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Thursday, October 28, 2010

J O E B Y R N E : Industrial-Strength; Abstracted Realism, Nov. 12 - Jan. 31

Link to a review from the Free-Times 11/15/10

Watch a short video of Joe's work on YouTube:

Joe Byrnes Ignites ART+CAYCE
with Industrial-Strength Art

G.I.G.O, 42" x 72"


Growing up in Brooklyn and Long Island, Cayce artist Joe Byrne lived near chaotic docklands and bleak industrial parks. His astonishing new body of work draws on an early exposure to colossal steel backhoes, intricate winches, hydraulic pistons, and other muscular machines. An exhibition of Byrne’s photographic-style paintings called “Industrial Strength: Abstracted Realism” opens at the ART+Cayce gallery, 1329 State St., on 12 November with a reception for the artist from 6-9 pm. Gallery owner Maryellyn Cannizzaro remarked, “the fact that an artist of Joe’s caliber lives, works and exhibits in Cayce shows how much we appreciate the Arts on this side of the river.” On view will be a dozen impressive canvases that explore the machismo and elegance that Byrne discovers in heavy equipment like boxcars and in mammoth structures like bridges.
The Bridge, 38" x 60"

Most of Byrne’s realistic pieces zero in on a moving part: a latch, piston or gear. As Byrne puts it, “instead of painting the whole scene, I’m much more interested in editing it down to the minimum. To me it’s the isolation of a part that speaks to a whole.” With technical precision Byrne conveys the tension of nuts and bolts on an I-beam, the force of hydraulic pistons, and the balletic motion of swing levers on a steel door. So lifelike is the image that you can practically feel the heat reflecting off the paint surface, or hear the squeal of a corroded hinge. “You could easily believe that this girder is holding up a bridge or that this truck is idling outside your window,” said Cannizzaro. While these pictures capture the physical beauty of steel, they convey the conceptual beauty of strength pure and simple.

2 Ton Capacity 37" x 60"

Some of these machines have done hard work. Their rust, holes, scrapes, and gouges prove it. Given the planar surfaces, hard shadows, and straight lines, these images of Big Metal could hardly be called “organic.” Unlike Lewis Hine’s 1920 photograph “Powerhouse Mechanic,” which showed a man tightening a nut in front of a huge turbine, Byrne’s paintings imply a human presence through ingenious engineering and English instructions: “open ... seal ... unlatch to close door.” Simply put, these machines are projections of the men who designed, built and used them. It’s hard to resist the thought Byrne’s train car is enjoying the dignity of its hard work. In fact, these positive images celebrate industrial tools as metal muscle.

Joe Byrne trained as a commercial artist and illustrator in New York before he re-located to the Columbia area in the late 1960s. In South Carolina he worked as an illustrator and designer for SCETV and the South Carolina Wildlife Magazine. As a freelance artist, he supplied illustrations for local, regional and national publications.

Copyright © 2010, ART+CAYCE, All rights reserved

Wednesday, August 4, 2010

Bri Kinard - Aug. 12th

b r i   k i n a r d - Aug. 12 - 31

Join us for the reception - Thursday, August 12th 5 - 7 pm
As a ceramic artist, Bri’s work directly references harsh industrial tools and weapons. When paired with lighter organic 'feathers', the tools combine to create a beautiful yet tense duality.

Home town:
Columbia, SC

BFA- Art Studio /focus in ceramics
Graduate School- Rochester Institute of Technology (R.I.T.)/ fall 2010

Tuesday, April 27, 2010

April 9th: Photo Shoot with Racioppo at CMC Steel

Here are some photographs take by Larry Racioppo during the CMC Steel photo shoot. Accompanying Larry are USC photography students. We grately appreciated the hospitality of CMC Steel Mill as they allowed us guided access to this amazing site.

Thursday, March 4, 2010

April 8th : Larry Racioppo - NY Photographer

Gritty Photographer of Urban Landscape to Exhibit
From April 8th - May 8th, New York photographer and Guggenheim Fellow Larry Racioppo will exhibit his panoramic photographs at the ART + CAYCE gallery, located at 1329 State St., Cayce. "A Photographer in the City" opens on April 8th with a public lecture at 4 pm in room 214 of the McMaster building, USC (1615 Senate St.). A reception will follow from 6-8 pm at the ART + CAYCE gallery. Racioppo’s career as the architectural photographer for the City of New York will be the subject of a brief gallery talk at 7 pm by UNC Charlotte Architecture Professor Thomas Forget.

