Anthony Vega – #aTourist, October 17 – November 29, 2014

Posted on: Wednesday, October 15th, 2014

Anthony Vega, #aTourist


October 17 – November 29, 2014
Artist Reception, October 18, 5 – 7 pm
First Friday, November 7, 6 – 8:30

LGTripp Gallery is pleased to present #aTourist, a solo exhibition of recent works by gallery artist Anthony Vega. He is from Philadelphia and this is his second solo exhibition with the gallery.

Anthony Vega’s latest body of work critically explores the concepts of tourism and place, while offering an unabashed homage to the joy of travel. Asking what it means to fully experience place, Vega intermixes the caught immediacy of his own travel snapshots with cacophonous overlays of familiar symbols that evoke the virtual ideals of the named locations. Inhabiting the role of tourist, Vega strives to reconcile the actual with the preconceived. This confrontation is the “simultaneous experience of panic and excitement in the unknown.” Vega’s concept is furthered through a series of collaborative works in which paintings of familiar tourist tropes are themselves photographed while traveling. Their presence points to the fact that the very ideas of travel and tourism are always situated within the actuality of a particular place. Indeed, Vega invites visitors to participate with his explorations of travel by themselves becoming tourists in the gallery. Not just a title, #aTourist is the digital forum for viewers to document and post their own snapshots, discoveries, and interactions with the exhibit online. A souvenir shop is included for the visitor’s shopping pleasure.

Using the panorama as their stricture, Vega’s sweeping, layered paintings pulse with energy and color. Blending media, he intermixes acrylic paints with stretched and cut pieces of fabrics. Bold flowers and stripes evoke both the known comfort of home and the expectancy of a suitcase packed with vibrant clothing. Swaths of brushwork—sparser than in his earlier work, but no less electric in hue— hint at and describe the particulars of place. Seemingly patchwork fragments suddenly reveal a structure or a word—figures that once discovered can no longer go unseen. The effect is both foreign and familiar. When confronted with Vega’s paintings, the viewer has expectations of place brought forth, dislocated, and reassembled.

Anthony Vega grew up in rural New Jersey. He studied philosophy and fine art at Saint Joseph’s University and earned an MFA from the University of Delaware. From there he went on to direct the UD@Crane, the University of Delaware’s Philadelphia gallery located at the Crane Arts building, and gain experience as a curator. His artistic practice is complemented by his work as an educator. He currently teaches studio, digital media, contemporary art theory, and media studies courses at the University of Delaware and Penn State Brandywine. Anthony Vega’s work is in private collections around the country. He exhibits his work regionally and nationally in galleries and museums.

Donna Usher — Contemplation, Miriam Singer — Endless Day, September 5 – October 11, 2014

Posted on: Friday, August 29th, 2014

Donna Usher

Donna Usher


Miriam Singer

Miriam Singer

Endless Day

DONNA USHER — Contemplation

September 5 – October 11, 2014
Artist Reception, September 6, 5 – 7 pm
First Fridays, September 5 & October 3, 6 – 8:30

LGTripp Gallery is pleased to announce the exhibition of recent works by Donna Usher and Miriam Singer, each in their second solo shows with the gallery and third with the gallerist.

Complex expressions require basic vocabularies. Composers need libraries of notation to craft symphonies; artists need foundational visual vocabularies to create insight. Usher and Singer both use abstraction as a means of communication and exploration, but they choose different foundational marks. Usher uses the circle and spiral to delve into the connections of the natural world, while Singer uses the square as her basic measurement for the built environment. Hanging in proximity, Usher’s paintings and Singer’s drawings provide a dynamic and balanced perspective on the natural and constructed environments.

