November 3rd – December 27th, 2024
Artists’ Reception: Thursday, November 7th from 6-8 pm
with a Brief Gallery Talk at 7pm
Collective Calamity
Organized chaos is what is seen in the works by two energetic and vibrant painters. And collectively these artists have chosen to build a showing of their works to compliment each other’s expressive techniques. With rich tints and tones, what is this force they both possess? From their academic careers to years waged within their fields, Laura Reed and Lindy Marshew Shewbridge have individually evolved their practices to better research realms they could feel safe in. While one artist seems to create from a subconscious space, the other draws inspiration from their garden. What are these scapes the artists are struck by? And what is this fixation for the organic?
Laura Reed
Laura Reed – Artist Statement
An energetic painter, Laura Reed has been classically trained to paint with oil paint. However, she does not stop there. With an undergraduate degree from the Cleveland Institute of Art and a Masters of Fine Art from Cranbrook Academy of Art, Laura’s paintings often incorporate leaf, resin, and acrylic. She is not confined by surface “appropriateness.” Laura’s found objects cross conventional lines and bring fine art to such things as bathroom scales, wood boxes, wine bottles and more. And finally, along with German Expressionism, Folk Art are integral parts of her warp and weft.
Laura Reed – Biography
Laura Reed is an artist most known for her vibrant, expressive, colorful painting. Her painted objects often resonate coated with a two part epoxy resin finish. As stated she is a classically trained oil painter, but she is adeptly versatile in painting in acrylic, egg tempera,enamels, gouache, and pen & ink.
She was very taken with the German Expressionism movement following Die Bruce, Fie
Blaureiter as well as the Fauves of Paris beginning pre-war. Laura’s favorite inspiring artists began her painting prowess through the likes of expressionists Egon Schiele, Gustav Klimt, Paula Moderson-Becker. Among Many others. She connected to the expressionists early on while attending the Cleveland Institute of Art where she received her BFA. And studied under renowned Op Artist, Julian Stanzyck. She was advised by Ed Mieczkowski, founder and member of Anonima (a group of geometric abstractionists from the 1960’s) and Ralph Woehrman, the Chair of Drawing.
Following Cleveland Institute of Art, she then went to earn her MFA from Cranbrook Academy of Art. It was there where Laura studied under another significant and Op Art force, George Ortman.
Outlined in black, during her time at Cranbrook Academy of Art, her paintings evoked a stain-glass effect. Usually with pushing the paint around to create tension between the strong outlines. Which was reminiscent of her earlier inspiration during undergrad from French Fauve Expressionist painter George Henri Roualt and German Expressionist Max Beckmann.
While focused on her studies at Cranbrook, Laura began painting commissioned pieces where she was provided the opportunity to research Folk Art further. And as Laura worked in her studio as a student at Cranbrook, patrons were deeply interested in her painted and resined bathroom scales. Laura’s mother would later comment on this, noticing her technique of painting around the corners of her 2-dimensional work progressed into her 3-dimensional pieces where it felt natural to do so. This commentary, as well as Folk Art, would then generate great insight for Laura’s thesis at Cranbrook. Michael Hall, Sculptor and Folk Art collector who was a renowned instructor at Cranbrook was Laura’s instructor. Under his tutelage, she felt re-born after immersion from undergrad. Along with German Expressionism, she became enamoured by Folk Art and the period of time between the American Revolution and WWI. This is when she started collecting and painting or embellishing found objects. And refurbishing salvaged furniture, bathroom scales, bottles, cigar boxes, clocks has been an ongoing process for over 40 rewarding years.
Lindy Marshew Shewbridge
Lindy Marshew Shewbridge – Artist Statement
A world within another world. Where one reality, my own, evolves and grows into the reality we are all familiar with. The familiar reality we wake up to and then at the end of the day rest from. While in our reality; in my studio or outside in nature, I turn everything off and then allow my hands, eyes, and mind to make. With only the materials around me and no references, I turn off all my worries, fears, and all distractions to solely focus on the work and expressing myself. Closed off, I have to mindfully think about each decision I choose while working. By practicing this exercise, I am able to improve and plan the next steps I could take. And then edit, contemplate, and strategize the work.
From the lines drawn to hours mixing paint in preparation, my studio practice evolves every minute. While traveling through scapes of organic structures, the colors used may also be noticed. There is a sensitivity to color and how it is wielded in my work. The desire is for the viewer to generate their own interpretation of the organic configuration. And for the application of bright, vibrant hues and tones to visually guide a viewer to their interpretation. I am interested in my work becoming more of an experience for a viewer and exploring various ways and means of how to introduce my reality into the familiar reality we all know. The next chapter involves refining the shapes with more shadows and light.
These forms will reveal a painting and then adjourn for a timely return of the observer. No matter their travels, the still companionship these forms can quietly offer is possible direction
throughout each piece and ignite imagination as they move in response to a viewer. From the interaction with the viewer, the forms also act as reminders. We are alone, but never truly. We have ourselves to look to for love and friendship. With these forms, I ask the viewer, what do you see? And what is this shape conjuring for you?
Lindy Marshew Shewbridge – Biography
Within dimensional Op-art Scapes, Lindy Marshew designs and paints patterns using a familiar organic form. A keen attention to detail Marshew creates colorful petal shaped forms that move across the composition and with color composes depth. Through Marshew’s practice and research they’ve noticed how viewers reacted with their work. The forms seemed to invoke powerful memories or moments of joy and delight. From this, Marshew has strived to build and design works which would continue to grow a viewer’s imagination.
In the summer of 2023, Marshew participated in a mural festival in Detroit; Murals in Islandview as a muralist.They received their BFA from College for Creative Studies in 2012 and received their MFA in Painting from Cranbrook Academy of Art in 2021. And in March 2025 Lindy Marshew Shewbridge will be curating her first exhibition at The Annex Gallery for an all female show, which will be in honor of International Women’s month.
The Woods Gallery is located in the lower level of the Huntington Woods Library and is open during library hours.