|Storm King XI Acrylic, Paper, Primed Canvas on Pannel, 15 x 45|
|TOWARD THE SUBLIME|
|DEL REY LOVEN|
|January 12 - February 16, 2013|
|Saturday, January 12, 5:00 - 9:00pm|
|Meet Del Rey @ Opening Reception|
|Artist Talk and Intro @ 7:30pm|
Dacia Gallery proudly presents Toward the Sublime, abstract shaped paintings by Del Rey Loven. Painstakingly constructed acrylic works combine streams of pure abstraction with swaths of color evoking such natural phenomena as storms, fire, melting ice caps, or fault lines below the desert. Loven employs alternative paint methods with combinations of shape, wherein plane view and elevation view interchange or break open as the artist quarries nature and history in search of the abstract sublime. Please join us for the New York premiere of this original and intriguing work.
|Loven at Work in the Studio|
Del Rey Loven's art education began at the Minneapolis College of Art and Design and provided international influences through studies with Siah Armajani (Iran), Johanna Blomstedt (Finland), Kenneth Dingwall (Scotland), and most significantly with Fred Theiler, one of Germany’s most important post-war abstractionists. It was Thieler who directly introduced Loven to pour, drip and stain painting, during the only year in which Thieler took leave from the Berlin Academy. Salvatore Scarpitta and Grace Hartigan were Loven’s mentors while earning his MFA at the Maryland Institute College of Art, Hoffberger School of Painting. Del Rey Loven's paintings have been exhibited in numerous American venues, including the Baltimore Museum of Art, the Butler Institute of American Art, the Minnesota Museum of Art, and the Louis Meisel Gallery. He is represented in the Midwest by Kenneth Paul Lesko Gallery in Cleveland. Currently Loven is a tenured professor of art at The Myers School of Art, The University of Akron.
My work integrates geometric shape with intuitive explorations of the processes that occur when acrylic paint is subjected to a range of physical treatments. At times these are undertaken in the effort to return the pigments to a primordial state, and coax from them emergent patterns suggestive of natural phenomena. Each series begins with pondering and meditation that leads me through a sustained free association period in which I discover occurrences in nature that parallel the pictorial events in paint sections that will coalesce into a the first piece in a new series. For instance, the Storm King series is named for the Colorado mountain that sustained a tragic forest fire in 1994, followed in 1995 by torrential rain, erosion and debris flows. Other series employ similar methods, such as the Constellation series, but the theme forms an homage to another artist. Sometimes the painting needs to be twenty feet long, sometimes ten inches. I believe that scale has as much to do with the power of the image to enter the viewer’s imagination, as it does with physical dimensions. In all works I seek an aesthetically charged result that positively engages each viewer on their own terms, where every layer of knowing can open to another deeper layer.