Mary Gilkerson

Congaree Monotypes 2011

2011-10-21T12:26:00.001-04:00

The Congaree II, 2011, monotype
Image: 17.5 x 17.5 in.
Paper: 28 x 25 in., framed: $1,100, unframed: $925

The Congaree III, 2011, monotype, image: 17.5 x 17.5 in.
Paper: 28 x 25 in., framed: $1,100, unframed: $925

The Congaree IV, 2011, monotype, image: 17.5 x 17.5 in.
Paper: 28 x 25 in., framed: $1,100, unframed: $925

The Congaree IX, 2011, monotype
Image: 21.5 x 17.5 in.
Paper: 32 x 25.5 in.
Framed: $1,200, unframed: $1,025

The Congaree V, 2011, monotype, image: 17.5 x 17.5 in.
Paper: 28 x 25 in., framed: $1,100, unframed: $925

The Congaree VI, 2011, monotype, image: 17.5 x 17.5 in.
Paper: 28 x 25 in., framed: $1,100, unframed: $925

The Congaree VII, 2011, monotype
Image: 21.5 x 17.5 in.
Paper: 32 x 25.5 in.
Framed: $1,200, unframed: $1,025

The Congaree VIII, 2011, monotype
Image: 21.5 x 17.5 in.
Paper: 32 x 25.5 in.
Framed: $1,200, unframed: $1,025

The Congaree X, 2011, monotype
Image: 21.5 x 17.5 in.
Paper: 32 x 25.5 in.
Framed: $1,200, unframed: $1,025

The Congaree XI, 2011, monotype
Image: 21.5 x 17.5 in.
Paper: 32 x 25.5 in.
Framed: $1,200, unframed: $1,025

The Congaree XII, 2011, monotype
Image: 21.5 x 17.5 in.
Paper: 32 x 25.5 in.
Framed: $1,200, unframed: $1,025

The Congaree XIII, 2011, monotype, image: 17.5 x 17.5 in.
Paper: 28 x 25 in., framed: $1,100, unframed: $925

The Congaree XIV, 2011, monotype, image: 17.5 x 17.5 in.
Paper: 28 x 25 in., framed: $1,100, unframed: $925

The Congaree XIX, 2011, monotype
Image: 9.5 x 7.5 in.
Paper: 18 x 15 in.
Framed: $495, unframed: $425

The Congaree XV, 2011, monotype, image: 17.5 x 17.5 in.
Paper: 28 x 25 in., framed: $1,100, unframed: $925

The Congaree XVI, 2011, monotype
Image: 9.5 x 7.5 in.
Paper: 18 x 15 in.
Framed: $495, unframed: $425

The Congaree XVII, 2011, monotype
Image: 9.5 x 7.5 in.
Paper: 18 x 15 in.
Framed: $495, unframed: $425

The Congaree XVIII, 2011, monotype
Image: 9.5 x 7.5 in.
Paper: 18 x 15 in.
Framed: $495, unframed: $425

The Congaree XX, 2011, monotype
Image: 15.75 x 11.5 in.
Paper: 30 x 22.25 in.
Framed: $800, unframed: $625

The Congaree XXI, 2011, monotype
Image: 15.75 x 11.5 in.
Paper: 30 x 22.25 in.
Framed: $800, unframed: $625

The Congaree XXII, 2011, monotype
Image: 15.75 x 11.5 in.
Paper: 30 x 22.25 in.
Framed: $800, unframed: $625

The Congaree XXIII, 2011, monotype
Image: 9.5 x 7.5 in.
Paper: 18 x 15 in.
Framed: $495, unframed: $425

The Congaree XXIV, 2011, monotype
Image: 9.5 x 7.5 in.
Paper: 18 x 15 in.
Framed: $495, unframed: $425

The Congaree XXIX, 2011, monotype
Image: 15.75 x 11.5 in.
Paper: 30 x 22.25 in.
Framed: $800, unframed: $625

The Congaree XXV, 2011, monotype
Image: 15.75 x 11.5 in.
Paper: 30 x 22.25 in.
Framed: $800, unframed: $625

The Congaree XXVI, 2011, monotype
Image: 15.75 x 11.5 in.
Paper: 30 x 22.25 in.
Framed: $800, unframed: $625

The Congaree XXVII, 2011, monotype
Image: 15.75 x 11.5 in.
Paper: 30 x 22.25 in.
Framed: $800, unframed: $625

The Congaree XXVIII, 2011, monotype
Image: 11.5 x 15.75 in.
Paper: 22.25 x 30 in.
Framed: $800, unframed: $625

The Congaree XXXI, 2011, monotype
Image: 9.5 x 7.5 in.
Paper: 18 x 15 in.
Framed: $495, unframed: $425

The Congaree XXXII, 2011, monotype
Image: 9.5 x 7.5 in.
Paper: 18 x 15 in.
Framed: $495, unframed: $425

The Congaree XXXIII, 2011, monotype
Image: 15.75 x 11.5 in.
Paper: 30 x 22.25 in.
Framed: $800, unframed: $625

The Congaree XXXIV, 2011, monotype
Image: 11.5 x 15.75 in.
Paper: 22.25 x 30 in.
Framed: $800, unframed: $625

The Congaree XXXV, 2011, monotype
Image: 15.75 x 11.5 in.
Paper: 30 x 22.25 in.
Framed: $800, unframed: $625

