We take a nod to our sometimes disconnected physical world by examining sacred works in the theme, “Micromosaic”. The inspiration primarily originates from the mosaics found in early Christian and Byzantine churches. Many of their pieces incorporated Greek or Latin inscriptions. Micromosaic speaks to works that are laboriously and painstakingly rendered in any media. In this exhibition, we were after the spirit of the handiwork, the image, and the final production in examining contemporary and visionary artists trying to assemble a whole from a sum of parts.
Curator’s Note: In Micromosaic we are exhibiting four American artists with works deserving a second-look or at minimum, a look with fresh eyes. Many submissions for this call simply did not fall within a broad interpretation of the theme, or were rendered either casually or contemporaneously, or artists were slow in response. Sacrosanct Gallery continues to search for artists with original voices, unique interpretations, and demonstrated commitment. The mosaic of our lives demands it, as does our relationships with artists and patrons alike.
Christine Hausserman is an abstract mixed media glass artist currently living and working in San Diego, California. She combines the luminescent and vibrant effects of fused dichroic glass with the tactile properties of acrylic paint in earth tones. What characterizes her art is the unique way in which she explores contrasts in color, light and texture.
Christine’s complex process involves adding and removing many layers of paint on the glass using an impasto technique to achieve a myriad of reflective qualities. The viewer’s perspective continuously evolves with the ever-changing quality of light, time of day, and the position of the viewer. The multi-faceted visual effects are mesmerizing.
She creates her works of art in a variety of sizes and proportions and mounts them on wood and aluminum. They reveal a dynamic contrast between organic and technological characteristics. Her circular compositions signify unity and the balance of masculine and feminine counterparts.
The artist’s creative innovation has attracted many different private and public collectors that include the USC Medical Building on the USC campus in the Los Angles area. She has received awards in many juried art shows that include Best of Show, North Park Festival of the Arts and two Second Place awards in Glass at Indian Wells Art Festival. She has also exhibited at the Beverly Hills Art Show. Her art has been featured in the Los Angeles Register, Art Catalogue by the Sea, and About Town Magazine, among others. She has made numerous television appearances with her art. Born in Wisconsin, Christine received her BFA with a concentration in New Genre from Sierra Nevada College in 2003 where she was on the Dean’s Honors List.
Curator’s Note: In addition to the detailed and fragile beading, what is compelling is the handiwork in the background. Here, we find a blend of opposites demonstrating full-range of thought in a piece that otherwise could have stood on its own without the added dimensionality.
Robert Eustace presents with his The Nurture, part of a series entitled ‘Tree of Souls’. When Eustace moved to central New Jersey, he lacked in the same day-to-day audio visual stimulation of his early experiences in NYC. Life in New Jersey eventually provided the meditative quietude and focus to begin to distill those initial life experiences into works of art. For example, the creation of abstract coded maps that serve to navigate unknown territories of the soul, ancient church floor plan configurations, ornate windows that act as a portal to mystery and grace, and the park as a model of paradise or Garden of Eden.
While attending a local congregation during his college days, a sensitive grad student reached out and gave him a well worn copy of H.R. Rookmaaker’s book, “Modern Art and the Death of a Culture”, (1970). Eustace was later to obtain a copy of Rookmaaker’s book, “Art Needs No Justification”, (1978). The overall message provided much liberation: That “Art is a God given possibility” – Art is not bound by notions of, functionalism, pragmatism and propaganda, (or ideas of: how can we use it? And: is it practical?).
Because of the Incarnation (or the Christ as man dwelling among us) and the Resurrection (or the Christ raised up to set us free from sin and death) the artist of faith is free to create within the larger framework of prayer through study, thinking, working – as it relates to life’s unfolding. For Eustace, the idea of beauty is something that should be honored, upheld, and restored to the dignity of its rightful place as it relates to art and the sacred. During much of the modern epoch in art and throughout culture, beauty has been met with mistrust, ugliness, and irrationality.
Curator’s Note: At least for the foreseeable future, Eustace will continue to craft his art and present it to the public from a largely “decentralized position” and with his fairly recent move to the hinterlands of northwestern Pennsylvania – an extremely “rural position”. This intricate and insightful work, reminded us so of the heart and hand themes stemming from the Amish and Mennonite communities there.
Karah Lain‘s work can be defined as collage, a compilation of disparate materials and images onto a surface. Yet unlike most collage, her work does not attempt to create a new picture of things as much as a new visual experience, channeling both formalist tools and object associations. At the foundation of the work are the materials that she has been collecting since childhood, which balance in a space of zero gravity on a blank sheet of paper, or stack atop one another in three-dimensional space. Color deviations are minimal beyond a neutral palette, and the materials used surround concepts of building, the artists hand, and bodily relation.
In a precarious balance, Lain holds the concepts of chance and choice, high art and low art, found and made, and the meditative and the mundane. Through the formal resolution of such disparate associations and mediums, the work becomes a statement to the faculty of balance, a force that is becoming ever necessary in the climate of political and intellectual polarization in the contemporary world. At the same time, the inability to connect the dots between disparate object associations disarms the viewer, a reminder that our infinite unknowns are often kept out of sight and out of mind, while they simultaneously make up the bulk of our internal world.
Curator’s Note: While the theme Micromosaic may inherently denote complex pieces of intricate parts, we could not turn from the disarmingly stunning organization of Lain’s collage works. Here, she demonstrates the balance, timing, and spacial orientation necessary to reach the “sacred”.
Laurie Maves Guglielmi rendered this work just prior to Hurricane Irma while she was in Florida. A full-time Contemporary Artist, Live Performance and Abstract Energy Intuitive Painter, Maves firmly believes she is here on this planet to make your painting. Her most recent series of organic abstracts focus on positive energy, light, and a sense of healing. She paints with an intuitive hand and brilliant color palette, allowing the paintings, whether they be about life change and transition to physically healing from mental and physical stressors, to paint themselves.
Maves’ works are meant to be meditative in nature, organic reminders of perfect wholeness in the universe. The circle form, which is readily seen in Laurie’s paintings represent an ancient symbol and can be seen in every culture, in every person, in every life that comes full circle. She most often works motivational words into her imagery, sealing the thoughts into the message of the painting in hopes of inspiring those who view her work. She invites you to view her abstract energy paintings and share your experience of them. She hopes that her audience finds these paintings as promoting positive energy, relationships and peace.
Curator’s Note: Maves has taken a nod from aboriginal and pointillist works in Impressionistic form to give us a work inspired by flamingos. Just as in real life mosaic, the more one looks, the more one sees. We are delighted to include this brightly associative painting in large-scale format.