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FORMS #913

20″ x 15″ framed, 17″ x 12″ unframed acrylic on handmade cotton paper $1200

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KAT KLERKS BIOGRAPHY

Being raised by a creative, imaginative, and surrealistic-painter father, Kat Klerks was stimulated to explore the many opportunities life would offer her and let nothing but reality stand in her way; “You can dream, but don’t let dreams be your master”. 

Spending many years in search of what her exact art form would be, Abstract Expressionism and Fauvism finally found her. Constantly seeking for balance of imperfection in both colors and forms, Klerks realizes it is the imperfection that creates sense in her paintings. “I am learning more and more about the why of what I make. For example, when my daughter was born, I started using a lot of pink without really realizing it. And since our beach house I make other shapes through what I see around me. During the time of Covid-19, I’ve had an enormous need for color, for cheerfulness.”

Kat Klerks has now gathered a large following all over the globe and has found representation in Paris, Amsterdam, Antwerp, Belgium, and now in the United States. Klerks work currently adorns an ample array of walls, from grand villas to tiny houses to the walls of the new leading luxury boutique hotels Lou Pinet (St. Tropez), Croisette Beach Sofitel (Cannes), August (Antwerp) and The Park Centraal Hotel (Amsterdam). 

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UP, UP

41″ x 29″ unframed collage on paper $3500

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LORI GLAVIN BIOGRAPHY

Lori Glavin (b. 1958, Buffalo, NY) is an abstract painter, collagist, and printmaker who lives and works in Connecticut and upstate New York. She received a 2019 Connecticut Individual Artist Fellowship Grant and Fellowship Grants from Vermont Studio Center, Johnson, VT, in 2015 and 2018. She has exhibited nationally at commercial galleries and other venues, including, The Brattleboro Museum and Art Center in VT, Mattatuck Museum, Waterbury, CT, World Collage Day, Ghent, Belgium, The Flinn Art Gallery, Greenwich, CT and Western Connecticut State University, Danbury CT. Her work is in numerous private and corporate collections. In 2007 she co-founded Wilson Avenue Loft Artists, a community of artist studios in Norwalk, CT. Ms. Glavin has a BFA from Syracuse University’s School of Visual and Performing Arts, Syracuse, NY.

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BEYOND THAT HILL

30” x 22” unframed monotype with Chine Colle on paper $2000

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LORI GLAVIN BIOGRAPHY

Lori Glavin (b. 1958, Buffalo, NY) is an abstract painter, collagist, and printmaker who lives and works in Connecticut and upstate New York. She received a 2019 Connecticut Individual Artist Fellowship Grant and Fellowship Grants from Vermont Studio Center, Johnson, VT, in 2015 and 2018. She has exhibited nationally at commercial galleries and other venues, including, The Brattleboro Museum and Art Center in VT, Mattatuck Museum, Waterbury, CT, World Collage Day, Ghent, Belgium, The Flinn Art Gallery, Greenwich, CT and Western Connecticut State University, Danbury CT. Her work is in numerous private and corporate collections. In 2007 she co-founded Wilson Avenue Loft Artists, a community of artist studios in Norwalk, CT. Ms. Glavin has a BFA from Syracuse University’s School of Visual and Performing Arts, Syracuse, NY.

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BROKEN COLUMN.SIENA

27.25″ x 38″ framed mineral pigment, Flashe black, wash, graphite on Arches paper $4200

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GEORGE READ BIOGRAPHY

George Read arrived at Harvard as a pre-med freshman. Biology and chemistry were his first love, so it was unusual when to fulfill a humanities requirement, he encountered famed Dutch old master paintings scholar Seymour Slive, one of the university’s most celebrated lecturers. Three years later, he graduated with a degree in the History of Art.

The Fogg Museum curriculum was strictly old-school then, but it included studio work for those who chose it. A sober exploration of the techniques of painting, sculpture, and printmaking was encouraged. Then, famed masters Eduardo Chillida, Afro Basaldella, and Robert Neuman were in residence at the Le Corbusier studios. That was the beginning.

Along the way, he got a summer job as a gardener for renowned art critic Harold Rosenberg in the Hamptons. The Rosenbergs lived in a hamlet called The Springs, close to Jackson Pollack’s former farmhouse and studio, at the center of a community of celebrity artists and writers. George describes those days as “something of a blur- a sort of BUDS training in the fine arts. I was technically just his gardener, but Mr. Rosenberg thought I needed serious artistic toughening up. Well, he took the job very seriously. The easy days were when he’d lend me out to friends, the artists Adolph Gottleib and Willem de Kooning among them. I’d go to their places and do chores.”

Later, in France, in the fall of 1977, he had his first show, a two-man exhibition with a young Japanese sculptor, Tetsuo Harada. There, Read’s paintings and assemblages attracted the attention of well-known French art critic Michel Tapie, who invited him to share studio space with a group of emerging artists at the newly-opened Centre Pompidou in Paris. The plan was interrupted. Before he could move into the new space, he was offered a position at Sotheby’s, New York. He took the job and moved to the United States.

