The Foyer Gallery Show - Hardy Collection

Email Address The Foyer Gallery Show Works span the time from 1958 to 2015. Vero Beach, FL , Corner of 16th & 27th Exhibit January 4st to Feb 28 Meet the Artist - Jan. 21 5-7 PM Foyer Gallery is open Mon-Friday from 9AM to 4PM Sunday from 10AM to Noon Poster Works of art in the show. 001 1958 Stag Oil, on canvas, 18"x 24" Painted in Old Greenwich, Ct at age 14. This was a depiction from his imagination. An idea about nature organized the painting. The Stag was startled by the snake and the owl is coming to catch and eat the snake. 002 1958 Bouzouki Oil, on canvas, 30"x 40" A typical musical instrument found in Greece where the artist lived as a young boy. Painted in Old Greenwich, Ct. The "Still Life" is a classic (study) method adopted by serious artists and students alike. This early work with Bouzouki survived because it was an oil painting rather than one of the many works on paper of that period. This is a good example of my continuing interest in unification of the representational, the abstract, and the non-objective. In my mind the parallel nature, mind, and metaphysics. 003 1959 Sailor, watercolor, 12"x 18" The harmony of wind and waves translated into brush strokes. In sailing everything is in total harmony to work right. 006 1968 Theater, oil, 22"x 24" A myriad organization of symbols and personal references summarizes a reflection in the artists metaphorical mirror. In the lower left hand corner are drawings which referred to the artists basement studio. Next to that the red and green brilliant colors with vanishing points symbolize a joyful dynamic exterior waiting to be discovered. Above in the purple area faces had been previously painted and then painted out with just the shape of the head remaining. Over to the right an umbrella covers heads and faces below. Some of them peering out, some of them talking to each other, and some of them having the spokes of film reals, and all of this going on within the metaphorical mirror. The mirror indicated by the brown aging along the top and down the right-hand side of the painting. 007 1969 Flower symmetry, oil, 30"x 40" This painting was a further intuition of the proto-space where dimensional axis-mundi referred to super symmetry. A crossing over of interdimenational worlds. The idea of interlocked particles which behave in unison in different places, Einstein described as spooky action at a distance. this is a theme of multidimensional occurrence using the flower as the symbolic particle occurring in this interlocked fashion. 009 1969 The Milk Glass, oil, 22"x 24" The relationship between eye and mind is clearly demonstrated by exercises in optical perception. A simple exercise is in shifting awareness from habitual centers of focus to peripheral awareness. In the painting "The Milk Glass" the center of focus was the milk glass. The field of view becomes increasingly abstracted as we move away from the focal center. I was painting what I saw. The exercise was to stare at the milk glass but "see" what the visual field looks like without moving the fixed point of focus. The point of this exercise is to understand how the mind is constantly refocusing and editing an experience of seeing which is a dynamic summation of perception. 011 1970 Tolstoy, acrylic, 28"x 30" Tolstoy was a painting which pushed a super saturated field to the point of trans fluent flux. Like a jazz musician who has mastered all possibleness by enabling a composition which can go anywhere, Tolstoy allows the viewer to move into any space. I was making a world where media and form are seamlessly balanced. In a conversation with my cousin about this painting, I remarked that few "got" my discovery of a super-saturated space-particle environment, where all form could exist simultaneously. She laughed and said, "Yea, well it is not like a novelette which most people are used to reading. It's more like Tolstoy's War And Peace. 015 1991 Right Bank, Mixed New Media, 9"x 12" Sentimental painting, outside the restaurant where he first showed his work in NYC. 016 1970 Field 3, oil, 7"x 13.5" Another field painting going in the direction of a landscape. On Loan. 023 1970 After Impressionist 78, drawing, 7"x 5" 027 1972 La Coste 2, oil, 21"x 25.5 La Coste is a small town in the south of France. I was living at the Silvermine extention school, buildings provide by Benard Phriem, Also located in that town was the Château de Lacoste Marquis de Sade. Visually the light, morning mist, and sense of timelessness created an atmosphere of introspection and nuanced color. My concerns in art orbit field forms, abstract, and representational portraits. Formative flux is a field form state moving into the abstract pregnant with formation. As if charged gas clouds and particle groups were poised to give up their independence to snap to gravity and vector equilibrium. 033 1975 Civilization x, oil, 11.5"x 14" Painted while at Oxford,part of an extensive series of paintings and lithographs around national dysfunction resulting from the Viet Nam war. 035 1976 Grand Canyon 3, acrylic, 30"x 30" an early scroll paintings while visiting the Grand Canyon in Arizona. 038 1977 Cups 2, oil, 13.5"x 17" On Loan Cups is another step along the path of field forms, pattern, marks, and the image in objective space. In this work which again is part of a series, the reference to object is near representational description. The placing of image as a unit in the repetition makes the inference that an image can work as a mark does when used as pattern describing a field form. The definition of what is an abstract elliment supporting an objective world is turned around. The image is now a supporting unit describing the abstract configuration. The point is that focus and frame of reference changes the role of elements and our definitions of what is objective and what is abstract. 039 1970 Self Portrait, oil, 26"x 22" Idea of time and dimensions and simultaneously occurring variations. 043 1981 Sandpiper, acrylic, 5"x 7" from a series of about 25 birds. 045 1982 Sailboat, mixed media, 8"x 9.5" mostly about color. 048 1970 Abstract, oil, 20"x 24" Characters at a masked ball, a simplification of forms into a motif of patterns. 059 1970 After Impressionist , drawing, 7"x 5" 060 1970 After Impressionist 80, drawing, 6.5"x 4.5" 061 1993 Plaza, print, 7.5"x 9" 062 1993 Plaza 2, print, 10.5"x 14" 064 1994 Red Bottle, print, 9"x 7" 070 2011 Provincetown Harbor, oil, 8.5"x 11" part of an extensive series. 071 2011 Donna Marie, 34"x 44", Mixed Media, 074 1972 , Woman In The Stars #3, 22"x 27", oil on linen, Painted in southern France and influenced by light and surroundings. 075 1973, Saint Sebastian , acrylic on canvas Saint Sebastian was a Roman centurion who became a Christian and elected not to serve the Roman war machine. He was condemned to be shot with arrows. In this painting we see Saint Sebastian in the center. The Roman soldier holding him has a face which is similar to aboriginal shamanic paintings and represents the primal core. This is an amoral beast. The second centurion has the face of civilization. In the lower right a woman with a halo and third-eye dot symbolizing divine sight holds a candle. She represents feminine energy and sympathetic intellect. Shapes of lances and swords against a yellow sky symbolize battle. This was one of five paintings about Saint Sebastian and part of an anti-war collection called “Father Courage”. These were in response to the Viet Nam war. 076 1969, Messenger , 14"x 16", oil on canvas 077 1969 , 8"x 10" Corinth 078 1969 , 8"x 10" 080 Dorian Gray 081 2015 Chakra 11, 31"x 42", Acrylic on Canvas