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Heide Trepanier

By All Together

Castoffs, 2020
Mixed media on panel
60 x 60 inches

This new work relies on the significance and symbolism of materiality and on the intentions set during the creation of the painting. The act of mixing materials that would be considered non-traditional in the manner of alchemist places significance in the act of concoction. The concoction’s symbolism lays in the preparation, distribution and ritual of the creation of the painting. The material is the meaning and is predicated on its symbolism in both its relation to other materials, and in its singular symbolism within western culture. Many times these materials are culturally relevant and range in issues. In this particular work “Outcasts” I set the intention as a protection for the creativity of women of color. In this painting, alcohol based inks, pencil shavings and dyed tinctures of Mother’s wort, Tulsi and Wood Betony are interwoven with synthetic and natural hair extension I received from a fellow artist at a recent retreat in the mountains of Virginia (the VCCA). These materials were set aflame and extinguished with paint, inks and a few symbols, forms and colors with importance to the ritual.

I consider these paintings to be less in the tradition of painting, and more in the tradition of spells. The end result of the work is a residue of an activity and a process that has an aspiration other than representative form. This work asks for trust and belief in a process that allows me to address some of the darkest parts of our human condition in the present. Utilizing the only tools and processes I currently have access to, it is my way of holding light in times of darkness. While I hold no beliefs in its effectiveness, I believe the desire to relieve the suffering of others is common in the artistic spirit, and those desires are genuine, powerful and meaningful.

Because I enjoy quiet and solitary activities, I do not personally have a hard time with the isolation of this time, but it is the suffering of those ill and scared their worried families and those in desperate financial situations that I fear for. 20% of the sale of any artwork will go to Feed More to help with food insecurity during the COVID 19 pandemic.

Trepanier received her BFA from the School of the Art Institute of Chicago and MFA from VCUarts, where she has held adjunct professor positions. She has received multiple accolades, including the Pollock-Krasner Foundation Grant (2011), VMFA Professional Fellowships (2009 and 2002), and The Theresa Pollak Fine Art Award (2004). Currently, the artist lives and works in Richmond, VA.

Sue Heatley

By All Together

My work has always involved the concept of place, usually manifested in a color palette or series of forms that recall places I’ve visited. Since moving back to Richmond from New York two years ago, my work has taken on a lighter, more verdant energy. I’m making  psychological landscapes from memory, based on feelings rather than direct observation. They’re an attempt to tap into the sensation of a place. I wonder, now that we are all staying in one place more or less, are we seeing our surroundings differently? How will this experience change our understanding of place and home?

Here I Sit, 2020
Acrylic, ink, collaged sandpaper, linocut print on paper
22.25 x 30 inches

Having recently returned to Richmond after several years living in New York, Sue Heatley combines printmaking and painting techniques to express abstraction routed in mark making. Over her thirty year studio practice, she has created collage-like compositions through applications of myriad materials, including acrylic paint, quick-drying pigments and ink, on varied backgrounds like textured linen and thick rag paper. In her linen paintings, Heatley works layer by layer; swooping brushwork, often in pale tones, obscure glimpses of contrasting tones beneath, adding an element of mystery to each painting. In recent works on paper, like Fool’s Forecast, her compositions evoke biomorphic forms through ethereal marks balanced on a muted ground.

Heatley received her BA in Art History from Hiram College in Ohio and later studied printmaking at the Richmond Printmaking Workshop in Virginia. She has exhibited at The Drawing Room, East Hampton, NY; Site Brooklyn, NY; the International Print Center and Turn Gallery, both, New York, NY; 1708 Gallery, Quirk Gallery and The Visual Arts Center, all, Richmond, Virginia. Her work is represented in numerous public and corporate collections, including the United States Department of State, Washington, DC; Esteé Lauder Companies, New York, NY; Special Collections and Archives of Virginia Commonwealth University, Medical College of Virginia, Hunton & Williams and Owens & Minor, all, Richmond, VA.

Andrea Donnelly

By All Together

“1338”
Emily Dickinson

What tenements of clover
Are fitting for the bee,
What edifices azure
For butterflies and me –
What residences nimble
Arise and evanesce
Without a rhythmic rumor
Or an assaulting guess.

A Poem Is a Flower (Emily #1338), 2019
Handwoven cotton, dye, pigment, PVA, cotton backing
18 x 23.375 inches, framed

I’ve been exploring poetry as subject matter for my work.  When I read a beautiful poem, I feel that I have received a sacred gift, as though the poet is giving me a flower, directly from their heart to mine.  In creating a visual artwork from that poem, I wish to give a flower too…to you, my viewer.

This work was created using Emily Dickinson’s poem #1338, where the text itself (which is about a meadow) becomes organic growth.  First, I used the poem’s words to create a drawing on paper, which I then painted onto handwoven cloth.  In a process used in a lot of my work, the painted cloth is unwoven, causing the image to dissolve into dashes of paint on warp and weft thread.  When those threads are rewoven (separate from each other), they create two altered drawings, which imperfectly mirror each other.

Andrea Donnelly was born in 1982 in Wilmington, Delaware and currently lives in Richmond. She received her BA in Art and Design and a BS Psychology from North Carolina State University and her MFA in Fibers from Virginia Commonwealth University. Her work was included in the 2018 inaugural exhibition of Richmond’s Institute of Contemporary Art and she held a solo exhibition at the North Carolina Museum of Art in 2017. Her pieces are held in the collections of the North Carolina Museum of Art, The Federal Reserve and Capital One, both in Richmond, VA.

Barry Purcell

By All Together
“Juxtaposition”
Loving the moment
Together with your family
Killing the virus 

Pink Marsh, 2020
Archival print
27.75 x 27.75 inches
Framed

Barry Purcell creates altered perspectives in his deeply saturated photocollages. Capturing images directly from his travels, he communicates concepts deeply rooted in the moments each photograph was taken, recording the exact longitude and latitude and time, down to the second. Back in the studio, Purcell divides and rearranges a single image into various gridded patterns to reveal the latent visual patterns we often miss in nature. He states, “the fragmented images of my surroundings call attention to the beauty within the simple elements of nature: the subtle gradation of a sunset or the soft transition between the sky and sea. Although geometric and seemingly balanced by the human mind, each composition exists skewed, camouflaged by personal perspective, much like the debilitating effect we inflict on our reality.”

Purcell is a fourth-generation painter and photographer born in Virginia Beach, VA in 1973. He received his Bachelor of Science from James Madison University in 1996, Juris Doctorate and Master of Business from the University of Richmond in 2000. His work is included in the collections of Altus Realty, Washington, D.C., and Capital One in Richmond, VA. He currently resides in Richmond and Virginia Beach.