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Hooper & Rosenberg: Color in Motion

  • by Kelly Skeen
  • August 11th, 2016

This Friday from 5-7pm, Color in Motion opens with a spectacular showing of vivid acrylic abstract paintings by Cody Hooper and Tom Rosenberg. Both artists’ body of work thrives on color movement, which is driven by emotion and personal expression.

For Rosenberg, his current surroundings and mood in the studio dictates the direction of a painting.

“Although most of my work is abstract, it is most often inspired by a feeling of a sense of place,” says Rosenberg. “That place, whether it be the rolling hills of my Santa Fe neighborhood or patterns I’ve come across while snorkeling in Caribbean waters, will bring to mind a set of colors that I’ll use as a starting point. After I choose the colors of my palette, I decide on a genre of music to paint alongside that I feel will reinforce the mood that I was seeking.”
Rosenberg in the studio

For Rosenberg’s Tapestry series, he chose earth tones reminiscent of New Mexico’s landscape. Red oxide, sage green with warm metallic copper, and gold hues flow across the panels in an interconnected and peaceful way. For this series, he set the tone in the studio with music that was soothing and instrumental.

“I painted the Tapestry series while I was in Miami on a winter break away from New Mexico,” explains Rosenberg. “I had been away for over three months from my Santa Fe neighborhood and was beginning to miss my morning walks with my dog along the paths that wind through the hills.”

Tapestry 4 by Rosenberg at Pippin Contemporary

Tapestry 3 by Rosenberg at Pippin Contemporary

Tapestry 2 by Rosenberg at Pippin Contemporary

Tapestry by Rosenberg at Pippin Contemporary

Tapestry by Rosenberg, 30×30″ each, reverse painted acrylic on acrylic panels


For Cody Hooper, it’s all about color. He often subconsciously shifts his palette depending on his current emotional state or life events.

“I recently had my daughter Madison and someone commented to me that my work seemed happier and lighter,” says Cody. “I was using more magenta and whites, almost taking on a softer feel. I didn’t even notice this subtle change until it was brought to my attention. So for me, color is a tool I use to simply communicate or channel my experiences and overall appreciation for life.”

Opposing and complementary hues mingle together across Cody’s compositions, and are then sent spiraling in various directions as pure white light bursts from the depths of the piece. Cody’s color choices and direction of movement dictate the tone of a painting, while also acting as avenues for deeper expression and meaning.

Here With Me by Cody Hooper at Pippin Contemporary, 48x70 12000

Here With Me, Cody Hooper, 48×70″ acrylic/panel.

“To me, color is everything,” says Cody. “It sets the mood for the painting and is the first thing that viewers respond to when they see art. It’s very physiological and in a way, a means of communication from the artist to the viewer. I can make you feel calm or excited simply by my choices in color, which creates this special experience that I’m trying to share.”

Cody Hooper Art Studio

Join us THIS FRIDAY for the opening reception of Color in Motion at Pippin Contemporary. Show runs 8/17 – 8/30. Preview new work in the online exhibition catalog. 

Behind the Paintings: Cody Hooper

  • by Kelly Skeen
  • August 3rd, 2016

Cody Hooper Abstract ArtistCody Hooper‘s vivid acrylic abstractions are reflections of the artist’s personal expressions through color, light, depth and movement. The New Mexico painter’s work is driven by his own emotions, and he sets a specific mood through color choice and composition with each piece. From soft, subtle blending to bold spontaneous energy, Cody’s panels communicate a sense of freedom, joy, and calm in an otherwise hectic world.

“Lately, I’m in a place of conveying hope and a feeling of being released from world struggles and sadness,” explains Cody. “Painting is my outlet to let go of this constant stream of outside negativity with what’s going on in our world. My goal is to create peace with my art, using these colors and themes to communicate that feeling to the viewer. I hope those that acquire my art get to continuously feel happiness and encouragement from what I have created.”

Cody’s upcoming exhibition at Pippin Contemporary will be Color in Motion, a group show with Rosenberg. The show runs from August 17 to August 30th with an opening reception on August 19th, 5-7pm. Cody’s new work for the exhibition varies from small explosive abstracts to large riveting works that play on unique textures, contrasting forms, and bold directional movement.

Cody shares the stories behind three of his newest paintings for the show, Let Myself Go, Blazing Sea, and Make Me Feel Complete.