The Congaree XXXVI, 2011, monotype
Image: 11.5 x 15.75 in.
Paper: 22.25 x 30 in.
Framed: $800, unframed: $625

The Congaree XXXVII, 2011, monotype
Image: 11.5 x 15.75 in.
Paper: 22.25 x 30 in.
Framed: $800, unframed: $625

The Congaree XXXVIII, 2011, monotype
Image: 15.75 x 11.5 in.
Paper: 30 x 22.25 in.
Framed: $800, unframed: $625

The Congaree I, 2011, monotype
Image: 17.5 x 17.5 in.
Paper: 28 x 25 in., framed: $1,100, unframed: $925

MARY GILKERSON: Oil on canvas

2011-08-10T13:51:00.002-04:00

All works of art by Mary Gilkerson are available at if ART Gallery, 1223 Lincoln Street, Columbia, SC.

River III, 2010

Oil on canvas, 64 x 54 in., $ 5,500

Contact Wim Roefs at if-art-gallery@sc.twcbc.com or (803) 255-0068/(803) 238-2351.

Marsh Variation X, 2011, oil on wood panel, 24 x 24 in.
$2,000

Marsh Variations V, 2011, oil on canvas, 40 x 40 in.
$3,200

Edisto River IV, 2011, oil on canvas 18 x 18 in., $1,200

Congaree III, 2011, oil on canvas,
72 x 48 in., $6,400

Monotypes

2010-08-06T19:53:00.003-04:00

Edisto Variations LXVII, 2008

Monotype, 17 x 15 in., $475

Three Rivers Variations XXIX, 2008

Monotype, 17 x 15 in, $475

Three River Variations XXXI, 2008

Monotype, 27 3/8 x 30 in., $1,500

Three River Variations XXXII, 2008

Monotype, 27 3/8 x 30 in., $1,500

Three River Variations XXXIII, 2008
Monotype, 27 3/8 x 30 in., $1,500

Three River Variations XXXIV, 2008
Monotype, 27 3/8 x 30 in., $1,500

Three Rivers Variations XVI, 2008

Monotype, 17 x 15 in., $475

Three Rivers Variations XX, 2008

Monotype, 17 x 15 in., $475

Three Rivers Variations XXII, 2008

Monotype, 17 x 15 in., $475

Three Rivers Variations XXIV, 2008

Monotype, 17 x 15 in., $475

Three Rivers Variations XXVIII, 2008

Monotype, 17 x 15 in., $475

Three Rivers Variation VI, 2008

Monotype, 19 x 15 in., $475

Three Rivers Variation VII, 2008
Monotype, 19 x 15 in., $475

Three Rivers Variation VIII, 2008
Monotype, 19 x 15 in., $475

Cowasee Variations III, 2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations XIII, 2009, monotype

9 x 9 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations XII, 2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations X, 2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations VII, 2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations VI, 2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations V, 2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations IV, 2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations II, 2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations I, 2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Three Rivers Variation XV, 2008

Monotype, 17 x 15 in., $475

Midnight's Garden, 2004
Monotype, 11 x 11 1/4 in., $900

Cowasee Variations XIX, 2009, monotype

9 x 9 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations XVIII, 2009, monotype

9 x 9 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations XVII, 2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations XVI, 2009

Monotype

9 x 9 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations XV, 2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations XIV, 2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

MEET MARY GILKERSON and see her new paintings and monotypes

2010-04-02T17:25:00.012-04:00

MEET MARY GILKERSON

& see her new paintings and monotypes

@ if ART Gallery

Friday April 16, 2010, 6 – 9 pm

On view during Artista Vista and through May 1. 2010

River III, 2010

Oil on canvas

64 x 54 in.

$ 5,500

Marsh Variation IV, 2010

Oil on canvas

40 x 40 in.

$ 3,200

Congaree II, 2010

oil on canvas

48 x 48 in.

$ 3,500/SOLD

Cowasee Variations XIX

2009

Monotype

9 x 9 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations XVIII

2009

Monotype

9 x 9 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations XVII

2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations XVI

2009

Monotype

9 x 9 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations XV

2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations XIV

2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations XIII

2009

Monotype

9 x 9 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations XII

2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations X

2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations VII

2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations VI

2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations V

2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations IV

2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations III

2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations II

2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Cowasee Variations I

2009

Monotype

10 x 8 in. (image); 17 x 15 in. (sheet)

$ 475 (framed)

Marsh Variations V, 2011, oil on canvas, 40 x 40 in.

$3,200

Salon III: January 15- February 4, 2009

2009-01-07T17:24:00.003-05:00

For exhibition preview, click here.

For installation images, click here.

For printmaking demonstration schedule, click here.

Edisto Variations LXVII, 2008
Monotype
17 x 15 in
$475

if ART Gallery

presents

SALON III: The Print Exhibition

January 15 – February 4, 2009

if ART Gallery

1223 Lincoln St., Columbia, S.C. 29205

Reception: Thursday, Jan. 15, 5 – 10 p.m.

Opening Hours:

Weekdays, 11 a.m. – 7 p.m.

Saturday, 11 a.m. – 5 p.m.