The large acrylic panels that make up Donna Usher’s Contemplation series beckon the viewer to be still and immersed in fluid washes of brilliant colors and swirling clouds of orbs. Inspired by the fundamental shapes that order the universe, connecting it across levels of scale, Usher utilizes spirals that evoke both nebulae and nautili, circles that elicit atoms or planetary bodies, and luscious amorphous color fields that recall both water and sky. Usher’s use of nontraditional tools, such as palms, arm swipes, sponges, metal stylists, alcohol, and other substances, to apply the paint builds a texturally rich surface. Layered and overlapped, the forms create paintings which stretch deep into a space simultaneously macro and micro.

Donna Usher received her BFA in painting and a BS in art education from Moore College of Art and Design and an MFA with honors from the University of Delaware. An associate professor at West Chester University, Usher has exhibited her work throughout the United States, including at the Philadelphia International Airport, as well as in Italy, Egypt, Mexico, Croatia, and China. In addition to receiving numerous exhibition awards, her work is in the permanent collections of The Museum of Cozumel in Cozumel, Mexico, The National Centre of Fine Arts in Cairo, Egypt, The Reading Art Museum in Reading, PA. and a number of corporations and universities.

In the drawings that comprise her Endless Day series, Miriam Singer uses dense stacks of shape, color and pattern to construct highly playful, cacophonous depictions of a city that is both familiar and imaginary. Her process is intrinsically linked to her own explorations of Philadelphia. A walk through the city becomes itself a sketching exercise—her sensory observations of the environment are mentally filed and then reinterpreted and translated on paper later. Drawings she creates on site, sometimes over multiple days in multiple locations, become the collaged base which can either be added to or erased. Says Singer, “I think about a finished and unfinished moment in time together on the same field…The city metaphorically building and disappearing at once, as a metaphor to time changing and being in flux.”

Miriam Singer earned a BA from Brandeis University and an MFA from the Massachusetts College of Art in Boston. She has participated in juried and invitational group exhibitions in Philadelphia and Pittsburgh and has had solo exhibitions at the Philadelphia International Airport, the Painted Bride Art Center, LGTripp Gallery, and Gallery Siano. The lead artist on two projects for the Philadelphia Mural Arts Program, her large mosaic collaboration with artist Emilie Ledieu, “Under the Clothespin”, can be found in the underground entrance to the Centre Square building; her mural, “Take Me to the River,” in Fishtown.

RSVP 2014, an Invitational, July — August 16

Posted on: Monday, July 7th, 2014

July 11 – August 16, 2014
Artist Reception, July 12, 5 – 7 pm
First Friday, August 1, 6 – 8:30

Each summer LGTripp gallery is pleased to mount its summer invitational, RSVP. The selected artists share technical maturity and a commitment to abstraction. Working in diverse media with individualized processes and styles, and coming from different levels of exhibition experience, art education and artistic career, their pursuits take many forms. Their works hang throughout the gallery in a focused but lively conversation.

Upon first stepping into the gallery, you will notice Raphael Fenton-Spaid’s explosive and mesmerizing wall installation, which extends into space like the pages of a giant pop-up book. Nearby, Laura Sallade’s sheets of cut mylar drape over a glass table surface inspiring quieter reflections on presence and absence. The organic screen of the mylar draws your eye to Lori Evensen’s cellular masking tape sculpture and photos. A sense of vibration focuses your attention on William DiBello’s large acrylic grids, which pulsate and flicker like electronic screens. Karen Freedman’s kaleidoscopic encaustics, which also deal with repetition and illusion, are simultaneously freewheeling and ordered. Lynn Denton and William Phelps Montgomery share a fascination with mark and color. Her paintings are more gestural than his digital prints but both produce works whose parts continually coalesce and dissolve. Their ebb and flow contrast sharply with John Singletary’s iconic, rune-like photographs, which entice you with their boldness and rich textures. Two more photographers, Andrew Tomasulo and Stuart Lehrman, alert you to the often overlooked intricacies of ordinary objects. Under Tomasulo’s careful eye, cracked glass creates soaring, organic compositions. Lehrman’s pavement has more gravitas, but no less movement. Two painters and a printmaker complete the group. Albert Fung’s oil paintings crackle with texture while Tim Ruffin’s are quieter and more fluid with piercing spots of light, both employing deep color palettes to create moody works. Ken Schiano’s densely built up layers of lines are no less moody, both frantic and deep—he’s the introverted philosopher hiding in the corner you wish you’d discovered earlier.

