Posts Tagged ‘Tryon NC’

Skyuka Fine Art in Tryon, NC, Features Works by Richard Christian Nelson

Wednesday, February 16th, 2011

Here’s an exhibit by one of our supporters which arrived after deadline for our Feb. 2011 issue. If you haven’t picked up on it yet – we’ll always take care of our supporters. We do pretty good when it comes to others, but our supporters make Carolina Arts possible and this blog possible.

Here’s the press release:

Skyuka Fine Art in Tryon, NC, is presenting the exhibit, Richard Christian Nelson-Recent Paintings, on view through Mar. 10, 2011.

Nelson and his wife, Kimberly opened Skyuka Fine Art in January 2011. The gallery features exceptional artwork from renowned artists of the past and present.


Nelson has built his reputation as ‘Rich’ Nelson. The change to his full name came from the need to be found more easily on the internet. The upcoming show will feature the many sides of his work; landscape oil paintings of the foothills of the Blue Ridge and paintings from his travels. It will also feature recent still life and figurative work, and of course a few portraits. There are a number of still life paintings featuring early 20th century North Carolina pottery, and some figure studies from workshops he has taught recently.

Nelson states that he is, “endlessly fascinated by people, places, and things and considers it a privilege and a challenge to capture some aspect of their essence on canvas. I work toward ‘painterly realism’; good drawing and composition, rendered with strong natural color, in such a way that you can still ‘sense’ or ‘feel’ the paint. The effect of this process is that the subject begins to artfully reveal itself to me and hopefully, the viewer”. All of this work (except some portraiture) is done exclusively from life.


This artist strives to do museum quality work that will be around long after he and his subjects have left this world. He has won a number of honors in the last year including: ”Finalist-Portrait/Figure” category of The Artists Magazine 27th Annual Art Competition, “1st Place-Oil” and “Honorable Mention-Drawing” from the Portrait Society of America’s ‘Choose Your Medium’ Portrait Competition, and “2nd Place-Portrait Society Of America’s ‘Outdoor Portrait’ Competition”, just to name a few.

Nelson’s work has been featured in American Artist, American Art Collector, International Artist, and The Portrait Society Of America’s magazine, and he is listed in Who’s Who in American Art. Collectors who purchase his work do so not only because they appreciate it, but because his career indicates that interest in his work will only continue to grow.

Hailing from Detroit, MI, Nelson earned his BFA from the College Of Creative Studies in 1988. It was at CCS that he developed his love of painting, drawing, figurative art, and art history. He has been working as an artist ever since, initially as an illustrator, then as a portrait artist, gallery artist, and instructor. Nelson also teaches workshops focusing on landscape, still life and portraiture as well.

The Nelson’s are proud to announce a new promotion for the coming year at the gallery; anyone who purchases artwork by any artist in 2011 will be eligible to win a free framed charcoal portrait (subject of winner’s choice) by Richard Nelson. Each purchase will give a chance at winning one of this award-winning artist’s portraits. A drawing will be held on the gallery’s one year anniversary celebration, Jan. 1, 2012.

Gallery hours are Tuesday through Saturday from 10am-5pm, or by appointment. Skyuka Fine Art is located in downtown Tryon at 133 N. Trade Street.

For further information contact the gallery by calling 828/817-3783, visit ( or (

When You Can’t Be Everywhere – Look For Help From Others

Wednesday, August 12th, 2009

This month during my normal deliveries of Carolina Arts I had hoped to make a visit to the Waterworks Visual Arts Center in Sailsbury, NC, to see an exhibit of sculptures by Spartanburg, SC, artist, Doug McAbee – a friend of Carolina Arts. I had downloaded maps of Sailsbury (the Waterworks had changed location since I last visited) pinpointed some other gallery spaces in that town, checked and double-checked my digital camera, but my best laid plans were all for nothing.

This was the fourth day of my delivery trip and by the time I finished my last drop in Davidson and crossed over to I-85 and drove up to Lexington and crossed over to Hwy. 64 to Asheboro and then did my delivery in Seagrove – it was going to be four more hours before the doors opened at the Waterworks Visual Arts Center. I was tired and still had a five hour drive back home from Seagrove and going back to Sailsbury would add another two hours back and forth plus the time spent at the arts center. I hated to do it but I bailed on my plans.

I could have delayed my departure time for that day’s delivery, but if you’re not in and out of Charlotte by certain times – you are in for a day of driving on highways that are more like parking lots.

My next shot at catching McAbee’s works will be at the Upstairs Artspace in Tryon, NC, where he will have works in a group show entitled, Child: Being and Remembering, on view from Sept. 11 through Oct. 24, 2009, but in the meantime…

I discovered that someone – much better at reviewing exhibitions had gone to Sailsbury for me. Well, not for me, but for The Winston-Salem Journal. Tom Patterson is one of the best art writers and reviewers left in the Carolinas and he went to see the exhibits at the Waterworks Visual Arts Center and them wrote about them – including the works of Doug McAbee.

I don’t like to make it a habit of taking items from other newspapers, but I’m doing it today and give them full credit for their work and urge you to visit that paper and view the arts reporting Patterson offers at this link.