This next evolution, as specialist, auctioneer, lecturer, and consultant engaged him, in some function or other, with “nearly every category of art and antiquity known, the collectors of those objects, and the markets where they trade, both real and fraudulent.” A glimpse at those times: on a steep and unrelenting learning curve, the constant search for properties, long hours of appraising and cataloging, work with Paul Newman, Joanne Woodward, and Barbra Streisand in New York, and Claus von Bulow in Newport. A trip to Los Angeles with Oprah to find furnishings for her place in Chicago. He appeared on her show twice. On the second, he auctioned off a Michael Jordan game jersey to an audience of millions. And always, more cataloging.

Now he is back in the studio. He describes the break as immensely positive; an opportunity to sharpen and refine-, even if the break was quite a bit longer than anticipated.

His process is just as it was when he left off. Years ago, Eduardo Chillida suggested he work on a piece only until form and definition began to suggest itself. Then, stop- no matter how tempting it was to continue.  A day or two later, surrounded by works in varying stages of progress, he could start again. He still works several pieces at once, moving from one to another without a pattern or plan. In theory, the eyes stay fresher this way, and the mind stays more open.

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EBONY AND ULTRAMARINE

16.50″ x 14.25″ framed mineral pigments and sumi ink on Arches paper $1200

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GEORGE READ BIOGRAPHY

George Read arrived at Harvard as a pre-med freshman. Biology and chemistry were his first love, so it was unusual when to fulfill a humanities requirement, he encountered famed Dutch old master paintings scholar Seymour Slive, one of the university’s most celebrated lecturers. Three years later, he graduated with a degree in the History of Art.

The Fogg Museum curriculum was strictly old-school then, but it included studio work for those who chose it. A sober exploration of the techniques of painting, sculpture, and printmaking was encouraged. Then, famed masters Eduardo Chillida, Afro Basaldella, and Robert Neuman were in residence at the Le Corbusier studios. That was the beginning.

Along the way, he got a summer job as a gardener for renowned art critic Harold Rosenberg in the Hamptons. The Rosenbergs lived in a hamlet called The Springs, close to Jackson Pollack’s former farmhouse and studio, at the center of a community of celebrity artists and writers. George describes those days as “something of a blur- a sort of BUDS training in the fine arts. I was technically just his gardener, but Mr. Rosenberg thought I needed serious artistic toughening up. Well, he took the job very seriously. The easy days were when he’d lend me out to friends, the artists Adolph Gottleib and Willem de Kooning among them. I’d go to their places and do chores.”

Later, in France, in the fall of 1977, he had his first show, a two-man exhibition with a young Japanese sculptor, Tetsuo Harada. There, Read’s paintings and assemblages attracted the attention of well-known French art critic Michel Tapie, who invited him to share studio space with a group of emerging artists at the newly-opened Centre Pompidou in Paris. The plan was interrupted. Before he could move into the new space, he was offered a position at Sotheby’s, New York. He took the job and moved to the United States.

This next evolution, as specialist, auctioneer, lecturer, and consultant engaged him, in some function or other, with “nearly every category of art and antiquity known, the collectors of those objects, and the markets where they trade, both real and fraudulent.” A glimpse at those times: on a steep and unrelenting learning curve, the constant search for properties, long hours of appraising and cataloging, work with Paul Newman, Joanne Woodward, and Barbra Streisand in New York, and Claus von Bulow in Newport. A trip to Los Angeles with Oprah to find furnishings for her place in Chicago. He appeared on her show twice. On the second, he auctioned off a Michael Jordan game jersey to an audience of millions. And always, more cataloging.

Now he is back in the studio. He describes the break as immensely positive; an opportunity to sharpen and refine-, even if the break was quite a bit longer than anticipated.

His process is just as it was when he left off. Years ago, Eduardo Chillida suggested he work on a piece only until form and definition began to suggest itself. Then, stop- no matter how tempting it was to continue.  A day or two later, surrounded by works in varying stages of progress, he could start again. He still works several pieces at once, moving from one to another without a pattern or plan. In theory, the eyes stay fresher this way, and the mind stays more open.

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PATMOS.AFTER HOURS

49.25″ x 37.25 framed mineral pigments on Arches paper mounted on birch panel $6000

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GEORGE READ BIOGRAPHY

George Read arrived at Harvard as a pre-med freshman. Biology and chemistry were his first love, so it was unusual when to fulfill a humanities requirement, he encountered famed Dutch old master paintings scholar Seymour Slive, one of the university’s most celebrated lecturers. Three years later, he graduated with a degree in the History of Art.

The Fogg Museum curriculum was strictly old-school then, but it included studio work for those who chose it. A sober exploration of the techniques of painting, sculpture, and printmaking was encouraged. Then, famed masters Eduardo Chillida, Afro Basaldella, and Robert Neuman were in residence at the Le Corbusier studios. That was the beginning.