& by appointment

Printmaking Demonstrations:

Sunday, Jan. 18, 3 – 5 p.m., Marcelo Novo, Print Gocco

Sunday, Jan. 25, 3 – 5 p.m., Phil Garrett, Monotype

Saturday, Jan. 31, 3 – 5 p.m., H. Brown Thornton, Photo Transfer

Sunday, Feb. 1, 3 – 5 p.m., Steven Chapp, Linocut & Photopolymer Prints

For more information, contact Wim Roefs at if ART:

(803) 255-0068/ (803) 238-2351 – if-art-gallery@sc.twcbc.com

For its January 2009 exhibition, if ART Gallery presents Salon III, an exhibition of prints by gallery artists at if ART Gallery, 1223 Lincoln St., Columbia, S.C. The opening reception will be Thursday, January 15, 2009, 5 – 10 p.m. The exhibition will be installed salon-style at the gallery’s first floor and continues if ART’s salon-style exhibitions; in December 2008, Salon I & II took place simultaneously at the gallery and Gallery 80808/Vista Studios in Columbia.

Among the printmaking techniques represented in the exhibition are etchings, dry points, lithographs, woodcuts, linocuts, photopolymer prints, embossings, monotypes, silkscreens and photo transfers.

During the exhibition, gallery artists Steven Chapp of Easley, S.C., Phil Garrett of Greenville, S.C., Brown Thornton of Aiken, S.C., and Marcelo Novo of Columbia will give demonstrations of various printmaking techniques. For times and demonstrated techniques, see above.

Artists in the exhibition include Karel Appel, Jeri Burdick, Carl Blair, Lynn Chadwick, Steven Chapp, Corneille, Jeff Donovan, Jacques Doucet, Phil Garrett, Herbert Gentry, Tonya Gregg, John Hultberg, Richard Hunt, Sjaak Korsten, Lucebert, Reiner Mährlein, Sam Middleton, Eric Miller, Joan Mitchell, Dorothy Netherland, Marcelo Novo, Hannes Postma, Edward Rice, Anton Rooskens, Kees Salentijn, Laura Spong, Brown Thornton, Bram van Velde, Katie Walker, David Yaghjian and Paul Yanko.

if ARTwalk: Salon I & II: December 11- 24, 2008

2008-11-30T15:51:00.000-05:00

For exhibition installation images, click here.

THE SALON I & II

Dec. 11 – 24, 2008

an exhibition at two Columbia, SC, locations:

Gallery 80808/Vista Studios

808 Lady Street

if ART Gallery

1223 Lincoln Street

Reception and ifART Walk: Thursday, Dec. 11, 5 – 10 p.m.

at and between both locations

Opening Hours:

Weekdays, 11 a.m. – 7 p.m.

Saturday, 11 a.m. – 5 p.m.

Sunday, 1 – 5 p.m.

& by appointment

Open Christmas Eve until 7 p.m.

For more information, contact Wim Roefs at if ART:

(803) 255-0068/ (803) 238-2351 – if-art-gallery@sc.twcbc.com

For its December 2008 exhibition, if ART Gallery presents The Salon I & II, an exhibition at two Columbia, SC, locations: if ART Gallery and Gallery 80808/Vista Studios. On Thursday, December 11, 2008, 5 – 10 p.m., if ART will hold opening receptions at both locations. The ifART Walk will be on Lady and Lincoln Streets, between both locations, which are around the corner from each other.

The exhibitions will present art by if ART Gallery artists, installed salon-style at both Gallery 80808 and if ART. Artists in the exhibitions include two new additions to if ART Gallery, Columbia ceramic artist Renee Rouillier and the prominent African-American collage and mixed-media artist Sam Middleton, an 81-year-old expatriate who has lived in the Netherlands since the early 1960s.

Other artists in the exhibition include Karel Appel, Aaron Baldwin, Jeri Burdick, Carl Blair, Lynn Chadwick, Steven Chapp, Stephen Chesley, Corneille, Jeff Donovan, Jacques Doucet, Phil Garrett, Herbert Gentry, Tonya Gregg, Jerry Harris, Bill Jackson, Sjaak Korsten, Peter Lenzo, Sam Middleton, Eric Miller, Dorothy Netherland, Marcelo Novo, Matt Overend, Anna Redwine, Paul Reed, Edward Rice, Silvia Rudolf, Kees Salentijn, Laura Spong, Tom Stanley, Christine Tedesco, Brown Thornton, Leo Twiggs, Bram van Velde, Katie Walker, Mike Williams, David Yaghjian, Paul Yanko and Don Zurlo.

The Line According To: August 29- September 9, 2008

2008-08-20T12:41:00.000-04:00

To view works by Mary Gilkerson in this exhibition click HERE.

Three Rivers Variation VI, 2008

Monotype

19 x 15 in

$475

if ART

presents at

Gallery 80808/Vista Studios

808 Lady St., Columbia, S.C.

THE LINE ACCORDING TO

Roland Albert – Mary Gilkerson – Sjaak Korsten

Kees Salentijn

August 29 – September 9, 2008

Artists’ Reception: Friday, August 29, 2008, 5 – 10 p.m.

Opening Hours:

Saturdays, 11 a.m. – 5 p.m.

Sundays, 1 – 5 p.m.

