Dick Evans was born in the "Land of Enchantment,"
New Mexico. Having grown up in a rural farming community in the panhandle of
Texas, he had no exposure at all to art until he started college. Fortunately,
he was required to take drawing and design courses as he started his major,
architecture. He soon realized architecture was not right for him and that he loved art.
As he progressed through an advertising art program at Texas Tech, his
interest in the fine arts flourished, and he transferred to a rich art program
at the University of Utah, where he obtained a B.F.A. in drawing and painting
and went on to obtain an M.F.A. in ceramics and sculpture.
Dick seldom begins a painting with any particular image in mind. He often starts by simply loading a brush with a color of paint that appeals to him at that time and makes a stroke on the canvas or panel surface. As he reacts to the form of that stroke, the way it divides the canvas, the weight of the stroke, and the emotional impact, he continues as the entire painting evolves in a series of reactions to the previous collection of actions. Throughout that process, the visual and emotional elements that he has collected during his lifetime of observation, as well as the elements that are in the genetic evolution of the human species, all play a part in determining each new step.
It is not often that Dick has a particular reaction that he is hoping to elicit from a viewer. Rather, he prefers the viewer experience an increased awareness or way of seeing, perhaps it could be called visual vocabulary, through seeing his work. And, ultimately, he hopes that increase will lead to heightened emotional and intellectual richness for the viewer.
Leonard Kogan lives and works in Baltimore, MD. His exhibitions include Wall Flowers in Herzliya Museum, The After Light at the Andy Warhol Factory in New York, SUR/FACE/S at Nexus Project Gallery in New York, a show at the museum of Yanko-Dada in Israel, Project Diversity in Sputnik Gallery, Brooklyn, and others. Leonard’s art has been featured in a number of literary and art magazines
Leonard’s works are painterly encounters of animated structures, bodies, and organisms. In reemerging compositions, his works represent a fusion of the ubiquitous, trivial, marginal, dislocated, shattered, and displaced. His paintings are imbued with a conscious and subconscious, associative flashbacks, historical and social references—coloristic spectrum shifts from impressionistic and melodramatic palettes to lurid and psychedelic hues.
Christopher Owen Nelson thrives in the vast arid landscape of the American West. As a Colorado native, he studied fine arts at Rocky Mountain College of Art and Design, where he learned classical methods in drawing and painting. While developing a deep appreciation for composition and form, Nelson focused on employing alternative materials—sculpting with used carpet, found objects, and painting on glass. He continued on to pursue a career in construction, thereby gaining valuable knowledge in concrete, steel, and woodworking that would eventually lay the foundation for a new and innovative artistic approach. Electric power tools became primary instruments, with paints and textiles applied at later stages, in conceptual evolution.
Through his work, Christopher Owen Nelson explores his own personal relationship with a variety of subjects that he has developed an important bond with. He spends a majority of his time outdoors, particularly in a few areas where he likes to fish and walk his dogs. He is never in a hurry when he is out there, and his mind always wanders far away. The environment puts him in a state of meditation, which for him is normal, but now suddenly Christopher is beginning to notice life. He is awake. He is listening. Absorbing information from the water and the trees in such a way that it makes him feel connected and attached. His growing familiarity with every minute detail challenges him to appreciate these sanctuaries as relatives, rather than places he merely walks through or drives past. For instance, Christopher tries to address the spiritual and emotional impact that a particular tree has had on him by trying to understand its life and by studying its characteristics and changes throughout the seasons, all the time asking himself, “How are we all connected?” Christopher's goal is to continuously analyze this connectivity in an attempt to convey the possibilities that lie within the nurturing of a human’s relationship with his surroundings.