Each one of these artists does does something different with his or her artwork. Dina Volkiva’s work reminds us to spare a moment for time spent in transit; she awakens a beauty in chilled warmth of an airport’s runway or highway that could make any viewer wish for a flight delay. Jan Fontecchio Perley’s paintings invoke a kindred spirit between the viewer and her animal subjects reminding the universality that connects all living things.
With different styles and mediums, each one engages with the world differently though their art conveying new and thought-provoking meanings.
So without further ado, meet are our Newest Artists:
Introducing: Dina Volkova
No matter how many times the sentiments behind “it’s all about the journey” or “enjoy the ride” is calcified into cliché, the words are no competition for a Dina Volkova painting. She is spot on in her capture of the beauty of transit. From an airplane on a runway to a highway scene, she depicts the beauty of transportation in a serene, painterly, and impressionist style. With a chilled warmth and soft subtlety, Dina pauses in the moments that daily life rushes by.
For any subject whose most adequate adjectives are stout, squatty, and proud, there is an inherent humor. Figures in Gregory Noblin’s paintings like the pig in Misbehavin’ and the horse of War of the Rosesbear this whimsical humor with a good-postured dignity. However, beneath this humor, and throughout all of Gregory’s mixed-media artwork there are deeper messages that blur fable, fantasy, idiom, childhood, and metaphor. On both levels, there is something to be seen in every one of his works.
Jan Fontecchio Perley’s mystifying animal portraits take on the project of a realist but in the whimsical and graceful manner of an impressionist. Her paintings are remarkably relatable. They capture the candid essence of her subjects in their details; each animal – in visage, posture, and relationships – suggests a subtle anthropomorphism that reaches out to connect with the viewer. This deep, reactive duality is playfully underscored in the titles, whose puns pop and irony rings.
Upon first glance, a Natalie George painting seems like strict abstraction devoid of referent; however, with proper patience a community of concealed references break out of the camouflage. Shrubbery, horizon lines, water, and light reflections all hover on the edge of the paintings’ first impressions waiting to be discovered. This engaging dynamic to her paintings become a metaphor Natalie’s own background in classical and realist painting.