About Vessel Satellite Gallery
After 8.5 years of programming for a traditional gallery space, Vessel Gallery launches our satellite office to continue our work with artists and clients, while developing our mobility to bring ...
OPENING RECEPTION: Friday, January 5, 6–9 PM
coinciding with Oakland Art Murmur, on 1st Friday
ART SEEDS SALON: Friday, January 26, 8-10PM
featuring a artist talk by Cheryl Calleri, and music performance by The Haydn Enthusiasts
CELEBRATION: FRIDAY, February 2, 6–9 PM
coinciding with Oakland Art Murmur, on 1st Friday
The opening of a New Year is one where we put forth our wishes, hopes, and dreams for the manifestation of something lasting and positive. Our new show will set us on a course of discovery for that which sustains the human spirit, the need for optimism, and understanding the universal draw to light. With intention and excitement we’re bringing together the newest works by three artists whose work reveal light metaphorically, symbolically, and as an integral subject. The result is a quiet contemplative experience that allows for a meditative start to 2018.
The title of the show borrows from artist Cheryl Calleri’s body of work “Persistence of Light.”
(Above) OFFERING by Cheryl Calleri, Light and mixed media site-specific installation at Vessel Gallery, 2018
“Light is the subject and medium of ‘Persistence of Light’ I explore light as a physical phenomenon and a personal and universal symbol. This series is presented in three parts at Vessel Gallery.
The first part ‘Optical Improvisations’ concerns the interaction of light and matter. A prism is placed on a flat bed scanner. As the light passes through the glass, refraction gratings are produced on multiple plains of the prism. The clarity and elegance of visible light is captured by these enigmatic objects then translated into digital prints.
‘Offering’ is an installation composed of five mirrored bowls that rest on a 12 ft. self. These luminous objects employ reflected light as a focus for contemplation – a quiet place to gather one’s thoughts in an ever-amplified world of sound and images.
In a darkened room ‘Balance’ a 15 ft. installation stretches across the floor expressing light and darkness as an experience of rhythmical alternation or complimentary exchange.”
—Cheryl Calleri, exhibition statement
(Above) CLOUDS by Irene Imfeld, photography, 2017
CLOUDS series in progress (perhaps forever)
“The sun reflects off and runs through the moisture in the air, changing it into immaterial visions for us earthbound viewers. The sun sends us light as wave and particle. Although light reveals everything we see, we often think of it as in the sky, and when we look up from our daily occupations we get a glimpse of endless space. We take it for granted.
Moving through this space, clouds use the light to reveal rivers of air above us. The motion of the atmosphere becomes evident through layers of moisture arrayed for everyone, or no one, to see. Clouds give us an ethereal view of the cosmos as well as tinting all our earthbound experiences. They produce dreamlike variations in the surrounding landscape and in our minds. For a while we can forget about humanity’s impact on nature, wherever we are, and fade into visions that need no explanation.”
—Irene Imfeld, exhibition statement
(Above) 2016-154 by Ron Weil, charcoal on paper, 2016
“My drawings are created by applying flowing forces of air and water to granulated materials in the effort to produce images that appear to be created by natural processes. My medium prior to this show was almost exclusively charcoal but lately I have also begun to use bone black and graphite and occasionally rust. Another recent change in my process is the addition of my use of thinned out sprays of acrylic mediums as a force to shape my images. As a consequence of these changes in technique I have been able to increase the tonal range of my work, allowing me to control the quality of light in my images as the textural qualities of both the lightest and the blackest areas are enriched. While the goal of my work continues to be the creation of spaces that feel real and natural while simultaneously being unfamiliar and mysterious, I have also made it more of a priority to enlist these imagined spaces to elicit complex feelings in the viewer.”
—Ron Weil, exhibition statement
ABOUT THE ARTISTS
Cheryl Calleri has created work for many years that employs experimental methods in several mediums, printmaking, assemblage, sculpture, digital photography, video and video installation.
A native of Northern California, she received a BFA in printmaking from San Jose State University and studied painting and drawing at the Academia de Bellas Artes, Valencia, Spain. Calleri has had numerous museum exhibitions and her work is included in public and private collections in the US, Europe and Asia.
Irene Imfeld was awarded a residency at Joshua Tree Highlands Artist Residencies in 2015 where she completed the Zone of Transformation series. She continued abstract work in January 2016 in New Mexico and produced the final form of Strangeness of Seeing later that year.
Her image, Vacant Nests #21, was chosen by William Wegman as Grand Prize Winner in the 2014 Fauna competition, San Francisco. The Vacant Nests series was shown at a solo exhibit at Soho Photo Gallery, New York, in June 2016, as winner of the SPG portfolio competition. Irene spoke about the development of her work at City College of San Francisco in April 2016, an update to her featured presentation, “The Artist’s Path,” at Shooting the West, Winnemucca, NV, in 2013. She had solo exhibitions at the Bolinas Museum and the Fresno Art Museum, both in 2007. In addition, she won awards in exhibitions at the Print Center, Philadelphia, and at the Atheneum, La Jolla, California.
Ron Weil was born in New York and grew up in Detroit. He studied economics at the University of Michigan followed by graduate work at Berkeley in both economics and in a self-developed interdisciplinary study in urban geography. He has been a teacher at the high school and college levels as well as a real estate developer, urban planner, and community worker. He has made a living as a laborer, cab driver, and poker player. Weil has been drawing since childhood, and his creative impulses have frequently caused his career plans to jump the track. After finishing school he spent a few years using silkscreen to make political posters (some of these got favorable notice in Mother Jones). “Art kept popping up like a mushroom in the woods,” he says. He has developed a set of tools and discovered for himself a repertoire of techniques using natural forces (air and water) to produce images that, though produced rapidly, seem the result of slow natural processes. “What really thrills me is the magic of discovery and surprise that comes from making work with this medium (charcoal).”