Weekdays, 11 a.m. – 7 p.m. and by appointment

For more information, contact Wim Roefs at if ART:

(803) 238-2351/255-0068 – wimroefs@sc.twcbc.com

For its August – September exhibition, if ART presents at Gallery 80808/Vista Studios The Line According to Roland Albert, Mary Gilkerson, Sjaak Korsten & Kees Salentijn. German artist Albert will present mixed media, mostly wood-based sculptures, and Columbia’s Gilkerson, a new series of monotypes. Dutch painter Salentijn will show paintings, mixed media works on paper, painted ceramic plates, lithographs and silkscreens. Korsten, another Dutch artist, will show mixed media works on paper. Korsten has recently joined if ART Gallery, and the upcoming exhibition will be his first in the United States.

Albert (b. 1944) is a widely respected painter and sculptor in Germany. He is part of the artists’ exchange between Columbia and its German sister city of Kaiserslautern. Albert studied with the famous Greek-American sculptor Kosta Alex in Paris in 1964. In 1970, he graduated from the prestigious Munich Academy of Fine Arts. Albert’s work overall fits European post-World War II contemporary traditions. He shares Joseph Beuys’ love for rough and unfinished materials. Like Art Informel artists such as Spaniard Antoni Tapies and fellow German Emil Schumacher, Albert considers not just forms and shapes important but also the tactile and physical quality of his materials.

Gilkerson (b. 1958) has recently completed monotypes for her Three River series based on Columbia’s Congaree, Saluda and Broad rivers. The sometimes strongly abstracted works are based on photos and drawings Gilkerson made earlier this year during walks along the riverbanks. Gilkerson for many years has been prominent on the art scene of the South Carolina Midlands as an artist, critic and curator. She teaches art at Columbia College in her hometown of Columbia. Gilkerson holds BFA, MA and MFA degrees from the University of South Carolina.

Korsten (b. 1957) is widely known and respected in the Netherlands. Not unlike Albert, he works in established post-World War II European modern and contemporary traditions. His work is related to Art Informel artists such as Tapies, Jaap Wagemaker, Wols, Jean Fautrier and Manalo Millares. Much of the focus in their work and that of Korsten is on materials and surface. While Korsten’s work is heavily abstracted, he typically includes representative elements. Korsten’s work has been shown at major European fairs, including TEFAF Maastricht, PAN Amsterdam and the Cologne Art Fair.

Salentijn (b. 1947) is among The Netherlands’ most prominent painters. The initial inspiration leading to his mature style came from post-war American art and from Spanish painters such as Tapies, Antonio Saura, and later Millares. Salentijn developed a personal style that combined the expressionist, painterly swath with smaller but equally expressionist marks that are quick and slightly nervous but sure. Combining vigorous painting with often-childlike imagery, Salentijn’s work eventually placed him in the Northern European, post-war CoBrA tradition of strongly expressionist, abstracted art that containes representational elements. Salentijn’s increased use of figuration in the 1990s confirmed this link. His work is in several European museums. In addition to the 1982 Chicago Art Fair, his work has been represented at major European art fairs, including Art Fair Basel, TEFAF Maastricht, Kunstmesse Cologne and KunstRAI Amsterdam.

Essay: Mary Gilkerson

2008-08-19T17:03:00.000-04:00

Three Rivers Variation VII, 2008

Monotype

19 x 15 in

$475

MARY GILKERSON

By Wim Roefs

The vast majority of Mary Gilkerson’s works in the current exhibition are recent monotypes from her Three Rivers project. Still, one of the most telling pieces might be her one oil painting in the show, the large, recently completed Edisto River I. The painting shows the profound influence that Gilkerson’s exploration of the monotype medium in recent years has had on her approach as a painter.

In short, making monotypes has made Gilkerson a looser painter. Monotype is a painterly print medium in which the artist paints with printer’s ink on a glass or Plexiglass plate. The painted plate then is covered with a sheet of paper and both are run through a press, transferring the ink to the paper, creating one unique print. Among the characteristics of monotypes is the visibility of brush strokes or other marks in the print. They make the works look somewhat like paintings, albeit without much literal texture.

But a crucial difference between painting and creating monotypes is the time it takes normally to complete a work. While paintings can take days, weeks, months, even years, monotypes have to be created in a few hours tops. They have to be completed before the ink dries on the plate, and many a monotype takes less than an hour. This circumstance creates a mindset geared toward deliberate but speedy execution rather than the contemplative, back-and-forth, layered approach of painting. It forces the artist to rely on talent and experience, diving into the work and getting out before too much second-guessing interferes with the process.

The short execution time and resulting need for speed with monotypes usually prevents artists from getting too tight. It encourages artists who might typically have problems accepting a painting as finished to do more with less. That results in more loosely rendered imagery. In the case of precise, perfectionist, literal, hesitant or simply slow painters, the monotype mindset not seldom carries over in the way they paint, adding a new approach to their way of working.

Since she began exploring monotypes in 2005, many of Gilkerson’s paintings have become decidedly looser. Edisto River I is a magnificent example of where her more liberated approach can lead. Gilkerson’s current Three Rivers monotypes also suggest that this liberation has allowed her to be less literal in her renderings. The recent monotypes are based on the three rivers running through her hometown, Columbia, S.C., which Gilkerson sketched, photographed and observed for on a weekly basis for months in preparation for the monotypes.

