August 5 - October 30, 2022
ABOUT THE SHOW
Recent works by Gillian Theobald
Opening: Friday, August 5, 2022 from 5pm-7pm
Foundry Vineyards is pleased to show Chromatic Incidents, an exhibition of paintings and bas-relief collages by Gillian Theobald. The opening reception takes place Friday, August 5 from 5 pm-7 pm and will be on display through the end of October 2022.
Gillian’s work walks the line between abstraction and figurative. The paintings are recognizable spaces of flora yet the titles of this series is fictive spaces expressing that these are imagined places. The paintings and collages share a vibrant and often saturated color palette.
The bas-relief collages are made from trash (found or bought objects). These items have been manipulated and painted, they have familiar textures and stand off from the wall into space.
A special thanks to Studio E Gallery in Seattle for making this exhibition possible.
ABOUT THE ARTIST
Theobald was a finalist for the 2017 Neddy award, and was included in the west coast edition of New American Paintings, 2016. She has shown widely in the Northwest, throughout the United States, and in Europe for many years. Her work has been featured in exhibitions at the Los Angeles County Museum of Art; the Rose Museum, Brandeis University; Gallery Akmak, Berlin; Rocket Gallery, London; Blum Helman Gallery, NY; Emmanuel Gallery, University of Colorado at Denver; the Fitchburg Museum, MA.
Gillian Theobold lives and works in Seattle, WA.
Words from the Artist:
I like doing more than one body of work at a time, in different media. When I move back and forth between
painting and collage, it’s clear how the two practices feed each other.
The grammar of my paintings is abstract but uses the imagery of nature—thus the title of the series, Fictive
Space. I’m interested in building this meditative, slow space using juxtaposition and dichotomy, with families
of color playing off each other to create a kind of poem.
The grammar of the collages is also abstract, using found paper and paint to fabricate a space. I started
making collages in 1979 to teach myself more about structure. I had a huge studio I could fill up with found
materials, so I made over three hundred.
I especially like paper that has been eroded—a record of time. In 2015, I came upon some good material in
weathered posters on construction fencing in New York, and brought the material home in my suitcase. That
kick-started resumption of my collage practice. (newamericanpaintings.com)