency to him and the audience to both actively participate in the creation of future mythologies and build theories towards the emancipation of our public spaces.

Williams received his BFA from The University of Virginia in 2016 and his MFA in Sculpture + Extended Media from VCUarts in 2019. He has held teaching positions at VCUarts and The University of Richmond, where he is currently an adjunct professor in the sculpture department. His work has been shown at Socrates Sculpture Park, New York, NY; Dorsky Gallery, Long Island City, NY; Guadalajara 90210, Mexico City, Mexico; Public Pool Gallery, Los Angeles, CA; The Virginia Museum of Contemporary Art, Virginia Beach, VA; and Co-Prosperity Sphere, Chicago, IL, among others.

Robert Stuart

By All Together

Monsoon, 2020
Oil, wax and collage on canvas
20 x 16 inches
Framed

Blue Bands, 2020
Oil and wax on canvas
60 x 48 inches

Art is important.  It gives worth to life.  It feeds the spirit and the soul.

Robert Stuart’s glowing paintings and works on paper engage in the mysterious qualities of light. Inspired by both natural and man-made sources, strips of paint become metaphors for beams of sunlight or neon sculptures. Carefully building rich layers of oil and wax, he juxtaposes inky bands of color against subtly iridescent grounds. Stuart’s paintings hum with atmosphere and evanescence, yet are grounded in clear compositions and tactile materiality.

Stuart received his Bachelor of Fine Arts from Boston University and his Master of Fine Arts from James Madison University (1977, 1984). A nationally exhibiting artist, he has received numerous awards and honors including the prestigious Academy Award in Art from the American Academy of Arts and Letters, New York (2004). Stuart currently lives and works in Staunton, Virginia.