While renderings of nature, the new monotypes are at times highly abstracted, characterized by sweeping shapes, lines, the intersection of lines and the skewed grids the lines create. Some of the works have strong geometric qualities or juxtapose geometric and organic shapes. As a body, the work also explores the effect of light, atmosphere, weather and the passage of time on nature’s formal elements. The works are, Gilkerson says, “intuitive and abstracted responses to the intersection of the rivers with the urban environment.”

EXHIBITION PREVIEW

2008-08-07T18:25:00.001-04:00

Preview of Mary Gilkerson's work in if ART Gallery's August 29- September 9, 2008 exhibition The Line According To Albert, Gilkerson, Korsten, and Salentijn at Gallery 80808/Vista Studios, 808 Lady Street, Columbia, SC.

Edisto River I, 2008
Oil on canvas
72 x 60 in.
$ 5,500

Edisto Variations LXVII, 2008

Monotype

17 x 15 in

$475

Three Rivers Variations XXIX, 2008

Monotype

17 x 15 in

$475

Three River Variations XXXI, 2008

Monotype

27 3/8 x 30 in

$1,500

Three River Variations XXXII, 2008
Monotype
27 3/8 x 30 in
$1,500

Three River Variations XXXIII, 2008
Monotype
27 3/8 x 30 in
$1,500

Three River Variations XXXIV, 2008
Monotype
27 3/8 x 30 in
$1,500

Three Rivers Variations XVI, 2008

Monotype

17 x 15 in

$475

Three Rivers Variations XX, 2008

Monotype

17 x 15 in

$475

Three Rivers Variations XXII, 2008

Monotype

17 x 15 in

$475

Three Rivers Variations XXIV, 2008

Monotype

17 x 15 in

$475

Three Rivers Variations XXVIII, 2008

Monotype

17 x 15 in

$475

Three Rivers Variation VI, 2008

Monotype

19 x 15 in

$475

Three Rivers Variation VII, 2008
Monotype
19 x 15 in
$475

Three Rivers Variation VIII, 2008
Monotype
19 x 15 in
$475

Three Rivers Variation XIV, 2008

Monotype

17 x 15 in

$475

Three Rivers Variation XV, 2008

Monotype

17 x 15 in

$475

Works of Art: Mary Gilkerson

2008-07-12T15:49:00.022-04:00

Marsh Variation X, 2011, oil on wood panel, 24 x 24 in.

$2,000/SOLD

River III, 2010

Oil on canvas, 64 x 54 in., $ 5,500

Marsh Variations V, 2011, oil on canvas, 40 x 40 in.

$3,200

Edisto River 2, 2009
Oil on canvas
48 x 48 inches, $3,200

Congaree III, 2011, oil on canvas,

72 x 48 in., $6,400

Edisto River IV, 2011, oil on canvas 18 x 18 in., $1,200

Biography: Mary Gilkerson

2008-07-11T16:03:00.003-04:00

Mary Gilkerson (b. 1958)

In the past few years, Mary Gilkerson has produced a large body of monotypes with master printer Phil Garrett at King Snake Press in Greenville, S.C. Her work was exhibited earlier this year in a King Snake Press exhibition at the Greenville County (S.C.) Museum of Art. Her work also is in the current S.C. State Museum’s 20th Anniversary Juried Art Exhibition. Gilkerson for many years has been prominent on the art scene of the South Carolina Midlands as an artist, critic and curator. She teaches art at Columbia College in her hometown of Columbia. Gilkerson holds BFA, MA and MFA degrees from the University of South Carolina.

Artist's Statement: Mary Gilkerson

2008-06-21T13:35:00.000-04:00

Edisto Variations, 2005

Monotype

9 1/2 x 9 1/2 in

"Life is all memory except for the one present moment that goes by you so quick you hardly catch it going."

– Tennessee Williams

Certain images can trigger emotional responses that seem based not only on a primordial, gut level but also on the cultural baggage that they've accrued over time. I am interested in the ways that these memories and myths shape the way that we view reality.

I have come to realize recently that in many ways that what I am doing in my paintings is exploring what it means to be a woman born and living in the South during the late 20th and early 21st century. There is a seductive mysterious quality about the South that drew me back even after I went north to New York like so many other young artists.

A sense of place, in particular a connectedness to the land that borders on the irrational, has become increasingly important to me. This has manifested itself in my work in both my choice of subjects and how I handle them. For the last several years I have been painting and making monotypes of a place that I consider deeply engaging and mysterious – Edisto Island. There is a sense of fragility to Edisto's landscape that comes both from the play of natural forces and from the threatened encroachment of human "development".

A second series that I have been working on for several years is Midnight's Garden, a series of flowers, such as magnolias and camellias, some from life and some based on the floral still life paintings of Martin J. Heade. Heade was one of the first late 19th century artists to romanticize "moonlight and magnolias". I am fascinated with the strength of the forms, the sensuous lines of these flowers and the contrasting symbolism that has become attached to them, especially in Southern culture.

The Inventory: February 15-26, 2008

2008-02-15T18:57:00.000-05:00

Congaree #I, 2007

Monotype

17 x 17 in

$1,500

if ART

presents at

Gallery 80808/Vista Studios

808 Lady St., Columbia, S.C.

THE INVENTORY:

A Group Show of if ART artists

Feb. 15 – 26, 2008

Artists’ Reception: Friday, Feb. 15, 5 – 10 p.m.

