Roy McMakin
: Purplish

Claire Cowie
Yunhee Min


Tania Kitchell
Richard Rezac

Carlos Vega
Eric Elliott
Squeak Carnwath
Maki Tamura

Margot Quan Knight
Gary Hill
Message In A Bottle
Adam Sorensen
Claire Cowie
Bing Wright
Roy McMakin
Katrina Moorhead
Claudette Schreuders
Marcelino Goncalves
room X room
Rashid Johnson
Scott Foldesi
Shaun O'Dell
Claude Zervas
Amir Zaki
Glenn Rudolph
Angela Fraleigh
Jeffry Mitchell
Steve Davis
Mary Ann Peters
Mark Mumford
Roy McMakin
Geoffrey Chadsey
Patrick Holderfield
Junctions
Todd Simeone
Claire Cowie
Laura Letinsky
Keith Tilford
Mary Ann Peters
Jeffry Mitchell
Richard Rezac
Stephanie Syjuco
Claude Zervas
Squeak Carnwath
Marcelino Gonçalves
Peter Schuyff
Tom Baldwin
Tania Kitchell
Jeffry Mitchell

Shaun O'Dell

Mark Mumford

Efrain Almeida

Keith Tilford
Glenn Rudolph
Claire Cowie
Patrick Holderfield

Ramona Trent
Roy McMakin
Yunhee Min

Claude Zervas

Casey Keeler

Henry Turmon
Lisa Liedgren
Laurie Reid
Amir Zaki
Adam Ross
Richard Rezac
Geoffrey Chadsey
Claire Cowie
Michelle Fierro

Current Exhibition

James Harris Gallery
Presents

Squeak Carnwath
May 15 - June 28, 2008


 

Squeak Carnwath, The Whole Truth, 2006, Oil and alkyd on canvas over panel, 90" x 80"

 

 


James Harris Gallery is pleased to present our third solo exhibition by California artist Squeak Carnwath. Central to Carnwath's practice is her exploration of the act of painting as an art form. Her approach reveals an artistic statement that is cohesive, clear, and intentional with conscious references to art history. The show will include both painting and drawing.

Carnwath sees painting as a transcription of human interaction with a surface. The artist uses recurring iconography, saturated areas of color, and hand written words to construct personal paintings that explore time and place. For her, the work is an intimate yet universal form of expression. With this group, Carnwath continues her use of important images and symbols included in previous painting. Images of LPs rendered in deep circular black brush work punctuate the painted surface of many of the works. For the artist, vinyl records symbolize an entire generation's history. While the record LP is a contemporary icon, the Roman portrait references the icons of ancient history. Carnwath’s recurring use of this classic face combined with the contemporary record LP conveys calm, confidence, and resignation against the inevitable passage of time. Like much portraiture, Carnwath’s classic face becomes a surrogate for friends and family both present and long gone.


These paintings and drawings epitomize Carnwath's work in their use of colors, beautifully worked surfaces and combinations of iconography. They not only act as a vehicle of self-expression, but also allow viewers to create their own open-ended narratives.


This work is conscious consequence of actions resulting in a surface of reasoned and purposeful marks, text and image. Marked by intuition, justified repetition and quotation, Carnwath’s art reflects a motivation to articulate both the known and unknown into a visual experience open to transformation by viewers.



     

 

 
 
 
 
 

 

 

 

 

 

   
 
 

Lessons Benefit, 2007
Oil and alkyd on canvas over panel
80” x 90”

 

 
 
Real and True, 2007
Oil and alkyd on canvas over panel
7 0” x 60”
 
 

All Things Name Themselves, 2006-7
Collage with ink, pencil, pastel, oil pastel, etching, wood block, and collograph on paper
60” x 47 1/2”

 
 
Gateway, 2007
Oil and alkyd on canvas over panel
55” x 50”
 
 
Let Go , 2007
Oil and alkyd on canvas over panel
75 ” x 65”
 
 
Wedgewood's Jug , 2006-7
Acrylic, pastel, and collograph on paper
6 0” x 47 1/2”