Vol. 02.25.2020 | Michelle Y Williams

Imperfections, flaws, rust, asymmetry, texture, peeling paint and the principles of wabi-sabi all enliven and excite Michelle Y Williams. She approaches her blank canvas with just a beginning and no preconceived end result. Williams seeks to find balance within the work; experimenting and exploring ways to refine her craft without self-constraint. “If I am able to engage the observer, make a connection which couldn’t be conveyed verbally and ultimately elicit a visceral reaction - my work is done.”

Michelle Y Williams began her cut series in 2001. beginning with steel which is torched by hand, she applies her various materials creating small, original paintings which cross the line into dimensional sculpture by way of her trademark plexiglass mount using bronze hardware. These small works may also become a sort of maquette, often inspiring larger works on canvas or wood. Many of Michelle’s loyal collectors await with anticipation of new pieces for their expanding collections of her ongoing “cut” series.

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Vol. 02.18.2020 | Hunt Slonem

Inspired by nature and his 60 pet birds, Hunt Slonem is renowned for his distinct neo-expressionist style. He is best known for his series of bunnies, butterflies and tropical birds, as well as his large-scale sculptures and restorations of forgotten historic homes. 

Exhibit by Aberson presents Hunt Slonem
3524B S. Peoria, Tulsa, OK
February 20 through March 28 2020
Opening Thursday, Febuary 20th, 6-8pm

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Vol 02.11.2020 | Taelor Fisher

“I find great inspiration in the natural world, and consider flowers especially stirring. I expressively marry shapes, colors, and scents of my favorite blooms, which produce lush, colorful, and charmingly chaotic compositions. 

Every painting starts with flowers. But, it is then what intrigues me at the moment that helps the piece take shape.” 

 

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Vol 02.04.2020 | Artist Spotlight Jamie Kirkland

“My paintings evoke a sense of limitless space, of expansiveness, stillness and calm. A lot can be said with simplicity by reducing the landscape to shapes and forms, much the same way a poet expresses an idea in three lines of haiku. And just as traditional haiku contains a kigo, or season reference, my paintings reference seasonality with an economy of expression that is almost always atmospheric”

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