Opening Hours:

Saturdays, 11 a.m. – 5 p.m.

Sundays, 1 – 5 p.m.

Weekdays, 11 a.m. – 7 p.m. and by appointment

For more information, contact Wim Roefs at if ART:

(803) 238-2351 – wroefs@sc.rr.com

For its February exhibition, if ART presents The Inventory, a group exhibition of artists from if ART Gallery. The show will consist of many new works by if ART artists as well as older pieces from the gallery’s inventory.

Included in the show will be work by Columbia artists Jeff Donovan, Mary Gilkerson, Marcelo Novo, Anna Redwine and David Yaghjian. Other South Carolina artists include Carl Blair, Jeri Burdick, Phil Garrett, Bill Jackson, Peter Lenzo, Dorothy Netherland, Matt Overend, Edward Rice, Tom Stanley, Christine Tedesco, H. Brown Thornton, Leo Twiggs, Katie Walker and Paul Yanko. Furthermore, the show will present work by former South Carolina residents Tonya Gregg, Eric Miller and Andy Moon. Also included are California collage artist Jerry Harris, Dutch painter Kees Salentijn and German artists Roland Albert, Klaus Hartmann and Silvia Rudolf.

Kleinformat/Small Format: October 26- November 12, 2007

2007-11-08T18:43:00.000-05:00

(To enlarge, click on image above.)

Kleinformat/Small Format: The Columbia - Kaiserslautern Exchange is currently showing at if ART Gallery, 1223 Lincoln Street. This exhibition runs from Friday, October 26 until Tuesday, November 13, 2007 and included an opening reception on Friday, October 26 from 5 - 10 PM. Additional hours are: Weekdays from 11 AM until 7 PM and Saturdays from 11 AM until 5 PM. The exhibit features work by five South Carolinians (Mary Gilkerson, H. Brown Thornton, Stephen Chesley, Mike Williams, and Tonya Gregg) and five Germans from Columbia's sister city, Kaiserslautern (Silvia Rudolf, Roland Albert, Reiner Mahrlein, Ralph Gelbert and Klaus Hartmann).

if ART Gallery Opening

2006-11-12T15:30:00.000-05:00

Edisto Variations, 2005

Monotype/Chine Colle

17 1/2 x 17 1/2 in

$1,500

OPEN NOW:

if ART Gallery

1223 Lincoln St.

Columbia, S.C.

Gallery Hours:

Most days, except Sunday, from 11:00 AM – 7:00 PM

& by appointment (call 803-238-2351)

For more information, contact Wim Roefs at if ART

(803) 238-2351 – wroefs@sc.rr.com

On Nov. 10, 2006, if ART, International Fine Art Services, opened if ART Gallery. The gallery is at 1223 Lincoln St., Columbia, S.C., in the Vista district, across from the Blue Marlin restaurant. For more information, contact if ART’s Wim Roefs at (803) 238-2351 or wroefs@sc.rr.com.

If ART Gallery carries the work of South Carolina artists Leo Twiggs, Mike Williams, Carl Blair, Tom Stanley, Virginia Scotchie, Tonya Gregg, Peter Lenzo, Jeff Donovan, David Yaghjian, Anna Redwine, John Monteith, Christine Tedesco, Brown Thornton, Paul Yanko, Laura Spong, Steven Chapp, Katie Walker, Edward Rice, Aaron Baldwin, Bill Jackson, Herb Parker, Dorothy Netherland, Eric Miller, Mary Gilkerson, Matt Overend, Kim Keats and Phil Garrett. The gallery also carries work by Dutch artist Kees Salentijn, German artists Reiner Mahrlein, Roland Albert and Klaus Hartmann, and Washington Color Field painter Paul Reed.

The gallery also carries a wide selection of unframed and lithographs, silkscreens, etchings and other limited edition prints by such nationally and even internationally prominent artists such as Karel Appel, Richard Hunt, Bram van Velde, John Hultberg, Sam Middleton, Benny Andrews, Hannes Postma, Corneille, Lucebert and Alvin Hollingsworth.

Since March 2005, if ART, International Fine Art Services, has organized commercial gallery exhibitions in Columbia, mostly at Vista Studios/Gallery 80808. In addition to presenting gallery artists and special exhibitions at if ART Gallery, if ART will continue to organize exhibitions at Vista Studios/Gallery 80808. The company also provides curatorial and exhibition design services.

Most recently, in September, if ART was hired by the Technical College of the Lowcountry to install dozens of art works at the college’s new building in Bluffton, S.C. Earlier this year, if ART installed two exhibitions of work from the South Carolina state art collection at the Sumter (S.C.) Gallery of Art. The if ART production “South Carolina Birds: A Fine Art Exhibition,” curated by company owner Wim Roefs, is at the Pickens County Museum of Art & History until Nov. 11, 2006. The exhibition opened in 2004 at the Sumter Gallery of Art and traveled to the Burroughs & Chapin Museum in Myrtle Beach, S.C., and the City Gallery at Waterfront Park in Charleston, S.C. Roefs wrote the essay for the exhibition catalogue, which he also edited.