RSVP 2014 showcases thirteen artists from Philadelphia and the surrounding regions. Twelve are exhibiting at LGTripp for the first time. On exhibit are paintings by Lynn Denton, William DiBello, Karen Freedman, Albert Fung, and Tim Ruffin; installations by Raphael Fenton-Spaid (solo 2011) and Laura Sallade; sculpture by Lori Evensen; prints by William Phelps Montgomery and Kenneth Schiano; photographs by Lori Evensen, Stuart Lehrman, John Singletary, and Andrew Tomasulo.

Jon Manteau — Philadelphia Historical Artifacts, May 2 – June 21, 2014

Posted on: Friday, May 2nd, 2014

Jon Manteau

Jon Manteau

Philadelphia Historical Artifacts

May 2 – June 21, 2014
Artist Reception, May 3, 5 – 7 pm
First Friday, May 2, 6 – 8:30
First Friday, June 6, 6-8:30 pm

LGTripp Gallery is pleased to present Philadelphia Historical Artifacts, a solo exhibition of recent work by Philadelphia-based artist, Jon Manteau. Represented by the gallery, this is his fourth solo exhibition.

An early history tagging the streets of Philadelphia launched Jon Manteau into a lifelong fascination with mark making both in his artistic process and conceptualization. “Why do we find it necessary to mark time, an event, a place or our presence?” he asks. His newest body of work both lovingly and passionately wrestles with that question in an elaborate showing at LGTripp gallery that blurs the lines between painting, sculpture, and installation. With overt allusions to, and in some cases appropriations of, Philadelphia’s history as “the birthplace of a nation” and its conventional culture, Manteau questions to what extent do they exert a tyranny over the exploration of progressive ideas and to what extent does living in such a symbolically rich milieu foster creativity?

Although trained as a painter, in his newest work sculpture and painting cannot be disentangled. Large carpets extend off the walls and form waves on the gallery floor. Nearby African sculptures stand at ceremonial attention, while across the room, Barnes-like installations alter the physical space of the gallery. However, throughout is Manteau’s characteristic approach to mark making. Whether on two or three-dimensional surfaces, his marks are lush and lively gestural explorations of color and space. As a high school graffiti artist, Manteau repeatedly sought to leave his mark on the existing architectural forms of Philadelphia. As a mature artist, that sensibility remains while his canvas has expanded. In this exhibition, he re-appropriates not only spaces but also objects, symbols and iconic Philadelphia images, presenting his own works as their worthy equals. Manteau stakes an ownership claim to Philadelphia itself. He states, “Nearly anything that I process as a native son has the “potential” to be a “Philadelphia Historical Artifact”. He asserts himself as a bona fide Philadelphia artist, at once bound by and transcending the cultural structures of the locale.

A native son of Philadelphia, Jon Manteau graduated from Central High School. He studied at Parsons under Sean Scully and went on to receive a certificate from the Pennsylvania Academy of Fine Arts, where he was awarded the William Emlen Cresson Memorial Traveling Scholarship. He later earned an MFA from the University of Delaware. An art teacher for over twenty years, Manteau has taught at the University of Delaware, Tyler School of Art, and is currently building the art department at Penn State Brandywine. His works have been exhibited nationally and are in collections throughout the United States and Canada.

