Doreen Cutting & Ken Payne

Painting-Collage & Sculpture

Friday, September 14, 2007-Saturday, October 13, 2007

Doreen Cutting
Kenneth Payne


September 14 – October 13, 2007

Please contact the gallery concerning availability of works from past exhibits.

Doreen Cutting - painting and collage
Kenneth Payne - sculpture

1. Ladies in their Cradles ‘06
22 x 22, acrylic collage

2. View from Seven Seas ‘07
22 x 29, acrylic

3. State of Grace
20 x 8 x 4, glass and limestone
2950.00 (sold)

4. Aphrodite
27 x 8 x 8, cast copper and glass

5. Dog Jar
24 x 14 x 12, cast iron and glass

6. Dreaming in Russian
32 x 11 x 9, cast iron

7. Lake Freighter ‘07
27 x 52, acrylic collage

8. Grain Elevators ‘07
22 x 29, acrylic
1700.00 (sold)

9. Impulse
28 x 11 x 11, glass and cast iron

10. Helix
16 x 10 x 3, glass and cast copper

11. Childs Street ‘70
22 x 22, watercolor
2600.00 (sold)

12. Wind in Buffalo Harbor ‘05
20 x 22, acrylic collage

13. Reclamation Plant ‘93
30 x 40, acrylic collage

14. Coming About ‘07
18 x 18, acrylic collage
700.00 (sold)

15. Sinking Ponds I ‘07
14 x 16, acrylic
450.00 (sold)

16. Yellow Rain Coated Visitors ‘06
24 x 24, acrylic collage
2000.00 (sold)

17. The Caldera ‘06
24 x 24, acrylic collage
2000.00 (sold)

18. Terrapin Point ‘05
15 x 11, mixed media
650.00 (sold)

19. Heart of Shadows and Light
84 x 14 x 8, cast iron, copper and glass

20. Arched Form
20 x 12 x 6, glass
2800.00 (sold)

21. Sailboats in Buffalo Harbor ‘05
22 x 22, acrylic collage
1100.00 (sold)

22. Wholley’s Ring
15 x 10 x 6, glass and cast iron

23. Peaks Island II ‘07
20 x 26, acrylic
1900.00 (sold)

Gallery Porch
When Monkeys Dream
48 x 60 x 14, mixed media

Front Window
Nickel Plated Road ‘07
30 x 40, acrylic collage

Front Lawn
In the Realm of the Spirit
108 x 39 x 28, aluminum, cast iron and copper

Doreen Cutting

Viewing the grain elevators from the long-forgotten Vandalia Street remind me that this view of Buffalo together with the area just across the Ohio Street Bridge and the Harbor are my favorite living canvases… especially on a sunny day when strong cool shadows force the whiteness of the cylinders into high relief. In the “hardhat” zone, on Childs Street, the immediacy of these elevators exhausts my visual-tactile sensations. The scene bombards with rich textures, strong kinetic darks and brilliant blue sky patterns punctuated with the tension of crisscross wires and the constantly moving birds. The shapes of the elevators appear as enormous stoneware with flashes of solids and openness and the ever glimmering water reflect this “movie surround”… this living canvas”.

Now, I begin to translate… through a sharp rectangle of space I see the Oklahoma forcing the river water to foam trailing liquid images. I cannot capture its grace; I take quick reference photos for use later in my studio. Still focusing on what I am experiencing, I work directly on dry paper encouraging the color into pools of wetness, delineating with Japanese reed pen loaded with black ink, letting the occasional flooding complete the work. I use color with restraint preferring low-key palette for much of the composition – limited to blues, sienna, Van Dyke brown and always yellow ochre. I paint with a flat Windsor Newton lettering brush and whatever else is within reach. The moment of truth is now… I paint with reckless confidence – stepping aside and letting the painting come through – letting “whatever come that may” and hoping the painting will be a success.

• All painting dimensions are in inches: height precedes width.
• All framed works include conservation glass, backing and matting.
• Additional works by the artist are available through Meibohm Fine Arts.

Kenneth Payne

As a sculptor I have always believed that form can speak for itself. That is to say that a sculpture has the power to present its own narrative through its abstract qualities of mass, gesture, texture, etc. We “read” these qualities in the sculpture the way we read others body language. That is, on a subconscious level, an emotional level as well as an intellectual or conscience one.

I use the primary materials of our being, iron and stone, as well as materials with rich contextual histories, bronze, copper, brick, glass, to manufacture forms with a human gesture of an architectural reference. I use the inherent connections of these things to create metaphors of the emotional potency, in the form of sculpture.

For this exhibition I have selected, small and moderate sized works with an intimate relationship to the viewer. I have constructed these pieces with rich intricacies of form and material as a poem is constructed with layered meanings and levels of discovery. I hope the viewer will take some time to study these intricacies and find pleasure in these discoveries.

• All sculpture dimensions are in inches: height x width x depth.
• Dimensions do not include pedestals.
• Pedestals are not included in the sculpture price and can be purchased separately.
• Many works are well suited for exterior instillation.
• Additional works by the artist are available through Meibohm Fine Arts.