3 Exhibits: Jan. 28-March 10, 2023
• Night Watch, by Vivian Liddell & Jeremy Phillips
• Begat, by Warren Hicks
• Drawing Marathon V, by About a Dozen Local Artists
The combined works of Liddell and Phillips will be united by the theme of “night.” Both artists riff on the nocturne in a show of recent work in a variety of media. There are paintings in egg tempera, flashe, acrylic, and oil; collages made with scrap LP record album material; a claymation short film; and figures cast in plaster. They both utilize the light and color of contemporary night to convey mystery and explore intent. The “night watch” was a medieval civilian defense militia, sentries of protection, and is also the colloquial title for one of Rembrandt’s most famous paintings. The work in this show captures the paranoia of our own watched moment when emblems of power are exposed and where futures are concealed in the dusk.
Still After Table Jump
By Vivian Liddell
Liddell is an interdisciplinary artist in Athens, GA, who works with painting, fiber and craft techniques, sculpture, printmaking, photography, animation and sound. Born in Memphis, TN, she received a master’s degree in fine art painting from the Pratt Institute in Brooklyn, and another master’s degree in teaching from Pace University in New York City. Her work has been exhibited extensively in contemporary galleries across the United States and abroad with museum shows at the Wiregrass Museum, the Macon Museum of Arts & Sciences, and MOCAN (Museum of Contemporary Art Nashville). She hosts Peachy Keen Podcast as an extension of her art practice, talking with other women about art and the Southeastern US and runs Arts + Athletics, an alternative gallery space focusing on local and regional artists. She is an Assistant Professor of Painting and Drawing at the University of North Georgia, specializing in feminist theory and criticism in contemporary art and craft media in painting.
By Jeremy Phillips
Phillips has two series in the show: oil paintings of suburban nightscapes bathed in artificial light and collages of churches lit against black vinyl foreboding skies. Hidden narratives lurk in the shadows of these figureless spaces. The church facades glower out and force their presences in not necessarily welcome ways. Phillips is an artist and educator. He is a religion and humanities instructor at Haywood Community College and UNC-Asheville, and he paints out of his River Arts District studio in Pink Dog Creative. He holds a bachelor’s degree in philosophy from the University of North Carolina-Asheville and a Master of Divinity degree from Westminster Theological Seminary. Since 2011, he has extensively exhibited his work in Western North Carolina.
"Why make paintings anymore? For me they are something solid in a digital world, images that linger long after the media circus has flown by, perpetual presences that invite you to slow down rather than flit off to the next piece of eye candy. A painting should be something you can live with and that keeps talking back. When I think of painting in the internet age, the physical qualities of the work become central – the surface texture,
the way the light plays off the paint, the accidents of application, the revelations of underlayers, the juxtaposition of thickness and color, the material of the support, even the underlying stretchers. Content, beyond the play of form, is a relished addition. The interiors of rooms or apartment blocks, the visual games of optical illusions and impossible shapes, binary code, stacks; these are prompts for contemplation. Painting is also about a conversation with other art. Building on the work of artists like Sol Lewitt, Jasper Johns, Sigmar Polke, and older modernists like Edouard Vuillard, and Pierre Bonnard, I want to add my own voice to the questions modern art raises (like “What is a painting?”, “What is beautiful?” and “What kinds of things can be a subject for a painting?”, and “How can I used older images to make something new?”), and try to offer some of my own solutions. I hope the results feed the eye as well as the mind, with a luscious use of oil paint, commercial fabrics, strong bright colors, and sharp lines. Sometimes deceptively simple and sometimes intriguingly complex, these visual puzzles
intend to keep your eyes peeled."
By Warren Hicks
Begat will be several images of ancient Christian scripture with most of the words crossed out, leaving only a few scattered words to read for a meaning not originally intended. These images are part of a book by the same name. Hicks described the book as “Welcome to the mind-scratching, head-bending, ball-banging world of BEGAT! Finally, a book that belongs on your coffee table and/or in your bathroom, and vice versa. It even fits easily inside ANY pocket, that’s properly sized. It’s just that versatile! Bloated with hilaresy (heresy that’s really, really funny), Begat is an art book lovingly jammed inside a book about the same book. What book? Hicks surgically removed all references to religion from the Gospel of Matthew (New Testament) to reveal a world filled with elves, cannibalism, pubs, meth, raves, pot fields, country music, a starship, explosions, etc. Oh my!…”
Hicks is a multi-disciplinary artist and writer working in a variety of media including painting, photography, video, sculpture, installation, and more. Completely self-taught, Hicks' artistic evolution has been as unique as his personal revolution. He has morphed through a progression of styles, mediums, and influences — embracing, digesting, and discarding. A restless experimenter with a keen sense of humor, he is constantly pushing himself into new ideas in visual art and writing.
Born and raised in Chickasha, OK, Hicks studied architectural design at Oklahoma State University. Prior to graduation, he fled Oklahoma under cover of darkness to Miami, FL to explore opportunities within the music industry. After 12 years of free concerts and back-stage passes, he and his wife Martha moved to Chapel Hill, NC in 2000. Hicks briefly returned to architectural drafting before launching his art career at the ripe age of 36. His work has been shown throughout the U.S. and Beijing, China. When he isn't making his own art, Hicks is a freelance art preparator for museums and corporate art collections.