Stephen Blackburn, J. Gordon, March 21 – April 26, 2014

Posted on: Friday, March 21st, 2014

Stephen Blackburn

Stephen Blackburn

Recent Work

J. Gordon

J. Gordon

Recent Work


March 21 – April 26, 2014
Artist Reception, March 22, 5 – 7 pm
First Friday, April 4, 6 – 8:30

LGTripp Gallery is pleased to present recent works by Stephen Blackburn and J. Gordon. The exhibit juxtaposes the sculptures of Stephen Blackburn with the paintings of J. Gordon. The works of both artists employ richly textured surfaces, found objects, and intricate geometries. For Gordon, texture and geometry are used to destabilize the very act of viewing, demonstrating the endless possibilities present within a single subject. Blackburn’s work moves from the opposite direction, each sculpture giving unified form to the visceral, ever-shifting interior of the sculptor’s mind. Blackburn has been represented by the gallerist since 2005. This is Blackburn’s third solo exhibition and Gordon’s first with LGTG.

Stephen Blackburn’s knowledge and experience of working with metal is the result of a career in the industrial mechanical field. A synoptic grasp of the medium imbues confidence and freedom to his sculptures. “Many of my sculptures are created and built in my mind, often without ever putting pen to paper.” Densely layered pieces of steel and unexpected found objects merge into imposing structures that are simultaneously creaturely and celestial. Blackburn’s characteristic interest in form is evident, but his current series displays an increasing attention to texture, lending his work a deep sense of enigma and wonder.

A native of the Philadelphia suburbs, Stephen Blackburn attended The Pennsylvania Academy of Fine Arts, graduating from the certificate program in 2001 with a major in sculpture. He was awarded the Fellowship Trust Prize, becoming the first recipient of the Women’s Board Prize at PAFA. Blackburn’s work is in private collections. His sculptures have been exhibited at LGTripp Gallery, Chester County Art Association, Penn State Great Valley, Immaculata University, and Gallery Siano.

J. Gordon’s paintings seek to capture the experience of mulitstable phenomena, exploring the line between dimension and disintegration. Out of a muted color palette, structures cohere and collapse in a dreamlike aura of believability. Strongly influenced by landscapes and quantum mechanics, his texturally mesmerizing paintings invite the viewer into a world of shifting forms, which rhythmically sway from imposing to implausible. Gordon invites the viewer to consider the limits of perception. “Matter, as we understand it on a quantum level, resembles the structures we dream of. Not so much a solid form as a smear of possibilities whose sum contain the idea of the subject in all its possible states.”

Gordon holds an MFA in painting from the Pennsylvania Academy of Fine Arts, 2011, and a BFA from the University of Kansas, 2003. He is a recent recipient of an Emerging Artist Fellowship from the Delaware Division of the Arts and has exhibited his work across the country in Philadelphia, Wilmington, Seattle, Dallas, and Lawrence, KS and internationally in the UK. Gordon is currently based in Wilmington.

Juri Kim – The Harmony of Chaos, Spencer & Imler – Assembled Painting on Paper, January 24 – March 15

Posted on: Wednesday, January 22nd, 2014

Juri Kim

Juri Kim

The Harmony of Chaos

Spencer and Imler

Spencer & Imler

Assembled Painting on Paper

JURI KIM – The Harmony of Chaos
SPENCER and IMLER – Assembled Painting on Paper

January 24 – March 1, 2014
Artists Reception, Saturday, January 25, 5 – 7 pm
First Friday, February 7, 6 – 8:30 pm

LGTripp Gallery is pleased to announce the exhibition of recent works by Juri Kim and collaborative artists Spencer and Imler, in their first solo shows at the gallery. Kim was included in the summer invitational RSVP I in 2010. This is Allen Spencer and Deborah Imler’s first exhibition at LGTG.

In this globalized world, artists draw inspirations from a variety of resources. There is a strong diversity of thought and technique that exist in contemporary art. However, although there are fresh expressions and ideas, many artists like Kim, Spencer and Imler infuse this newness with the richness of history, adding their distinct voice to those of the past while maintaining their presence in the now.

