Archetyptonics
Paintings by Thomas Murray
Join The Studio@620 for an exhibit of new paintings by Thomas Murray entitled "Archetyptonics" with an opening reception on Friday May 7 from 6:30 - 9:30 PM. Exhibit on display through May 22, 2010. Admission is free and open to the public. Gallery hours are Tuesday-Saturday, 12:00 - 4:00 PM.
Artist Statement
"Archetyptonics" Lost in a psychological landscape this series of paintings reestablishes my desires at the sacred grove, where unlikely archetypes still have the ability to move the passions of men and charm the feminine principle.
The myth of the Golden Age, before we sought to be fully tamed, restlessly 
confronts us, and the naiveté of our modern sensibilities plays out on every canvas. Pictorial space is divided and subdivided, finished and unfinished, bringing with it the raw foundation of a civilization yet to be formed.
Narcissus, Madonna, Duende, and Lilith, revel on the same stage.
Chaos merges with the chunky order as colors and forms are turned over.
We work, we sin, we sleep, and we are glorified; naked, without shame. This is our Garden, before the great Pan was dead.
In addition to Thomas Murray's paintings in the front gallery, an exhibit of works by Donna Mason Sweigart will be on display in the Astrid and G. David Ellis Gallery. This intimate space will allow guests to be up close to these unique and tactile creations.
Donna Mason Sweigart: “Sans Serif”
It is important that each piece resonate its own identity apart from the wearer. My work is not meant to decorate the figure but to symbiotically negotiate space while maintaining its own aesthetic sensibility. 
There is something dramatic about overwhelming scale. Rather than focusing on preciousness, contemporary work accentuates the pureness of form. This work is a departure from a major tenant of jewelry in that it does not rely on connection to class, wealth, religion, or cultural identity for its validity.
In saying that though it is marginally inspired by the collar. (Not by the collars symbolic meaning in relation to culture, but rather the way in which Frans Hals uses the collar to emphasize the visual detachment of the head from the body, mediating the conceivably violent separation through the subtle interplay of the body and recontextualization of the collar through the physicality of material properties.
I enjoy the mixture of super high technology and the simple textures of everyday materials. What dictates material use is the form to be created in conjunction with the inherent language of materials. Ultimately, technique fades in the light of the form.
