Project Description

Painterly Abstractions

Jan. 14 -- April 29, 2018

A new exhibition at the Hunterdon Art Museum offers an updated look at the many ways artists’ individual styles are revealed through abstract painting.

Through the exhibition, viewers can discern the similarities and unique styles of each painter, notes Ingrid Renard, who is co-curating Painterly Abstractions with Hildreth York.

Andrew Baron

Painting by Andrew Baron, Reaping the Whirlwind

Andrew Baron, Reaping the Whirlwind

Baron’s work is quiet and introspective. His palette is gentle, his brushstrokes soft. Baron notes that he paints from a position of an abiding skepticism along with a faith in being able to find something from nothing. “The images are created from suggestions of the process itself, and how I relate to the work as I am making it,” he states.

Baron says he begins painting without knowing what the finished piece will look like. “The whole process involves a fair amount of editing which involves not only the application of paint, but also the removal of paint as well through scraping and sanding,” Baron explains. “I typically work toward something that resonates with me both visually and thematically. While the thematic content might seem obscure or irrelevant to the viewer, it’s important that it be revealed to me as I am making a piece.”

You can learn more about the artist by visiting his website.

Lorraine Glessner

Lorraine Glessner, A Carnival of Lights

Lorraine Glessner, A Carnival of Lights

Glessner works primarily in encaustic, a mixture of beeswax and pigment. Her process is to layer, scrape and excavate layers to replicate nature’s destructive power and, most importantly, its regenerative abilities. “Currently, my work explores the more mysterious side of both humans and nature by utilizing landscape and earth’s anomalies as metaphor to reflect on human emotion, memory, mortality and spiritual growth through loss.” Glessner said.

Her recent paintings begin with the process of digitally layering photographs she took while hiking through several western states, particularly Utah, Wyoming and Idaho. “I’m particularly interested in the otherworldly forms and raw terrain found in the west, as well as the evidence of struggle so prevalent in its remote deserts and mountain areas,” Glessner notes.

Glessner is an assistant professor at Tyler School of Art, Temple University.

You can see more of Glessner’s art on her website.

Suzanne Kammin

Painting by Suzanne Kammin

Suzanne Kammin, Animal Farm.

Kammin’s art emphasizes the relationship of shape, color and surface treatment. “Her palette and shapes are strong, but it is more about planes and lines, and how they interconnect,” Renard said.

Kammin, an assistant professor in the Department of Visual Art and Design at Caldwell University, said the imagery in her work springs from an explorative process. “When I start working, I have no idea where a painting is headed, and I go down countless dead ends before I get to something that works for me,” she said. “The images usually present themselves as figures because of my love of figure/ground relationships.  This both grows out of my background as an observational painter, and also from my desire to create an image that has its own identity and autonomy.”

You can check out Kammin’s website here.

The exhibition runs until April 29.

Image Credits (from top): Andrew Baron, Reaping the Whirlwind, 2015, Oil on canvas, 56 x 84 inches, Courtesy of the artist; Lorraine Glessner, A Carnival of Lights, Encaustic, collage, pyrography on wood, 48 x 48 x 1, Courtesy of the artist; Suzanne Kammin, Animal Farm, 2016, Oil on panel, 20 in. x 20 in., Courtesy of the artist.