October 15th was a night to remember at Agora Gallery, with our two floors filled to the brim with art lovers, artists, and collectors all here to celebrate the exhibitions Beyond Borders: an Exhibition of Fine Art from Canada, Divergent Realities, and The Verve of Abstraction. There were two introductory segments (one for each floor) in which artists spoke of their backgrounds, inspirations, and processes. Though their stories all ranged, it was clear to see in every artist their excitement, passion, and dedication to the arts. As always, it is fascinating to hear artists’ unique perspectives, and having 28 of them present in one night provided endless fodder for intriguing conversation.
“Once I’m done with a piece, I’m emotionally done with it,” said Zohar Wallach about her nature-inspired abstract works. This doesn’t mean she no longer cares about what happens to them, only that she does not overtax herself with constant edits and revisions. In fact, Zohar sees herself as taking a more back-seat role to her works: “I only lead the painting,” she says of her process, in which she allows sands and pigments to chemically react on her canvas. Her hand can only be seen in scrapes and fascinating textures, where she has removed layers to reveal what is beneath. “It surprises me every time,” she says.
In Zohar Wallach’s works, she captures moments of change, even in the smallest of details.
Shireen van Nieuwenhuyse, participating in The Verve of Abstraction, was in attendance alongside her husband and fellow artist Max Werner, who was enjoying his third exhibition with Agora Gallery as part of Divergent Realities. Shireen told us about the interesting dynamic of living with a fellow artist: though they often share (or steal) each others’ inspiration, their styles are refreshingly different. While Shireen elegantly speaks the language of abstraction, Max finds his strength in surreal figurative painting. In fact, in his work “The Blue Painting” he presents a gallery with one abstract piece on the wall, very similar and perhaps influenced by his wife’s style. “He told me I should paint the blue painting, once. I said ‘You do it!'”
Shireen often paints from photograph references. Though the paintings themselves are abstract, the photographs are all present in her works: “either in texture, color, or mood.” A common motif of hers is that specific feeling one gets when viewing a sliver of light shining between clouds, whether on a cloudy day or at 4 AM. That one-of-a-kind light offers a distinct feeling that is hard to reproduce. Yet, Shireen does so impeccably every time.
Of his work, Mike Smalley says: “Fragmentation is the word. Everything is fragmented.”
On our second floor, Mike Smalley shed light on his deceptively abstract fractal works. You might not expect it, but behind each piece is a very specific story. Literally. First he writes his stories on the linen, then he draws his scenes, and then he paints. “It’s whatever’s in my face at the time,” he said of his ever-growing inspiration. One piece will be of the natural processes of the earth – the melting of ice, the flow of a river, the erosion of rocks – that were inspired when he was living among nature. Another was painted after he’d moved to the city, with the clear influence of the buildings around him. And yet, Smalley is not limited to his “here and now” – another work of his on display hearkens back to the red barn he painted when he was six years old.
Mituyasu Yokota in front of his exquisite work, Kissho Flowers in Blue
Mituyasu Yokota fuses Kimonos up to 100 years old to glass in an effort to restore and preserve ancient Japanese culture. “You don’t often see young people wearing Kimonos in Japan,” he told me through his translator, Toshi. While Mituyasu has designed Kimonos before he was a professional architect, he primarily uses antique Kimonos that he finds throughout Japan. “You can find them, but they are often in bad shape,” he said. “They are very sensitive to humidity, and many people in ancient times didn’t bother to take the appropriate measures to preserve them.” Therefore, in his process, Mituyasu must use dyes to bring out the original colors, and he adds his own elements of gold and diamonds to the fabric. Once they are fully restored and enhanced, Mituyasu preserves the fabrics by fusing them to glass in a fascinating process with a very noble goal: to preserve a culture that is not often appreciated in today’s society.
Gallery Director Angela Di Bello and artist Ian A. Matthews – artwork by Matthews, “Meech Lake” Oil on Canvas with Backlighting 30″ x 112″
Gallery receptions are wonderful opportunities to meet artists and learn the personal stories behind their works. Though we do share reviews and statements on our website, there’s nothing like speaking one-on-one with an artist and learning these humanizing facts that make their work more three-dimensional, intimate, and relatable. If you are ever in the neighborhood on a reception Thursday, you must come to Agora Gallery to meet our endlessly fascinating family of artists.