In 2005, Roefs curated exhibitions of work by Leo Twiggs and Carl Blair for the Fine Arts Center of Kershaw County in Camden, S.C. He also curated an exhibition of paintings by Marcelo Novo for HoFP Gallery in Columbia, S.C., and wrote the essay for the exhibition catalogue. Earlier this year, Roefs curated an exhibition with work by Dutch artist Kees Salentijn for the Center of the Arts in Rock Hill, S.C. In May, he curated an indoors/outdoors sculpture exhibition for the city of Dillon, S.C.

Roefs contributed an essay to the catalogue for the exhibition “A Collection for Margaret: The Personal and Private Art of Carl Blair.” The exhibition is on view at Hampton III Gallery in Greenville until Nov. 11. Roefs teaches a course in African-American art at the University of South Carolina.

Since March 2005, if ART has published eight small exhibition catalogues. The catalogues featured short essays by Roefs about Aaron Baldwin, Mike Williams, Anna Redwine, Tom Stanley, Carl Blair, Janet Orselli, Matt Overend, Laura Spong, Leo Twiggs, Jeff Donovan, John Monteith, Dorothy Netherland, Herb Parker and Phil Garrett and Mary Gilkerson and the process of making monotypes.

Essay: Mary Gilkerson on Monotypes

2006-09-06T15:38:00.000-04:00

Edisto Variations, 2005

Monotype

9 1/2 x 9 1/2 in

PHIL GARRETT & MARY GILKERSON:

MAKING MONOTYPES

“We need tunes,” Phil Garrett says.

“Yeah,” Mary Gilkerson answers.

It’s a Friday afternoon in August at King Snake Press in Greenville, S.C. Gilkerson is painting on a Plexiglass plate, working on a monotype, as she had been that morning, the day before, and on a few other occasions in the past two years. Garrett hovers in the margins of the process, cleaning plates, cutting paper, turning on the fan when fumes build up and putting on music before he takes center stage as master printer, turning Gilkerson’s completed image into a one-of-a-kind print.

“Is this okay?” Garrett asks after a while, presumably about the tango tunes he put on a few minutes earlier, “or is it annoying?” It’s fine, Gilkerson assures him.

Gilkerson is relatively new to the medium, certainly in terms of creating a body of work for exhibition. Garrett, on the other hand, is both as an artist and printer among the region’s more prominent producers of monotypes. He has completed extensive studies in printmaking, including at the San Francisco Art Institute and with Tamarind Master Printer Cappy Kuhn. He has been making monotypes since the mid-1980s.

Since Garrett launched King Snake Press in 1998, the medium has spread like a happy virus through Upstate South Carolina and beyond. Artists as different as Edward Rice, Carl Blair and Katie Walker have made prints at Garrett’s press. In 2001, the Greenville County (S.C.) Museum of Art mounted an exhibition of monotypes produced by 25 artists with Garrett at his press.

The process is truly cooperative. Garrett takes care of the technical issues, allowing the artist to concentrate fully on creating images. While Gilkerson paints, Garrett cleans the plate she finished a while back and from which he just made a print. That’s the glamour of being a master printer. “That’s right,” Garrett says, “clean up the mess.”

There’s more to it, of course. Garrett might mix the different colors of ink that artists paint with. He provides general guidance, explains the technical aspects of the process and can suggest what paper artists should use. Most importantly, he does the precision work of turning the temporary image on the plate to a more permanent one on paper. For that, he first takes a sheet out of a tray with water. To remove the surface water from the sheet, he places clean, thin newsprint sheets on the wet paper. With his hand, he gently presses the newsprint, which absorbs excess water.

Garrett then lays a painted plate on his printing press, face up, placing it exactly in the desired spot. He is guided by a grid of registration marks on the press bed that shows the contours of different plate and paper sizes. Garrett drapes the paper over the plate, making sure paper and plate connect at just the right place. He covers plate and paper with a blanket and runs everything through the press by manually turning a crank. Plate, paper and blanket roll underneath the press’s metal roller, which extends the width of the press bed and produces the pressure necessary to transfer an image. Garrett runs the press several times for each print, back and forth, turning one dial on either end of the roller to adjust pressure. When he’s done, the reverse image of Gilkerson’s Plexiglass painting appears on the paper.

Gilkerson, a Columbia, S.C., native and resident, is a prominent presence on the art scene of South Carolina’s Midlands. As an artist, she is mainly known as a painter; the current show is her first exhibition of monotypes. Gilkerson also teaches art at Columbia College and is an art critic and curator.

This Friday afternoon, Gilkerson produces several Chine Collé monotypes. Chine Collé prints are printed on a thin paper that is attached to a larger, thicker, sturdier sheet of regular printing paper. As Gilkerson works on a plate, Garrett covers his face with a protective device. He sprays an adhesive on a sheet of natural-color, soft-beige Chine Collé paper the size of the plate Gilkerson is painting on. He then lifts a backing sheet out of the water tray, places the smaller, sprayed Chine Collé sheet on the damp paper and runs both through his press, adhering the smaller sheet to the larger paper.

When Gilkerson is done painting, Garrett takes her plate and hands her a clean one. While Gilkerson goes at it again, Garrett puts the freshly painted plate on the press, making sure the plate and Chine Collé sheet line up. Then everything goes through the press.