Along the way, he got a summer job as a gardener for renowned art critic Harold Rosenberg in the Hamptons. The Rosenbergs lived in a hamlet called The Springs, close to Jackson Pollack’s former farmhouse and studio, at the center of a community of celebrity artists and writers. George describes those days as “something of a blur- a sort of BUDS training in the fine arts. I was technically just his gardener, but Mr. Rosenberg thought I needed serious artistic toughening up. Well, he took the job very seriously. The easy days were when he’d lend me out to friends, the artists Adolph Gottleib and Willem de Kooning among them. I’d go to their places and do chores.”

Later, in France, in the fall of 1977, he had his first show, a two-man exhibition with a young Japanese sculptor, Tetsuo Harada. There, Read’s paintings and assemblages attracted the attention of well-known French art critic Michel Tapie, who invited him to share studio space with a group of emerging artists at the newly-opened Centre Pompidou in Paris. The plan was interrupted. Before he could move into the new space, he was offered a position at Sotheby’s, New York. He took the job and moved to the United States.

This next evolution, as specialist, auctioneer, lecturer, and consultant engaged him, in some function or other, with “nearly every category of art and antiquity known, the collectors of those objects, and the markets where they trade, both real and fraudulent.” A glimpse at those times: on a steep and unrelenting learning curve, the constant search for properties, long hours of appraising and cataloging, work with Paul Newman, Joanne Woodward, and Barbra Streisand in New York, and Claus von Bulow in Newport. A trip to Los Angeles with Oprah to find furnishings for her place in Chicago. He appeared on her show twice. On the second, he auctioned off a Michael Jordan game jersey to an audience of millions. And always, more cataloging.

Now he is back in the studio. He describes the break as immensely positive; an opportunity to sharpen and refine-, even if the break was quite a bit longer than anticipated.

His process is just as it was when he left off. Years ago, Eduardo Chillida suggested he work on a piece only until form and definition began to suggest itself. Then, stop- no matter how tempting it was to continue.  A day or two later, surrounded by works in varying stages of progress, he could start again. He still works several pieces at once, moving from one to another without a pattern or plan. In theory, the eyes stay fresher this way, and the mind stays more open.

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DAYLILY

30″ x 24″ acrylic and collage on wood $5400

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PETER STEPHENS BIOGRAPHY

*guest artist

Based in Buffalo, New York, Peter Stephens has worked for more than three decades as an exhibiting artist. Stephens earned his BFA from the School of the Art Institute of Chicago and also attended the University of Siena in Italy and New York’s Rochester Institute of Technology. His work has been shown in galleries and museums across the United States, in New York, Los Angeles, Chicago, Buffalo, San Diego, and Santa Fe, among other cities. Stephens’s work appears in various museum collections, including those of the Buffalo AKG Art Museum, the Fenimore Art Museum in Cooperstown, New York, and the Brooklyn Museum.

Stephens states, “ These new paintings take form with an underlying grid of commercial paint sample cards. This allows me a spontaneous, interchangeable surface to explore color relationships and interactions within given parameters. The layers of acrylic matrix elements come next, all handwork applied line by line. As with numbers in equations, the quantities, sequences, repetitions, and rhythms all contribute to a rich optical blend of color combinations. A given set of colors results in an exponential number of different perceptions. Along with these pure abstractions of form and color come cultural references to histories of art and design with immediate associations to sumptuous textiles and complex architectural mosaics.

The evolution of this work is ongoing; it will change and develop as each new mutation moves the morphology forward. These paintings are not illustrations of specific laws that shape the universe and ourselves but an artist’s answer to their implicit resonances. The paintings translate scientific inspirations into a visual, multilayered landscape that in layer after layer enfolds one gradient of reality on another.”

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LITTLE LOVE POEM

Little Love Poem, 2022, acrylic and collage on wood, 24x20".jpeg

24″ x 20″ acrylic and collage on wood $4400

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PETER STEPHENS BIOGRAPHY

*guest artist

Based in Buffalo, New York, Peter Stephens has worked for more than three decades as an exhibiting artist. Stephens earned his BFA from the School of the Art Institute of Chicago and also attended the University of Siena in Italy and New York’s Rochester Institute of Technology. His work has been shown in galleries and museums across the United States, in New York, Los Angeles, Chicago, Buffalo, San Diego, and Santa Fe, among other cities. Stephens’s work appears in various museum collections, including those of the Buffalo AKG Art Museum, the Fenimore Art Museum in Cooperstown, New York, and the Brooklyn Museum.

Stephens states, “ These new paintings take form with an underlying grid of commercial paint sample cards. This allows me a spontaneous, interchangeable surface to explore color relationships and interactions within given parameters. The layers of acrylic matrix elements come next, all handwork applied line by line. As with numbers in equations, the quantities, sequences, repetitions, and rhythms all contribute to a rich optical blend of color combinations. A given set of colors results in an exponential number of different perceptions. Along with these pure abstractions of form and color come cultural references to histories of art and design with immediate associations to sumptuous textiles and complex architectural mosaics.

The evolution of this work is ongoing; it will change and develop as each new mutation moves the morphology forward. These paintings are not illustrations of specific laws that shape the universe and ourselves but an artist’s answer to their implicit resonances. The paintings translate scientific inspirations into a visual, multilayered landscape that in layer after layer enfolds one gradient of reality on another.”

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