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April 6th, 2002 - The Inaugural Group Show
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The Inaugural Show at the Gillock Gallery, a private space in Evanston, IL, was uniquely uplifting. Chalk that fact up to the sensitive, keen eye of Consuelo Alonzo-Gillock, the proprietor/curator/artist who put this show on mere weeks after deciding to pursue her own artist-friendly gallery space. The art works could all be registered in a genre called "reflective". And that's reflective in the truest sense of the word, as so many works seemed to meet viewers half way, drawing them into the artist's created realm and ideas. There seemed to be an unspoken theme of quiet reverence in the works where irony was replaced by earnestness. Such could be said distinctly about Gail Bradford's "Where's Papa?", a gloriously simple ink piece with a subtlety and empathic touch that gives the work power. Guests were continuously drawn to the work. On the other side of the gallery hung a large work that, while dealing with issues so prevalent in the world today, was able to distinctly comment and illustrate the feeling of so many without being preachy or overly didactic. "Under God's Eyes", a large work in oil by Julius Cavira, is a portrait of Osama bin Ladin made from a photograph we all know so well. However, we are only given a small area of the terrorists face to consider - the region between his cheekbones and forehead. The work is successful on many levels but excels beyond the subject matter and ecstatic handling of paint because of the content inherent in the title. Another standout was Tim Anderson's "Saint Lucia", drawn from the legend that spawned the Scandinavian Festival of Lights. Anderson's touching and reverent piece depicts the medieval saint moments after her eyes are miraculously restored. Moving and deep, the piece is as psychologically weighty as the sealed lead upon which it's painted. "Saint Lucia" wasn't the only near-religious work of the bunch. Turkish artist Meltem Atkas delivered a tiny work whose very precious presence was haunting. The four inch square, precisely-painted, golden work depicts a languid youth upon whose hand, like Eden's apple, rests a flowing human heart. The title "Words Spoken After Silence" both mystifies and opens the work for interpretation, allowing viewers to transcend the work's obvious religiosity. Other high points included Consuelo Alonzo's "Sarah" with its vigorous brushwork and deep umber tones, and Matt Ballou's "Bemused" self portrait. The overall quality and intensity of the work in this show attests to the high level of talent in the Evanston art community. All in all, the event seemed to be framed by it's surroundings. The structure that houses the gallery is rustic and yet modern, allowing for quiet reflection; a perfect space for enjoying artwork. White walls contrast smartly with exposed timbers and charming bookshelves, and the artworks spread neatly throughout this ground floor area provide the viewer with jewels to rest ones eyes upon. While certain works enjoyed more light than others, the overall layout was appropriate. The quaint setting inspired warm feelings in those who attended, and there was good conversation had by all. Close proximity to the artworks inspired dynamic conversations regarding the art. Considering how heavily attended this first show was, the subsequent shows here ought to be high points of community art appreciation. Beside that, the reality of how well this show was put together leads this reviewer to have no doubt that the next ones will be at least as intriguing.
-Lawrence Smith |
All content copyright 2003 Consuelo Alonzo Gillock Updated: 11/21/2005 |
