SF32. in the Sutter Street Gallery
ALMA CHANEY
new paintings
October 11 - November 9
reception Friday, October 11, 5:30 - 7:30 pm
We are pleased to be showing in the Sutter Street space new paintings by Seattle-based artist Alma Chaney, her third solo with the gallery. An MFA graduate from the San Francisco Art Institute with a post-baccalaureate in painting from the School of Contemporary Art in Pont-Aven, France and a BFA in Illustration from the Rhode Island School of Design, Chaney also received a certificate in Scientific Illustration from the University of Washington. She brings something of this disciplined training to a milieu not often associated with precision, combining Old Master-style, crosshatched drawing in silverpoint and goldpoint with a turgid, gestural paint handling. The result stretches between a spatial depth reminiscent of Gustave Doré's illustrations to Milton and the kind of objective surface of a Robert Ryman. In these latest works, Chaney moves from her characteristic white to tertiary greens and oranges, bringing tonal color into play with her lacework drawing and calling up another historical reference to J.M.W. Turner. Her work remains responsive to the present, however, to the degree that she exploits the dichotomy of painting's dual reality: illusion and fact.
SF32. in the Sutter Street Gallery
ALMA CHANEY
new paintings
October 11 - November 9
reception Friday, October 11, 5:30 - 7:30 pm
We are pleased to be showing in the Sutter Street space new paintings by Seattle-based artist Alma Chaney, her third solo with the gallery. An MFA graduate from the San Francisco Art Institute with a post-baccalaureate in painting from the School of Contemporary Art in Pont-Aven, France and a BFA in Illustration from the Rhode Island School of Design, Chaney also received a certificate in Scientific Illustration from the University of Washington. She brings something of this disciplined training to a milieu not often associated with precision, combining Old Master-style, crosshatched drawing in silverpoint and goldpoint with a turgid, gestural paint handling. The result stretches between a spatial depth reminiscent of Gustave Doré's illustrations to Milton and the kind of objective surface of a Robert Ryman. In these latest works, Chaney moves from her characteristic white to tertiary greens and oranges, bringing tonal color into play with her lacework drawing and calling up another historical reference to J.M.W. Turner. Her work remains responsive to the present, however, to the degree that she exploits the dichotomy of painting's dual reality: illusion and fact.
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