Juri Kim’s The Harmony of Chaos reflects the artist’s interest in the visual world, particularly the night sky. In her words, “I realize that there is a correlation of forces, attraction or repulsion: every star, every planet is in its place, because it could not be otherwise. When I come to this realization, I cannot but admire, in that fixed order, a superior harmony.” Driven by the need to evoke this harmony, Kim creates beautiful compositions of color. Although Georges Seurat’s Pointillism is an evident inspiration, Kim treats her vibrant dots of paint as unique entities. Her marks flow organically and intuitively in a meditative process that the artist likens to a Zen exercise.

Originally from Seoul, Korea, Juri Kim received her BFA and MFA from Ewha Women’s University of Seoul. She later went on to receive a MA and Advanced Professional Study at New York University. Kim has exhibited her work across the United States and Korea as well as internationally. She completed the Artist in Marketplace Program at the Bronx Museum of Arts. In addition, she has participated in a number of residencies including the Virginia Center for the Creative Arts, Henry Street Settlement Artists-in-Residence Work-Space Program, the Edward F. Albee Foundation, the A.I.R. Gallery Fellowship and the Millay Colony for the Arts among others. In 2003 Kim was reviewed in “Art in America,” and her work is included in the Henry Buhl Collection.

The pieces included in Assembled Painting on Paper draw from Spencer and Imler’s palette of inspiration, which ranges from age-old woodworking traditions to the architectural details of the city of Philadelphia. The dexter side is an abstracted nod to the medieval custom of heraldry as well as inlayed wood veneered marquetry. Strong lines and blocks of chroma dominate the picture plane. Methodically assembled painted paper alludes to architectural drawings of construction projects in the site plan series. Geometric assemblages, in both series, point to something beyond mere appreciation for craft; they are a lexicon of color capturing a rich dialogue between shades and hues of color.

Artists Allen Spencer and Deborah Imler have collaborated since 2005. They have exhibited locally in the Greater Philadelphia Area at such galleries as Bridgette Mayer Gallery and James Oliver Gallery. Spencer and Imler have also been included in group shows in Harrisburg, New Jersey and California. The duo are recipients of the Adam Spandorfer Memorial Award, Albert Schultz Memorial Award, Purchase Award from the Jersey City Museum and the Yvonne M. Kelly Memorial Prize for Mixed Media at the Woodmere Museum’s 65th Public Library Juried Exhibition. Their artwork has been collected by the Newark and the Jersey City Museum as well as by a number of private and corporate collections.

FOCUS 2013, Annual Abstract Photography Exhibition, December 6, 2013 – January 18, 2014

Posted on: Monday, December 2nd, 2013


December 6, 2013 – January 18, 2014
Artist Reception, Saturday, December 14, 5 – 7 pm
First Fridays, December 6 and January 3, 6 – 8:30 pm

LGTripp Gallery is pleased to announce Focus 2013, an exhibition of seven artists utilizing the camera as a medium for abstraction and exploration.

“I have often thought that if photography were difficult in the true sense of the term — meaning that the creation of a simple photograph would entail as much time and effort as the production of a good watercolor or etching — there would be a vast improvement in total output. The sheer ease with which we can produce a superficial image often leads to creative disaster.”

Ansel Adams, American Annual of Photography (1944)

In our modern lives we are constantly bombarded by image in almost every part of our lives from our inboxes to our morning commute. We are a culture that has fully embraced the relative ease and accessibility of digital image, but perhaps to the cost of photography itself. Have images lost some of their value now that photography is so easy? Once magical and prized are photographs now banal? With endless clamoring visual voices, how does the photographer distinguish the work let alone create something that stands out as art?

For many artists the answer is simple; hold onto the wonder of the camera and allow the lenses to be a tool for discovery and rediscovery. For those artists, photography is an investigation, a grappling of ideas, moments and light. If done successfully, this new generation of photographers will seduce viewers to take a pause in their bustling visual life to reflect on something that feels new; transforming the everyday into something fresh and intimate.

