2018 Silent Auction Gallery
The artwork shown here was exhibited at the 2018 Silent Auction during the ArtSpring Festival, Memorial Day Weekend. Additional works by each artist can be found at the Galleries listed next to their work.
Monoprint on silver anodized paper, Red on Silver
28” x 26” matted, framed.
“The method of creating and printing this print is an extinct technique.
I was living in Florida from the mid 196o’s to the early 1970’s. During this time I was known in the art community as innovator with graphic/prints. I experimented with different papers and “other” printing methods resulting in a print format never used as fine art. These prints won many awards and are in private and museum collections.
I was producing a series of prints that appeared as if printed on metallic coated paper. I can say with all certainty that the prints as fine art works are unique and irreplaceable. I am the only person/artists ever to use the tools and components as a fine art medium.” -Robert Singleton
This original design was crafted from West Virginia hardwoods. The seat comes from a black walnut tree which grew in the vicinity of Beverly, WV. A six-foot long, twelve inch wide, and two-and-one-half inch thick slab was used. The cradles, legs, and stretchers are figured maple - from a tree which grew near Buckhannon, WV.
The seat has been hand-carved to form a comfortable, aesthetically pleasing shape. The cross-section of the seat is thicker in the center and narrows significantly toward the edges, giving the seat a light feel. The arch of the seat provides surprising strength. The cradle/leg assemblies are evocative of a Shinto shrine, giving the piece an asian flavor. The unusual downward curve of the stretcher in each cradle/leg assembly pleasingly reflects the curve of the seat.
Due to the two wood species and (primarily) to the opposing grain directions, the seat and the cradles differentially expand and contractas a function temperature and (primarily) of the amount of moisture in the air. To allow this differential movement, the seat is attached to each cradle at only one point - at the bottom of the seat’s curve. Rigid attachment between the seat and cradles would eventually damage the unit, most likely causing the seat to split. The differential movement also causes the joints between the seat and cradles to vary. Sometimes the joint is very tight; sometimes it is looser. This variation can often be observed within a given day.
The bench has been finished with several coats of an oil/polymer blend, formulated to maximize the natural beauty of the wood while providing good protection to normal wear. Minor scratches can be repaired simply by wiping on more finish to the affected area. More significant scratches can be repaired by sanding and refinishing the affected area. - Tom Tillman
Mixed media on wood panel, 5.5” x 6.75”
Birds as Bellwether Series of Works on Paper
“Birds as Bellwether came out of working on the Tell Me a Story series of paintings and works on paper that pays homage to rural landscapes and the locally built industrial environment from 1880-1920.
“Archival photographs provided a starting point for telling a story of industrial development and how it shaped the current conditions of the local landscape. The Appalachian landscape has been irrevocably altered and what we see is as much about what isn’t there as what is. This area was subject to extraction on the surface and below. When dense black spruce forests were removed bird habitat was decimated. Clear-cut timbering and coal mining had a dramatic effect on the environment and we are still seeing the results today.
“These prints show my visual obsession with pattern, architecture, industrial imagery, birds, local beehive style coke ovens and representing what is no longer there. The narrative is the vehicle for mark making. The key to the images in these prints are found blueprints of underground mines in the Davis area, bee hive style coke ovens in Coketon, ravens and yellow rumped warblers, and carbon as a recorded byproduct of local industrialization.” – Robin McClintock
Watercolor, 6" x 14". www.arensart.com
The Studio Gallery, Davis WV
I mostly paint watercolor landscapes, but I also paint some oils, and my subject matter often ranges far beyond landscapes. I work most often “plein aire,” and follow the visual world pretty faithfully. One could argue that I am merely illustrating what I see. I prefer to say that I’m trying to be an honest reporter….albeit a reporter whose goal is to evoke some authentic emotions within the viewer.
Anyway, my paintings are more about life than art, and more about external situations than internal emotions. This is a relative matter, though, and I’m surely not dogmatic about it. Mostly I just try to be true to both the scene presented and my personal reaction to said scene.
~ Greg Arens
Porcelain, Celadon Glaze, 12" x 2.5".
Donated by Judy Davis, Malcolm’s wife, from her private collection
Malcolm Davis is internationally recognized for his porcelain and for a red shino glaze that he developed. It took him over a year to perfect his technique which involved starving the kiln of oxygen to create smoke. This glaze is often called “Malcolm’s shino.” He shared the formula for this glaze and it quickly became a sensation in the pottery world. He worked exclusively in porcelain, making pots for daily use that were well designed within the context of function. He taught other potters all over the country, and museums and private collectors paid top prices for his teapots, cups, bowls, and plates.
Davis first touched clay in 1974 at age 37 and became a full-time studio potter in 1984 when he left his previous career as a campus minister. His work was inspired by diverse folk traditions from early Korean to Native American pottery. Davis was 74 when he died in 2012.
1955-1959 BS Mathematics, College of William and Mary, Williamsburg, Virginia
1959-1964 Master of Divinity, Union Theological Seminary, New York, New York
1962-1963 Theological Studies University of Basel, Basel, Switzerland
1974 Ceramics Class, Department of Recreation, Washington, D.C.
1974-1976 Corcoran School of Art, Washington, D.C.
1977-1979 George Washington University, Washington, D.C.
PRIMARY WORK EXPERIENCE
1981-2012 Studio potter, Upshur County, West Virginia
RESIDENCIES AND APPRENTICESHIPS
1980 Year-long residency, Baltimore Clayworks, Baltimore, Maryland
Watercolor, 25” x 19.5”, framed.
Donated by Barbara and Scott Weaner
Dimitris Vassiliou (1920-1997) was born in Egypt to Greek parents. He studied at the Cairo College of Art and is well known for his landscapes of Egypt, as well as, Mykonos and the other Greek Islands. He was a very successful artist in Egypt and Greece especially in the mid 60´s. He worked mostly in watercolors, but did create a few works in oils (which are quite rare).