Let Myself Go by Cody Hooper at Pippin Contemporary

Let Myself Go, 48×48” acrylic/panel

In this piece, I’m tapping into that raw energy of emotion. I’m limiting my color palette and letting the focus be on the spontaneous energy in the thick white paint. I’m painting wet on wet and using a heating method, which adds more of that raw element as it lets colors run together and bubble up in areas. The challenge for me here is to let the imperfections reveal themselves instead of blending everything out all nice and soft. I feel that it creates a more bold and honest statement. This style of painting is driven purely by emotion and the ability to let go of control. I struggle with this in other areas of my life and I’m learning more and more to just “Let Myself Go,” even if it reveals some of that raw vulnerability in my life.

Blazing Sea by Cody Hooper at Pippin Contemporary

Blazing Sea, 38 x 70” acrylic/panel

This is a painting that is all about color and harmony and how opposites attract. I did some smaller versions of this piece and even in a 16×16 format they felt so good that I had to bring them to life in a larger scale. The overall shape and size of the piece, the tension created by the cools and warms, and the two dancing shapes being grounded by the calm horizon…it all just felt so romantic to me. It’s peaceful while still giving you that feast of boldness. You have a perfect blend of contrasting elements in every aspect of the painting, which is very difficult to achieve.

Make Me Feel Complete by Cody Hooper at Pippin Contemporary

Make Me Feel Complete, 24 x 36” acrylic/panel

This is what I like to call a “roots” painting. I wanted to go back to what I was excited about when I first started painting abstracts. I loved the look of organic heavy textures, almost like a relic or something pulled from the earth. I started with layering paper onto the panel to create a subtle grid pattern. This gives a unique surface to build on and shows well in the overall finish of the painting. While moving forward with the heavy textures and paint colors, I decided to stay within this earthy theme. I brought in some lighting effects using titanium white, utilizing the heavy textures to shadow and highlight areas. This is a piece that will come to life with overhead lighting and is intended to play off of its environment…changing characteristics as the day goes on and lighting conditions change.

View Hooper – Rosenberg Exhibition Catalog

Click here to view more of Cody Hooper’s acrylic abstract paintings.

Studio Visit with Guilloume

  • by Kelly Skeen
  • July 20th, 2016

Guilloume Studio
Guilloume’s “atelier,” French for workshop or studio, is a hybrid space on his home property in Sandia, New Mexico that acts as a multi-functional workspace and show room. Every step of Guilloume’s bronze process, aside from the actual casting, is done under one roof in his atelier, from clay mold making, to welding, to patina and base application. The walls of his showroom are filled from floor to ceiling with his paintings and bronze wall reliefs, providing the artist with a monumental inspiration board and creative sanctuary. Natural light streams in from the windows, which allow for spectacular views of the eastern slope of the Sandia Mountains. Also on the property is Guilloume’s family home (where he often welcomes in visitors), an elegant sculpture garden with his own work placed among aspens and fruit trees, and a gallery, open by appointment, that features more than 50 of his oil paintings, sketches, bronze sculptures and wall reliefs.

Guilloume sculpture garden

Guilloume

The Colombian sculptor says of his convenient work space, “I strive to maintain a positive and inspirational environment in my atelier. This allows me to enjoy my work and create the art that has become a big part of my life.”

Guilloume clay mold

Guilloume Studio

Guilloume’s pieces are cast into bronze at a foundry in Loveland, Colorado, which is a well-known hub for bronze sculptors and fabricators, and are then returned to his studio where he applies his own patinas. Through his patina process, Guilloume creates a masterful composition on the surface of each piece, individualizing every sculpture with varying color and texture.

Watch Guilloume’s patina process in this video. Here, he is heating the sculpture to 100-350 degrees and then applying various chemicals onto its surface, which results in distinct colors.

Guilloume is a regular participant in Santa Fe’s annual Contemporary Hispanic Market. We’ll be kicking off the market weekend with an exhibition of his latest work at the gallery. Join us for the opening reception on Friday, July 29th, 5-7pm.

Guilloume studio

Guilloume clay mold

Guilloume studio

Behind the Painting: Interwaving by Rosenberg

  • by aletapippinartist@gmail.com
  • July 6th, 2016

Local Santa Fe artist Rosenberg (AKA Tom Ross) reverse-paints in layers on the back of clear acrylic panels. Vibrant and complex, the work embraces a wide range of color palettes incorporating intricate patterns. While many of the pieces are built around the design of geometric shapes, others are completely organic and free flowing. As a result, his paintings become meditations that allow viewers to resonate with the spirit and energy in which they were created.

Interwaving by Rosenberg at Pippin Contemporary

Rosenberg’s latest piece is a 24 x 24″ acrylic/acrylic panel called Interwaving. Here’s what the artist has to say about the work:

I originally  was going to title this latest 24 x 24 “Interweaving” but upon typing the word I misspelled it as “Interwaving.” It is hard to look at this painting and not see waves, waves not only of the ocean, but also energetic waves that underly our visual reality. This painting is one of many of my pieces that takes on different meaning in different orientations. As I painted it, I continued to rotate, its position which affected not only the composition but also the direction and flow of the patterns and strokes.

