Roman de Salvo: Lightening at Quint Gallery

Roman de Salvo: Lightening is one of a long line of shows held at the Quint Gallery( 7547 Girard Avenue, La Jolla 92037) for this artist who is a SD Art Prize recipient. Sat. March 14, 6 to 8 pm and showing until April 4. More info Nina Makosch 858.454.3409 

We are on a role at the Quint Gallery in the next couple of months. Not only is the SD Art Prize showing at the Athenaeum Art and Music Library right now....

San Diego Art Prize 2014 at Athenaeum Music & Arts Library until May 2, 2015
Marianela de la Hoz with emerging artist Bhavna Mehta
Philipp Scholz Rittermann with emerging artist Joseph Huppert
1008 Wall St. La Jolla, 92037
More info:press@ljathenaeum.org 858.454.5872

...but the Roman de Salvo's show is followed by one by Kim MacConnell and then one by Jean Lowe who are all three previous prize recipients. 

AND...Roman de Salvo's exhibition, as you will see below and as the title suggests, contains some pieces that could be considered furniture (if you include lighting as furniture.) Both the 2015 SD Art Prize winners Wendy Maruyama and Roy McMakin (with emerging artist TBD possibly from the New Contemporaries VIII exhibition opening at May 1 at Valencia Gallery at the NTC, Liberty Station)  are artists that use furniture techniques to create their art. 

Roman is using alabaster in some of these works but they still appear as light as the light they project.  

Farm to Table Lamp, made of pepper tree roots and
branches

In Roman's first solo show at Quint called Funishings was a work called Small Fireplace,a miniature stone masonry fireplace complete with real fire. Above is Second Act, a life-size enlargement of the original Small Fireplace drawn on birch panels using a wood-burning technique.

 These spliced twig works hark back to the giant installation Roman did previously and are beautifully constructed

Here is a taste of the upcoming Kim MacConnell exhibition inspired by the artist's interest in the pictographs ofthe San Diego tribe of San Luiseño Indians and his study of the brightly painted family compounds found in Cameroon, Africa. In MacConnel’s well documented trip to Western and sub-Saharan Africa in 1989, he speaks of how he went “in search of Picasso’s ghost;” meaning he researched the African tribal masks and traditions that Picasso incorporated in his own tribal art and cubist paintings like Les Demoiselles d'Avignon.