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Vivid Relics: Shawn McNulty and Michael Sweere

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Opening Reception: June 3 rd , 7-10pm
Exhibition Dates: June 3 rd -25 th 2017

Rosalux Gallery presents “Vivid Relics” – a new exhibition featuring the dynamic
paintings of Shawn McNulty and folk-inspired works by Michael Sweere. Each artist
creates work that commands the attention of the viewer, and both McNulty and Sweere
are featured in the U.S. Bank Stadium art collection.

Artery McNulty

Shawn McNulty’s signature abstractions have evolved over the past 20 years into a
more organic territory with some subtle ties back to his geometric pieces with rigid
edges. He utilizes a “shoe palette knife,” which allows him to work the canvas on the
floor with his feet, along with random tools like a Swiffer and pieces of plastic. The
result of this process is refreshing and innovative forms comprised of thick acrylic and
pumice, along with his masterful grasp of color theory. McNulty is essentially an action
painter, but there’s a heavy dose of energized color fields throughout his work, which
lend itself to a “calmness over chaos” vibe. His work can be found in private and
corporate collections all over the world including that of General Mills and President Bill
Clinton.

 

Musky Sweere

With the recent installation of his mural at the new Webber Park Library in Minneapolis,
Michael Sweere shifts gears and brings something completely different to Rosalux
Gallery in June. Mr. Sweere’s affinity of American folk art is evident in his newest
installation. A detour from his familiar mosaic work, the exhibition features a wide
range of polychromed (painted) woodcarvings. His characters – inspired
by imagination, native tales and urban folklore invite viewers of all ages to experience
the wonder of “Folk-O- Rama.”

Banner Images:

Tombstone, Shawn McNulty 40×80” (diptych) acrylic and pumice on canvas

Animal Woodcarvings, Michael Sweere – various sizes

Press Release Images:

Artery, Shawn McNulty, 40″ x 40″ acrylic and pumice on canvas

Muskie, Michael Sweere, Tin-wrapped woodcarving

 




 

Time/Keep : David Malcolm Scott and Rebecca Krinke

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David Malcolm Scott, Lake Superior Vista                         Rebecca Krinke, The Keep (detail)

Time/Keep : David Malcolm Scott and Rebecca Krinke

Exhibition: April 1 – 30, 2017
Opening Reception: Saturday, April 8, 7-10pm

Rosalux Gallery is pleased to announce Time/Keep, an exhibition of new work by David Malcolm Scott and Rebecca Krinke featuring a large-scale sculptural work by Rebecca and a suite of paintings and drawings by David. The exhibition brings together the artists’ shared interest in time and memory, with a particular interest in what can be remembered or recorded and what can only be sensed or imagined.

David Malcolm Scott presents a new series of works exploring time and place – featuring a 30’ long watercolor scroll that literally starts with the formation of galaxies and moves forward through terrestrial epochs. David then uses this piece with its timeline format to add small scroll paintings above and below to reveal memories and dreams of one person’s life, in this case, the artist himself.

Time and place are highlighted in different ways in David’s two other series on view: in Weekly Commute, vivid slices of the sky are seen framed by dramatic building silhouettes, and in the stylized landscapes, the deep time of geological formations are juxtaposed with the more fleeting forms of forests, grasses, cities, and skies.

Rebecca Krinke presents a large installation, The Keep, which creates a domestic, psychological space of wonder and terror. The Keep continues her series of bed sculptures, although here a charred 4-poster bed hangs from the ceiling, upside down, bound by black-feathered walls – becoming a more abstract container/portal of space. Stacks of her dozens of black bound notebooks are visible but inaccessible on the burned wood floor below.

“Keep” as a noun originated in the Middle Ages, and was a place used as a refuge of last resort should the castle fall to an adversary. Rebecca’s installation evokes questions about what we keep, where we keep, and the costs of keeping: memories, secrets, notebooks, relationships, possessions, houses…This work and her larger practice is both highly personal and collective – in its explorations of private, public, and liminal space.

 

For more info about the artists:

http://rebeccakrinke.com/
http://www.davidmalcolmscott.com/

Rosalux Gallery
1400 Van Buren Street NE, #195
Minneapolis, MN 55413




 

“Last Refuge” New Work by Eleanor McGough and a group show introducing three new Rosalux artists: Betsy Alwin, John Gaunt, Jim Hittinger

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March Rosalux Exhibit, Laura Stack and Valerie Jenkins “Sticky Ridges”

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Opening Reception: Saturday, March 7th, 7-10pm

Exhibit Dates: March 7- 29, 2015
Rosalux Gallery Hours: Sat & Sun 12-4

“Sticky Ridges and other perils of silent senses” features the paintings of Laura Stack and paintings/drawings of Val Jenkins in a two-person exhibition at Rosalux Gallery. Both artists share an interest in exploring spatial perception through the simultaneity of flatness and depth, and the illusion of movement that can be suggested within still images. Laura Stack creates a fluid spatial world into which the viewer projects themselves into another world, a bodily or cellular world – a world with its own rules and physics. Val Jenkins’ makes work that she describes as projecting into the space of the viewer, so there is a moment of recognition between materiality and illusion.

Laura Stack’s detailed ink paintings are an amalgam of the natural and the synthetic. Borrowing from both natural and man-made structures, her painted and poured ink images morph into odd, though vaguely familiar forms that bloom, dissolve, and then disperse. Dried pools of ink suggest the flux and flow of indeterminate forms. http://rosaluxgallery.com/my_portfolio/laura-stack/#.VPd2pXzF8-o  and http://laurastackart.com/

Valerie Jenkins’ oil paintings and graphite drawings are both pictures of space and they inhabit space as objects. Phenomena gleaned from the material and virtual world create an internal structure that is both subterranean and architectural. Viewed all together, the work functions as a trace of everyday experience; where such concerns as distance and proximity, ambiguity and contradiction, matter and its negation, invite speculation about illusion and reality. http://www.valeriejenkinsart.com/

Shapeshifter 21 by Laura Stack, ink on paper, 12″ x 9″

 

Shapeshifter 20 by Laura Stack

Shapeshifter 20 by Laura Stack, ink and gouache on paper, 16″ x 20″