oil and marble dust painting on panel, featuring minimal and intuitive strokes, forming impressions of everyday objects (e.g. a sink faucet, a branch of a tree, perhaps a book) that hover on the edges of the piece and create peripheral movement, using a palette of neutral Spring tones, such as soft greens and yellows.

Mariel Capanna: Overlook

Adams and Ollman is pleased to announce two solo exhibitions: New Works by Vince Skelly and Overlook by Mariel Capanna, both opening on February 12 and on view through March 13.

Inspired by moving images, Mariel Capanna (b. 1988, Philadelphia, PA; lives and works in Salt Lake City, UT) explores the subtleties of place and perception in her paintings. Working from films, documentaries, slideshows of found photos, and home videos, Capanna employs a collagist’s approach to composition and image-making. With quick gestures and marks that toggle between representation and abstraction, Capanna captures fleeting images as they move off-screen or into the past. The accumulation of marks record the evolution of an image or sequence of vantage points with harmonizing color and gesture; the image unnameable, but the painting field littered with their traces.
In Capanna’s work, the perception of distance is a key theme: the distance between one geographic place and another, between present and past, between first and last painted mark, between real and mediated experience. Flat marks float against an illusionistic depth; the flatness a reference to the past several months when so much has been experienced through a screen, the depth a reference to a memory of the sky in Utah where these works were painted. These competing gestures—a depth of field and marks that live on the surface— balance in exquisite tension. In the new series of oil paintings on view in Overlook, the viewer is situated in the foreground where one looks past the immediate surroundings to find a background dense with detail and information. Our fixed perspective provides a simultaneous awareness of both speed and stillness, near and far, past and present, and experiences across place and time.
Coinciding with her presentation at Adams and Ollman will be a site-specific installation of Capanna’s work in the artists’ dining nook in Salt Lake City—a space with a built-in table and benches facing a window that frames the outside world. Presented by Good Weather gallery, the works in this intimate setting echo key concepts found in the works on view in Overlook.
Capanna received a BFA and Certificate of Fine Art from the Pennsylvania Academy of the Fine Arts, and an MFA from Yale University. She has been an artist in residence at the Guapamacátaro Art and Ecology Residency in Michoacan, Mexico; Skowhegan School of Painting and Sculpture; and at the Tacony Library and Arts Building (LAB) in Philadelphia. Capanna has also been the recipient of the Robert Schoelkopf Memorial Traveling Fellowship and an Independence Foundation Visual Arts Fellowship.

 

Installation image of Earth at Adams and Ollman gallery. The photograph shows a corner of the gallery with five paintings hung on white walls. On the left is a large canvas with abstract, psychedelic botanical imagery next to a much smaller canvas with imperceptible content from the image's distance. On the right wall are three square paintings of the same size, each depicting flowers. One uses deep blue hues, one pinks and dark greens, and one pinks and reds.

Eartha

Adams and Ollman is pleased to present the group exhibition Eartha. Using painting as a common language, the artists included in Eartha examine the concept of the natural world and their relationship to it. Together, the works offer a different way of being in the world, one that is personal, interconnected, and spiritual, while raising questions of representation, politics, gender and pleasure. Artists included in the exhibition are Hayley Barker, Amy Bay, Mariel Capanna, Emma Cook, Ann Craven, Ka’ila Farrell-Smith, and Maureen St. Vincent.

Images are revealed as rhythmic dashes, and dots of luscious color accumulate on the surfaces of Hayley Barker’s (lives and works in Los Angeles, CA) visionary paintings. Mediumistic and deeply spiritual, the images in Barker’s works are formed by ecstatic movements that create parallel worlds, ones in which divisions of figure and ground, interior and exterior, dream and reality, dissolve amidst undulating layers of light and shadow.

Amy Bay (lives and works in Portland, OR) mines stereotypically feminine realms—floral motifs, pattern, and decoration—in an ongoing series of lush, small-scale paintings that capture flowers in vibrant hues of red, blue, and yellow. Since 2017, Bay has explored the varied ways that flowers are depicted in everything from classical still-life paintings to folk art, wall coverings and textiles. Embracing the decorative, Bay celebrates the beauty and life-giving forces of flowers, depicting them in immersive realms of pure color, shape, and pleasure.

Working from films, documentaries, slideshows of found photos, and home videos, Mariel Capanna (lives and works in Salt Lake City, UT) captures landscapes in motion. With deft brushstrokes and thickly applied paint, Capanna depicts details as they move across the screen and out of the picture. Her dense surfaces are accumulations of flowers, cars, fountains, chairs, fires, and other images that come quickly into focus and then out of sight, marking a simultaneous awareness of both stillness and the passage of time.

In Emma Cook’s (lives and works in Austin, TX) monochromatic paintings, signs and symbols emerge from patterned fields of undulated lines or dense foliage. In these shape-shifting environments, female figures, candelabras, symbolic gates and newspaper headlines spring into focus from graphic grounds, functioning like a visual archaeology of place as they hint at unsettling narratives and latent histories.

Since 1995, Ann Craven (lives and works in New York, NY and Cushing, ME) has been capturing the moon in a series of paintings made in plein-air from the coast of the Eastern Seaboard—in Connecticut, Maine and New York City—to the cities of Paris and Reims in France. Each marked by a date, a time and a place, Craven’s catalog of moons, rendered in oil paint with assured strokes and luscious color, explores the astronomical body as a feminine symbol and as a marker of rhythms, cycles, and time.

Ka’ila Farrell-Smith’s (Klamath Modoc; lives and works in Modoc Point, OR) bold, colorful paintings are rooted in Indigenous aesthetics and the history of abstraction. Engaged in formal experimentation and play, the works use a distinct visual vocabulary that includes text, pattern, symbol, line, and gesture to explore the landscape in between Indigenous and western paradigms.

Maureen St. Vincent (lives and works in the Bay Area, CA) employs a surrealist vocabulary as she isolates and re-contextualizes elements of both the figure and the landscape. Sinewy lines create a road map through a terrain of erotic female body parts while we catch glimpses of the landscape through vagina-like portals. Rendered in soft pastels, the works show us an uncanny interconnectedness of body and land.