Rebecca Jacoby – Roundabout, November 1 – 30, 2013

Posted on: Wednesday, October 30th, 2013

 – Roundabout
November 1 – 30, 2013
Reception, Saturday, November 2, 2013, 5 – 7 pm
First Friday, November 1, 6 – 8:30 pm

LGTripp Gallery is pleased to announce Roundabout, a solo exhibition of recent works by gallery artist Rebecca Jacoby. Jacoby’s work was previously included in the gallery’s 2010 exhibition Premiere as well as the 2012 group show Works on Paper. Jacoby’s had her first solo exhibition, Resonances, at LGTG in 2010. Roundabout is Jacoby’s second solo exhibition, and first encompassing both galleries.

Roundabout explores the recent paintings of Rebecca Jacoby. For Jacoby, art is a catalyst for and reflection of personal growth. Through the physical process of making, each piece chronicles the artist’s development of the emotional, intellectual and creative self. Process is vital to Jacoby’s exploration. In the artist’s words, “Each piece evolves out of the physical act of making the piece itself. The way a brush or oil stick feels can sets a piece in motion. The content of my work is instigated by a variety of mark making “tools”, each of which has its own distinctive voice.” Jacoby builds up her picture plane through a variety of media, and this unique mark making reflects an inquisitive nature as well as the artist’s background in printmaking.

Although the series can be seen as an extension of Jacoby’s previous work, Roundabout reflects a refreshing maturity. Jacoby’s whimsical forms evoke the biological, as platelets and cellular forms appear to float in a mysterious landscape, hovering between a micro and macro world. The limited color palette of blues and pinks creates a concise dialogue internally within the work and externally throughout the series. Although Jacoby employs repetition in her forms and palettes, each painting offers fresh perspective through unique moments and subtle shifts in mood.

Rebecca Jacoby earned a BA in Philosophy from Mount Holyoke College and an MFA in Printmaking from Pratt Institute. Her paintings, drawings and prints have been shown nationally and are included in the collections of the University City Science Center, Ogletree Deakins, Coventry Group and in private collections in Philadelphia, New York and Baltimore. Jacoby attended residencies at Jentel in Wyoming and the Vermont Studio Center and received awards for her achievements in art from Mount Holyoke College and Pratt Institute. Her work was published in the winter 2012-2013 edition of Studio Visit Magazine and has been reviewed in the Philadelphia Inquirer and the Broad Street Review. Articles about her work have appeared in many publications, including Philadelphia City Paper, Philadelphia Metro and online at Flying Kite, InLiquid and Artblog. Currently she free-lances as an archivist.

Solo Exhibition: Knox Martin – She, September 13 – October 26, 2013

Posted on: Sunday, August 25th, 2013

Danae (Homage to Titian)

September 13 – October 26, 2013
Lecture by artist, Saturday, October 5, 3:00 pm
Reception, Saturday, October 5, 5:00 pm

LGTripp Gallery is pleased to announce She, a solo exhibition of recent works by internationally acclaimed artist Knox Martin. The exhibition will include paintings from Martinʼs celebrated She series, as well as the unveiling of a new painting, Genesis. This is to be the first showing of Martinʼs paintings since joining the Gallery earlier this year.

A leading member of the New York School, Knox Martin is a contemporary of artists Alfred Leslie, Alex Katz, Al Held, and was a mentor to Robert Rauschenberg. Although connected to the avant-garde of this pivotal time in American Art, Martin continues to transcend labels and develop his artwork in distinct and masterful ways. Arthur C. Danto writes, “the images have gotten richer and the philosophy of painting deeper, and the experience of constituting the works through close visual reading is as rewarding as contemporary art provides.”