Racioppo explores the history of buildings and their absent inhabitants. His large-scale photographs express the loss associated with urban decay, evoking lives spent in schools, churches, and theaters that are now blighted. Images of Ellis Island suggest how the dreams of immigrants lay at the end of a vanishingly long corridor, while a soaring bank lobby recalls the grandeur of the Middle Class dream. Racioppo’s images make us remember our own temporary, and sometimes accidental, gatherings. New York Times critic Ken Johnson describes Racioppo’s photographs as "sympathetic, neither satirizing nor proselytizing. You don’t have to be devout yourself to be touched by the human yearning for supernatural meaning that his photographs evoke."
Racioppo began capturing New York urban culture in 1970, when he shot Italian-American neighborhoods, kids playing street football, religious rituals, and apartment interiors. This early work culminated in a book called Halloween. Since that time, Racioppo’s photographs have been exhibited widely, including one-person shows at the Museum of the City of New York, The National Building Museum, Ellis Island, The Municipal Art Society (New York,) Safe-T-Gallery, and The Museum of Biblical Art (New York). Racioppo has received prestigious support from the Guggenheim Foundation, the National Endowment for the Arts, the New York State Council on the Arts, and the Puffin Foundation, as well as honors from the Golden Light Awards and the Queens Council on the Arts.

As a visiting artist at USC, Racioppo will also conduct Master Classes in Photography with a photo shoot at the CMC Steel and Metal Recycling facility in Cayce.

Wednesday, March 3, 2010

February 18 - March 18 : josh drews!

ART+CAYCE proudly presents josh drews!, a printmaker who specializes in monotypes. His work engages rendered subjects with expressive backgrounds. Drews also teaches visual arts at Spring Valley High School in northeast Columbia.

The gallery opening is Thursday, Feb. 18 from 6-8 pm.
Gallery talk by Josh Drews at 7 p.m., on process and production.
The show will run from Feb. 18th to Mar. 18th
Show sponsored by Compass 5 Partners & Undefined Magazine

josh drews!  

Josh Drews says, “Creating monotypes provides a sense of freedom that I have yet to find in any other medium.” The experience allows him to be very expressive with mark-making and color. After printing the initial product, he refines the marks, adding details and other special features, allowing the piece to emerge into the final product. Drews says, “I love creating an interaction between rendered subjects and expressive backgrounds.”

As a child, Drews would spend hours sketching characters, creating his own comics, and filling notebooks with assorted drawings of dinosaurs, robots, and superheroes. Creating art has always been a driving force in his life. In 2001, after graduating from Winthrop University with a BFA in General Studio Art, Drews was offered the opportunity to teach visual arts at Spring Valley High School in northeast Columbia.

Drews admits that teaching art has been an overwhelming, yet rewarding experience. With around thirty teenagers rotating through his classroom every forty-five minutes, six times a day, Drews claims that it makes you grow up fast. Not only has he grown as a young adult but he has also grown tremendously as an artist. Drews' passion for art has grown stronger by teaching his students and learning from these young artists.

Currently, Drews continues to spend time on his own artwork - primarily monotypes.

December 3, 2009 : presenting 9x3

9x3 is made up of three works by nine artists from the Southeast -featuring established artists to emerging artists...

Gallery talk by Tom Nakashima at 7pm, The William S. Morris Eminent Scholar in Art at Augusta State University. The show will run from Dec. 3 to Jan. 14. This show features work by established and new artists in the Southeast. The exhibit includes prints, ceramic sculpture, photography and paintings.

This show includes:
Frieda Dean, Priscilla Hollingsworth, Chris Johnson, Bri Kinard, Tom Nakashima, Ashley Padgett, Virginia Scotchie, Laura VanCamp, and Yen Yu Lu

FriedaDean   Frieda Dean’s work encompasses over 30 years of seasoned study and education. She is trained in various mediums – painting, sculpture, watercolor, oil painting, sculptural masks, performance art, printmaking and lithography. Her work has been included in numerous group exhibitions, include “Art and Narrative” (September 1996, Columbia College Chicago Center for Book and Paper Arts, Chicago), “New Abstract Prints in Chicago” (April 1999, Fine Arts Center, Chicago), and “Providence Art Club Juried Prints and Drawings Exhibition” (March 2002, Providence, Rhode Island). Her Later work shows the influence of her study of American Abstract Expressionist painting and prints. She is currently teaching painting and printmaking at the Gertrude Herbert Institute of Art in Augusta. Her recent prints include large-scale abstract lithographs and intimate color engravings.

Priscilla Hollingsworth
Priscilla Hollingsworth is a ceramic artist whose work includes sculpture, installations, and vessels. She has shown her work in numerous individual and group exhibitions across the United States from 1985 to the present. Photographs of her work have been published in several books, such as Surface Decoration for Low-Fire Ceramics by Lynn Peters (Lark Books/Random House, 1999), The Ceramic Design Book: A Gallery of Contemporary Work (Lark Books/Random House, 1998), and The Best of Pottery (Rockport Publishers, 1996). Her work is represented by the RileyHawk Gallery in Seattle and the Eclectic Design Gallery in Augusta, GA. She has received residency awarded from the Kohler Company’s Arts/Industry Program; the Banff Centre for the Arts in Alberta, Canada; the Watershed Center for the Ceramic Arts in Maine; Artpark in Lewiston, New York; and the Moravian Pottery and Tile Works in Doylestown, Pennsylvania. She received a M.F.A. from Indiana University in Bloomington, and an A.B. degree from Princeton University, where she studied with Toshiko Takaezu. Currently, Hollingsworth is a Professor of Art and the Art Coordinator at Augusta State University in Augusta, Georgia.


