David Furman

“Stories from Reality”

March 18, 2017 - May 21, 2017

Drawing inspiration from common objects, David invites the viewer to have an individual experience with each item, bringing their own history of interaction and significance to items often viewed primarily for their utility. He includes art-making implements taken from his own studio as well as tin cans, brushes and chalkboards. These are monuments to the tools that are a part of our very existence. Created in what David calls the “realist idiom”, these works are “as American as apple pie” the objects that make up most of our daily experience.

In this collection, Furman’s work is highly realistic executed with meticulous craftsmanship. In the trompe l’oeil “The Opening Reception”, David provides commentary on the traditions of hosting a party complete with Hors d'oeuvre plate, showing the viewer the very thing they expect to see at such an event. David views these clay sculptures as “ersatz” objects acting as a record of human history. With both artistic and anthropological elements, the objects he makes can be viewed in an historical, cultural or artful context.

Allen Harrison

“Current Works”

March 18, 2017 - May 21, 2017

Harrison starts his process cutting and adhering different parts of Thangka paintings on to a wooden panel. Tibetan Thangka paintings are made on cotton or silk usually depicting a mandala, a Buddhist scene or deity. Following his visual instincts, Harrison collages the Thangka imagery keeping the rhythm of the composition by using a fine pencil to draw in contoured lines into blank spaces.

The result is a complex drawing of patterns and designs. Harrison then takes a photograph from his collection of sunsets or other natural imagery and refers to it to paint the landscape over the original drawing. The drawing does not get lost under the paint but rather dictates the stroke of the brush. The result is a painting that at first glance looks like an abstract version of a landscape from the Romantic era. The colors vibrate together and the shapes capture movement over the surface of the painting, yet when looked at very closely and carefully you see the patterns from the Thangka paintings emerge through the brushstrokes.