She includes seven paintings revolving around Martinʼs long-held interest in the female form. With his use of metaphor, Martinʼs paintings point to something more mysterious and transcendent. Sinuous contours and vibrant shapes move across the flat picture plane hinting to the feminine. In Martinʼs She paintings there is no ground as the “she” is all encompassing, the very composition of each painting. In his essay for She, William Fried writes, “Parts of her body move to intercept our gaze when we try to look beyond her. We cannot look beyond her just as the artist cannot free himself of her power in his mind.” The female form is therefore simultaneously treated as Martinʼs subject and object. For Martin, as with many artists before him, his “she” is an archetype, a muse to be explored and celebrated.

Knox Martin is a renowned New York painter, sculptor, muralist, poet, and a scholar of art history who has exhibited worldwide. Using a variety of media, Martin is known for his use of vibrant colors, sensuous gestures, rhyming of metaphor and the flat picture plane. Two of his most famous works are the monolithic 12-story wall painting titled Venus and the 6-story wall painting Woman with Bicycle, both in New York City. Knox Martin’s artwork is included in collections worldwide, including the Whitney Museum of American Art, Museum of Modern Art, Hirshhorn Museum and Sculpture Garden, Brooklyn Museum of Art and the National Academy of Design among others. Dedicated to his art practice as well as teaching, Knox has held faculty positions at Yale Graduate School of the Arts, New York University, the University of Minnesota, and the International School of Art in Umbria, Italy. Martin continues to teach Master Classes at the Art Students League of New York. Throughout his career, Martin has been the subject of numerous articles, books, essays and writings.


Group Exhibition: Eyes to Cuba – Life Through the Eyes of Nine Cuban Artists

Posted on: Saturday, July 13th, 2013

July 12 – August 17, 2013
Artist Reception, July 13, 5 – 7 pm
First Friday, August 2, 6 – 8:30

LGTripp Gallery is pleased to announce Eyes to Cuba, an exhibition of nine contemporary Cuban artists. In the main gallery is to be the premier showing of eight Cuban artists, currently residing in Cuba, all who have earned degrees from art schools. The rear gallery will feature new paintings by Fuentes Ferrin. This is the third solo exhibition of represented artist Fuentes Ferrin with gallerist Luella Tripp. His paintings were also included in Works on Paper in 2012 and the Premier Exhibition in 2010.

Eyes to Cuba marks a momentary departure from the gallery exhibition program. It is also personal since this is the country of birth and childhood of gallerist Luella Tripp. With the development of tourism in the past 20 years, “Cuban art” often conjures up images of brightly colored, figurative depictions of idealized island life and culture. However, Eyes to Cuba digs deeper to uncover something more universal and delightfully contemporary. Eyes to Cuba celebrates the diversity of the artistic voice that exists in Cuba. In a broader sense, the exhibition also points to the inherent creativity and diversity of human expression even in the face of political or geographical isolation. Each artist included has a unique voice and style; paintings range from the abstract and surreal to the figurative.

Fuentes Ferrin’s new work is whimsical and imaginative. Fuentes Ferrin draws inspiration for his surrealist paintings from the world around him. In his words, “My inspiration comes from all places and is in all places, in the whimsical shapes that clouds draw, in lovers having coffee in the most exotic place of a city, in the muse that does not let her artist escape, and the anti-muse that kills him, in the virgin upon the sea who saves men that seek new horizons, in Love, which is the seed and force of all things that exist in our universe.” Although based on the everyday experiences of life, Fuentes Ferrin creates new worlds unfettered by the conventions of reality. There is a poetry to his dreamlike narratives that invites the viewer to explore and expound upon an unfolding story.

Fuentes Ferrin is a 1990 graduate of San Alejandro Academy of Fine Arts in Havana, Cuba.
Born and raised in Cuba, he lived a number of years in Philadelphia before relocating to Texas. Fuentes Ferrin has exhibited across the Philadelphia region as well as internationally in Cuba and Italy. His work is included in private collections.