Chris Johnson
Chris Johnson is originally from Macon, Ga. In 2008 he received a B.F.A. from Clemson University with a combined focus of printmaking and ceramics. Currently, Johnson is a second year of the M.F.A. program at the University of South Carolina, majoring in printmaking with a minor in drawing. He works primarily in woodcut printing and etching. Johnson’s work has a strong narrative quality that invites the viewer to participate in creating and finding its meaning.

Bri Kinard
Bri Kinard is a senior at the University of South Carolina, Columbia. She is an undergraduate student in the art studio program with a focus in ceramics. Her work is organic using the method of soda firing.

 Tom Nakashima

Born in Seattle, Washington, Nakashima is The William S. Morris Eminent Scholar in Art at Augusta State University. He is a painter/printmaker who is exhibited internationally. In addition to his work, he is a highly solicited lecturer and has written and reviewed hundreds of publications internationally. His work is in the permanent collections of over 50 public collections. Included are The Corcoran Gallery of Art, The Smithsonian American Art Museum, The Long Beach Museum of Art, The Jane Voorhees Zimmerli Art Museum (Rutgers), The Jersey City Museum of Art, The Morris Museum of Art, Augusta Georgia, The Ogden Museum of Art, New Orleans, LA, MOCA/GA, Atlanta, GA, The High Museum of Art, Atlanta, GA and The Georgia Museum of Art, Athens , GA.

Ashley Padgett
Ashley Padgett, a native to Lexington, SC, is expected to graduate from the University of South Carolina in the spring of 2010 with a B.F.A. in Fine Arts – concentrating in ceramics. She has studied under Virginia Scotchie since 2006 and has shown work in the McMaster Student Gallery and Gallery 80808 in Columbia, SC. Padgett’s work is mainly concerned with figurative abstractions and deals with issues of touch.

Virginia Scotchie  

Virginia is a ceramic artist who exhibits her work extensively throughout the United States and abroad, and has received numerous awards including the Sydney Meyer Fund International Ceramics Premiere Awarded from Shepparton Museum in Victoria, Australia. She has lectured internationally on her work and has been an Artist-in-Residence in Taiwan, Italy, Australia, and the Netherlands. Her clay forms reside in public and private collections including the Yingee Ceramic Museum in Taiwan and the FLICAM Museum in China. Reviews about her work appear in numerous ceramic publications.


Laura VanCamp
Laura Van Camp is a first year ceramics graduate student at the University of South Carolina, Columbia. She holds a B.F.A. from Adrian College in Michigan. She primarily focuses on the human form, using the method of sager firing.

Yen Yu Lu
Yen Yu Lu is a foreign exchange graduate student at the University of South Carolina, Columbia in the ceramics department. She is from Tainan National University of the Arts, in Taiwan. She holds her undergraduate degree from Ntua, in sculpture.

October 8, 2009 : Suzy Scarborough

Suzy Scarborough : artist statement

I am currently working on three distinct bodies of work: collage abstracts, gold leaf geometrics, and figures. Although they differ in appearance and technique, they are related in thematic content: inner reality as opposed to outer reality; the natural/organic as opposed to mathematical/abstract; material as opposed to conceptual/symbolic. The collage pieces begin with pages from old books I find at antique stores. I especially like “self educator” books from the 19th century; these intrinsically carry the theme of the changing nature of “cultural reality” and human concepts. In painting these pieces I had no final image in mind, but instead searched intuitively to determine where to place each paint stroke. My attention shifted naturally back and forth from defining form to harmonizing the many divergent colors. As the pieces took shape I noticed that they seemed to turn into landscapes, sometimes an open area surrounded by land masses, sometimes a spiraling stream of energy (air, water, fog?). The gold leaf pieces seem to be all about harmonizing and balancing color and shapes. They suggest many different concepts using the very limited means of pure line and color. The figures are psychological studies, meant to represent woman as subject rather than object. My women are actively engaged and conscious--- they are never merely an object to be viewed and admired; they must be reckoned with.

Techniques and Processes

Collage pieces I collage book pages on to wood panels, then paint over them with acrylic, crackle paste, watercolor pencils, and/or india ink. They are finished with epoxy resin.

Gold Leaf pieces I draw an organic usually plant based drawing on a wood panel. I drip epoxy over the drawing to create the three-dimensional shapes. I then apply red gesso and gold leaf. Over this I draw and paint the geometric shapes. I finish each piece with a coat of epoxy resin.

Figure pieces Usually a mixture of techniques. I paint from photographic sources using acrylic paint, charcoal, watercolor pencils, and crackle paste.