November Issue 1999
Two New Solo Exhibits at Hodges Taylor Gallery
Hodges Taylor Gallery in Charlotte, NC, announces two new exhibitions for Nov. and Dec.: Maud Gatewood, New Paintings and Frank Hobbs, Recent Observations. The exhibition dates are Nov. 5 - Dec. 30.
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Maud Gatewood, NC's well honored painter, continues sharing the varied landscapes found during her travels. The same reduction of detail, driving straight to the essence of a form, makes these foreign scenes seem familiar to the viewer who has enjoyed "reading" a Gatewood painting. Finding patterns in fields, in mountains, in rocks - a technique developed through years of keen observation - and using these patterns in her compositions reminds us that nature can be viewed as logical after all.
Ruth Beesch, former director of the Weatherspoon Art Gallery and host institution of the major retrospective that toured the Southeast a few years ago, wrote this about the artist: "One of Maud Gatewood's most interesting attributes is her clever and inherent understanding that she can best influence viewers by deliberately composing paintings which challenge them to interpret the work from their own perspective... (choosing) to create situations that provoke, cajole and often humor composition, and her skilled use of paint have matured and crystallized into a style that is sharp and insightful."
Frank Hobbs' paintings are characterized by a direct, painterly response to the visual surprises of observation, particularly Corot and the Italian Macchiaioli, as well as by Edward Hopper and Fairfield Porter in this century, the artist frequently paints views of a pastoral nature such as one finds in abundance in rural VA. But more often his images deal with the more ordinary landscapes that one sees from the side of the road or from a car - not the pristine, romanticized farmland or wilderness of 19th century America.
Hobbs' favorite subjects can usually be found in the forgotten downtown areas of most any town, particularly those in the Staunton-Harrisonburg area where he now lives. He constructs his art out of the visual counterpoint he finds between man-made colors and forms, the silos, towers, bridges and buildings, and the more fluid, irregular forms found in nature. His paintings are about opening the eyes to the contemporary landscape; about the simple process and problem of seeing color, form and space without pre-conception; and about the act of making colored marks and shapes on a surface that contain and express the artist's aesthetic experience of place.
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