The Chine Collé paper Gilkerson uses is Japanese Kitakata rice paper. Because it’s a different color than the white Rives BFK support paper, the Chine Collé paper helps set off the image. It also instantly adds a color – its own – to the work where Gilkerson leaves negative space in her images.

“You get an integrated color,” Garrett says. “The thinner Japanese paper helps you show all the mark making. It picks up an incredible amount of detail and nuance. Even with not that much ink on the plate, in areas where interesting things happen, Chine Collé can really help, picking up great subtlety.”

Visually, Chine Collé further separates the image from the background, Gilkerson adds. “The ink also sits on the rice paper differently than it does on printing paper. I could get a similar effect if I used two plates, one for a background toning color and one to create the image on, but I just haven’t tried that yet because I’ve enjoyed the paper-to-paper contrast so much.”

Monotypes are in part characterized by the way artists’ brush marks are visible in the print. “It’s the painterly print,” Garrett says. Gilkerson’s brushwork on the plate is loose, looser than in many of her paintings, it seems, though she works deliberately and with restraint. As she works, the transparent plate sits on the flat, also transparent cover of a light box. The light shining from underneath gives Gilkerson a maximum view of how the work is developing, where there’s ink or isn’t, where she has left negative space. She applies ink and at times takes some off again with a rag.

Gilkerson is painting landscapes, and early in the process she often places a copy of a photo between the plate and light box, painting directly from the copy – in a sense painting on top of it. “It’s just a faster way to get the composition down,” she says. “At some stage the photo has to come out, otherwise it gets in the way. Then you can’t see anything anymore.” In many cases, Gilkerson has first reversed the photo on her computer, ending up painting the reverse of the scene she photographed. During the printing, the painted image itself will be reversed again to the original direction of the photograph, echoing the scene that intrigued Gilkerson to begin with.

Monotypes are one of a kind because the Plexiglass plate is untreated and won’t retain the image. Unlike lithography, intaglio or other print methods, printing a monotype can’t be repeated to get the same result several times. After the monotype is made, an artist can at best use the residual ink on the plate to make a faint second image, a so-called ghost print. Sometimes artists like the ghost print so much that they keep it, too, as a second but different print. Sometimes they use the residual ink on a used plate as the start for another monotype.

Garrett introduced Gilkerson to monotypes during a workshop he did for Columbia College students a decade ago. “I enjoyed the process,” Gilkerson said, “making a handful of monotypes a year when Phil would come in for workshops. But it wasn't until I started using thinner paint in my paintings three years ago, scratching and wiping out areas as well as making direct painterly marks, that I began to think about making monotypes on a more consistent basis.”

The sessions at King Snake Press have affected her paintings, Gilkerson says. “Making monotypes has started a dialogue between my paintings and prints, with a change in technique or process in one sparking a change in the other. The looseness of the monotype process has been finding its way over to the paintings.”

Monotypes are a good entry into printmaking for painters who have shied away from printmaking, Garrett wrote in the 2003 catalogue Edward Rice: Recent Monotypes, published by the Morris Museum of Art in Augusta, Ga. “Since monotype is very closely related to drawing and painting … it doesn’t require learning a new set of skills and, due to its process, relies on one’s skills as a painter.”

Wim Roefs

2006

Phil Garrett & Mary Gilkerson: Monotypes: September 8-19, 2006

2006-08-25T18:14:00.000-04:00

if ART, International Fine Art Services

presents at

Gallery 80808/Vista Studios

808 Lady St., Columbia, S.C.

Phil Garrett & Mary Gilkerson:

M o n o t y p e s

Sept. 8 – 19, 2006

Artists’ Reception:

Friday, Sept. 8, 5 – 10 p.m.

Opening Hours:

Saturday, 11 a.m. – 5 p.m.

Sunday, 1 – 5 p.m.

Weekdays, Noon – 7 p.m. and by appointment

For more information, contact Wim Roefs at if ART:

(803) 238-2351 – (803) 799-7170 – wroefs@sc.rr.com

For its September exhibition at Gallery 80808/Vista Studios, if ART, International Fine Art Services, will present a show of monotypes by Phil Garrett and Mary Gilkerson. The opening reception for the exhibition is Sept. 8, 5:00 – 10:00 p.m. Opening hours are Saturdays, 11:00 a.m. – 5:00 p.m.; Sundays, 1:00 – 5:00 p.m.; and weekdays 12:00 – 7:00 p.m. or by appointment. For more information or to make an appointment, contact if ART’s Wim Roefs at (803) 238-2351 or wroefs@sc.rr.com.

Columbia native and resident Gilkerson is a prominent presence in the art scene of South Carolina’s Midlands. She is painter with a long and full exhibition history. She also teaches art at Columbia College, and is an art critic and curator. Gilkerson holds undergraduate and graduate degrees in art from the University of South Carolina in Columbia. This will be her first exhibition of monotypes, which she produced at Greenville’s King Snake Press in cooperation with Master Printer Garrett.

Garrett, a native and resident of Greenville, S.C., is both as a painter and printer among the region’s more prominent artists. He has completed extensive studies in printmaking, including at the San Francisco Art Institute and with Tamarind Master Printer Cappy Kuhn.

SOLD WORKS OF ART

2005-09-30T17:31:00.004-04:00

Congaree II, 2010, oil on canvas

48 x 48 in., $ 3,500

Edisto River I, 2008
Oil on canvas
72 x 60 in.