Here’s the article:

By Tom Patterson Local Columnist
Published: July 26, 2009 in The Winston-Salem Journal and

SALISBURY — Thanks to its consistently varied, generally high-quality exhibitions program, the Waterworks Visual Arts Center continues to distinguish itself among nonprofit visual-art venues in North Carolina’s smaller cities and towns.

The center’s current round of exhibitions, assigned the broadly ambiguous collective title “Color,” spans a typically broad thematic and stylistic spectrum. These shows are on view through Aug. 22, and they’re worth a visit to Salisbury, thanks especially to two of them — a duo exhibition by Charlotte artist Barbara Schreiber and Doug McAbee, a sculptor from Spartanburg, S.C.; and a solo show by Winston-Salem ceramist Sharif Bey.

Schreiber’s and McAbee’s exhibit is tagged with the seemingly self-deprecatory title “Shared Delusions.” In the case of Schreiber’s work, that title alludes primarily to societal delusions about childhood innocence and the influence of mass media. She is represented here by nine different series of narrative-based acrylic drawings (occasionally with silkscreen-printed components) in a cleanly linear style highlighted by bold colors.

In both style and content these works are reminiscent of children’s-book illustrations, and the figures in most of them are solitary children or cutely stylized cartoon animals — kittens, bunny rabbits, teddy bears or birds. Despite visual cues that emphasize protected innocence and insulation from painful realities, a close look at these images reveals their concern with the toughest problems of the adult world — war, poverty, unemployment, extremist violence and everyday stress. This clash of realities — childhood naivete vs. grown-up horrors — provides the thematic foundation for most of Schreiber’s work.

In her “Babydreams” series, a sleeping infant dreams about a terrorist bomb, a mob of torch-wielding teddy bears, a violent car accident and a kitten drowning in quicksand. Each of the girls in her “In a Dark Room” and “What We Learned Today” series are stretched out on the floor of a domestic living room containing a television, generic furniture and a few other objects. The key details in these drawings are the tiny images on the TV sets (a mushroom cloud, the chalk outline of a sidewalk shooting victim’s body) and the objects the children are playing with or holding (a bomb, a martini glass, pills).

A highlight of Schreiber’s show that occupies its own distinctive thematic niche is a sequential series of eight drawings about commercial airline disasters and flight phobias, titled “Final Boarding/The View from 1-A.” For each drawing she has adopted the position of a commercial airline passenger peering out the window alongside a plane’s foremost window seat. In the first five drawings the airplane window frames images of passengers in an entrance-ramp corridor as they prepare to board. But the last three views indicate that something has gone badly wrong, as they show the corridor respectively swarming with headless insects, filled with several feet of water containing a shark and other carnivorous fish, and traversed by a scythe-toting grim reaper.

Sharing a small gallery with Schreiber’s work are eight of McAbee’s painted steel sculptures, whose bright palette recalls plastic children’s toys visually echoes some of the bolder colors in Schreiber’s drawings. Although they’re predominantly abstract, these slick-surfaced sculptures incorporate clear allusions to the human figure in the form of components resembling spindly arms and legs, eyeless heads and, in one case, a giant-size pair of blue, horn-rimmed glasses. These figural components are fused in some pieces with references to architectural forms or industrially manufactured objects. Collectively and individually they convey an impression of cartoonish whimsy, making them likely to be a hit with children.

Occupying an adjacent gallery at the Waterworks are 23 “New Works” by Bey, a ceramic sculptor and assistant professor of art education at Winston-Salem State University. About half of the show consists of functional vessels characterized by striking geometric patterns and designs that reference African art and textile design. The other half is made up of works that extend Bey’s continuing investigation of ceramic beads as a sculptural form and conceptual vehicle. As in other such pieces he has shown in the past two or three years, the hand-crafted clay beads are significantly oversized, and the wearable necklaces they form double as commentaries on social issues involving black identity.

Several of Bey’s clay-beaded necklaces play on the contrast between black-power-era fashions and current hip-hop styles in order to critically engage the conflicting values underlying that contrast. These pieces reference both the traditional African beads often worn by Afro-coiffed black men and women 40 years ago and the gaudy, lavishly priced “bling” jewelry favored by many contemporary hip-hop artists and their fans. The big clocks that served as popular hip-hop fashion accessories a few years ago — typically worn like amulets on pricey gold or silver neck chains — serve as models for large ceramic discs on the beaded necklace pieces in Bey’s “Flav Clock Series,” as well as his smaller necklace titled Mostly White Hero Clock With Minority Modern Master Supplements. The face of its central clock is emblazoned with a photo-transfer close-up of Picasso’s face, while its smaller beads bear photo-transfer portraits of lesser-acclaimed black or Hispanic artists.

Running concurrently at the Waterworks are a duo exhibition by painters Whitney Peckman and Marge Loudon Moody; a small selection of outdoor metal pieces by Winston-Salem sculptor Don Green; and a small selection of lively, promisingly imaginative paintings and drawings by Hannah Thompson, a Rowan County high-school student who recently received a $1,000 “Dare to Imagine” award from the Waterworks.

Works by Barbara Schreiber, Doug McAbee, Sharif Bey, Whitney Peckman, Marge Loudon Moody, Don Green and Hannah Thompson are on view through Aug. 22 at the Waterworks Visual Arts Center, 123 E. Liberty St., Salisbury. For more information, call 704-636-1882.