When one looks into the beautifully unexpected and intricate art of Raymond Papka, there is no doubt that it is derived from the science in his own life. With a degree in chemistry, Raymonds’s incredibly unique assemblages of paint and embellishments elude to a technical and scientific narrative.
This art is created by use of physical and visual systems. The artist uses everyday discarded objects to arrange and create his art. This process has also turned into his alteration of books which consists of a process where he cuts tears, glues, burns, folds, paints, adds to, collages, rebinds, gold-leafs, creates pop-ups, drills, and bolts. The book is manipulated until it becomes a 3-dimentional work of art. Beyond books, Raymond also engages in Enthusiastic Painting. This is a variation of an incredibly ancient painting technique where beeswax is melted with resin and color pigments are added. Once the wax hardens, it is fused with fire and brilliant and beautiful work begins.
Raymond is not so concerned with his viewer completely understanding his art as he is with them questioning what is going on. The mantra of his Artist’s Statement is that the only thing constant is change. As artists and Art enthusiasts, change can be different for us all. He has a fresh and modern theme in and behind his work that gives him a realistic outlook and enables him to look forward and perpetuate his work into interesting and wonderful places.
The Cincinnati-based e-journal for critical thinking, review and reflective prose on contemporary art, AEQAI, gathered for an evening full of discussion. Attending were AEQAI writers and board members including AEQAI editor Dan Brown, City of Covington Art Director Cate Yellig, author Karen Chambers, Northern Kentucky University English Graduate Program Professor Dr. Robert Wallce, artist Kevin Muente, artist and board member Jens Rozenkrantz, among others. AEQAI offers articles to invigorate the imagination and thought of its reader while stimulating artists and curators to produce better artworks and exhibitions.
The word ‘AEQAI’ was selected as a mispelling from a reprint of Livy’s text for the ‘Aequi.’ The Aequi were the peoples that Lucuis Quintus Cincinnatus of ancient Rome conquered upon his famous brief tenure as a ‘temporary’ dictator. He crushed their rebellion and then reintegrated them into the burgeoning empire. It is a playful analogy to the artist community since it implies the inevitable incorporation of the avant garde into mainstream culture. AEQAI states, “We creatives are the Aequi.”
The work of Frank Herrmann is centered on the art and symbolism of the Asmat people, one of the last Stone Age societies remaining on earth today. As a consequence of its isolation, Herrmann believes the Asmat culture and art allow us to see a picture of human creativity and technique in its true primitive setting. By filtering and processing references and ideas, Herrmann aims “to transform paint and canvas into a lively discussion without words.”
For the past several years, Herrmann has included the culture’s myths, symbolism and striking motifs in his own paintings. He had the opportunity to examine extensive collections of Asmat artifacts at the ethnographic museum in Heidelberg and the Steve Chiaramonte collection in Salt Lake City. Herrmann said he is eager to explore ways to incorporate Asmat culture and art into his work until the urge has been exhausted and new possibilities present themselves. He is currently a professor of fine arts at the University of Cincinnati, where he also received his MFA.
Herrmann will be included along with two other artists in the gallery’s upcoming exhibition “Motif, Mantra, and Mystery,” opening on Final Friday, June 28th. Eric Standley, Kim Krause, and Herrmann will present small paintings, watercolos and constructions no bigger than 7″h x 8″w. Images of works seen above as well as additional works can be found on Frank Herrmann’s artist page on the gallery website.
Gallery owners Sylvia Rombis and Marta Hewett represent CADI at Aeqai’s fundraiser
With an impressive attendance of nearly 175 people, the benefit party for AEQAI Magazine at The Carnegie on Thursday, May 16 brought in a revenue nearly three times greater than last year. Katie Brass, Carnegie’s Director, provided the space and the hospitality for the event. Area artists kindly donated work for a silent auction to raise additional funds for the online arts magazine. Sylvia Rombis and Marta Hewett were pleased to serve as representatives from the newly formed, Cincinnati Art Dealers Initiative, which donated refreshments for the event. Also, be sure to read the May issue of Aeqai magazine.
Join artists, dealers, collectors and art enthusiasts, as they come together to support Aeqai’s most important benefit of the year. With more than 5,000 viewers a month, Aeqai continues to be the premiere venue in the region covering all that is visual art and design. Proceeds will help to compensate loyal writers and contributors who have offered their services at no cost for several years. Hors d’oeuvres and drinks will be provided and works kindly donated by area artists will be offered in a silent auction.
The benefit will be held from 5:30 p.m. to 8 p.m. Thursday, May 16 at The Carnegie Art Center in Covington, KY. Tickets are $25/person in advance or at the door.
Lyndsey Fryman graduated with a Bachelor of Fine Arts from Eastern Kentucky University in 2010. As a mother of a child with Autism, she has an interest in understanding the physiological states and the outward expression of our experiences. Visually interpreting our outwardly expressed emotions is for her a language explaining what we are going through, what we think or feel.
Physical body language seen in the posture of animals’ ears and birds’ feathers give her figures a way to speak without making a sound. These additional features metaphorically relate to her maternal experiences. For the viewer it is a glimpse of the language Lyndsey had to develop to communicate with her children, particularly with her autistic son.
Her child’s symptoms are similar to many who are challenged with this disability, such as an absence of spoken language, eye contact, social skills and physical communication gestures (pointing, waving and reaching).
Being able to hear the unspoken language of her children allows her to communicate with them, and raise concerns for children and the human conditions in general. Her work embodies a visual language that has to be interpreted. Because of the condition, Lyndsey’s experience as a mother has been influenced to realize the importance of those things precious and yet taken for granted.
Check our website for more information regarding Lyndsey’s work or browse through images in the gallery below.
We were honored to introduce the Marta Hewett Gallery to visitors of the Over-the-Rhine Chamber luncheon held Tuesday, April 2. We brought along a glass sculpture, Architectonica by gallery represented artist Toland Sand. Additional works by Sand can also be seen on the gallery website.