After completing it , I originally viewed it at an orientation that was turned 180 degrees from what is show in this photo. From that viewing, it connoted  more of a seascape.  Later,  when I first showed the completed piece to a friend, I asked him which orientation he preferred. He chose the direction that is posted above, pointing out that this way it takes on more of the feel of a landscape with New Mexico mountains. The fact that the painting takes on both a mountain and ocean locale, seems especially appropriate to me as I’m at a point in my life where I’m trying to reconcile how to combine both living in Santa Fe and also spending a significant amount of time at a place by the ocean. But most importantly, I’m trying to learn how to interweave the many varying and sometimes opposing parts of my psyche in a unifying and harmonious composition.

Rosenberg’s upcoming show with Cody Hooper, Color in Motion, will run from August  17th to the 30th, with an opening reception on August 19th, 5-7pm. Browse Rosenberg’s full inventory on his artist page.

Rosenberg in the studio

Joe Slack: Making Use of Positive & Negative Space

  • by Kelly Skeen
  • June 22nd, 2016

Joe Slack with DirectionOklahoma City artist Joe Slack’s steel sculptures are inspired by primitive art, mid-century modern design, human observation…and studio scraps.

“I really try to make use of my leftovers,” says Slack. “It’s a way to trick me into going in another direction.”

Playing on the use of positive and negative space, Slack’s work is predominantly figurative abstract designs reminiscent of Matisse cutouts. The silhouette of an outstretched hand, a face covered in circular holes, or the outline of the human body gives three-dimensionality and familiarity to an object in space. The shapes that are left from these silhouettes and cutouts don’t stay piled up in the studio for long; Slack reworks the creatively cut leftovers to form either another figurative piece or in most cases, a non-objective work.

Screen Shot 2016-06-21 at 1.32.30 PM

Radioactive Tetris, standing at about 8 feet tall in our sculpture garden, is one of these reverse engineered pieces that was conceived from scraps. The original is a public sculpture in Oklahoma City called Voids and Foliage, an abstracted, human-like form with three-dimensional squiggle shapes detailing its surface. Radioactive Tetris was created from the drawing board so to speak, where the squiggle shapes were cut. Slack formed a contrasting geometric outline with sharp lines and edges around the loose shapes of negative space, transforming an afterthought into it’s own work of art. The spirit of the original inspiration remains, but is embodied in an entirely new piece.joe slack positive negative use

“Sometimes I feel like I’m cheating off myself,” says Slack. “It makes me think differently and it makes it fun.”

Learn more about our newest contemporary sculptor from his artist bio and see his primitive steel sculptures now showing in the gallery’s sculpture gardens.

Headlines sculpture by Joe Slack

Future Man sculpture by Joe Slack

June Featured Artist: Rebecca Haines

  • by Kelly Skeen
  • June 10th, 2016

Rebecca Haines Pippin Contemporary Artist

“I’m really a deer trying to be a human,” explains Rebecca Haines, a contemporary wildlife painter from Wyoming who now lives in Santa Fe, New Mexico. From coyotes to owls to the elusive but gentle deer, Rebecca’s paintings reveal the soft spirit that lives beneath the fierce demeanor of wild animals. Her artwork explores the presence, mystery, and message of these dynamic creatures, which the artist believes we as humans can learn a great deal from. Rebecca’s strong connection with and respect for animals shows through in her work, particularly with one of her most meaningful subjects, the deer.

Gentle Girl by Rebecca Haines at Pippin Contemporary

Gentle Girl, Rebecca Haines, 36×24″ oil/panel

“The deer is the animal I most resonate with, followed closely with coyote and raven. I often feel I am a deer trapped in a human body and that’s why life can feel so challenging sometimes! The deer represents gentleness and a return to the natural world. Often, throughout history, the deer has been included in sacred images from many different traditions. On the top of Buddhist monasteries, we often see the wheel of life in the middle with a deer positioned on either side. In images of Jesus, he is often pictured walking with a deer. In some middle eastern traditions, the deer is pictured in their religious artwork and illuminated poetry. And in many Native American tribes, the deer is the most sacred and important of all the animals to them for many reasons. Deer antlers are often seen to represent “sacred antennae” to the spiritual realm, a way of tapping into those places. The Huichol Indians from Mexico portray their medicine people in their artwork with antlers, which symbolizes this belief. And the deer, the female doe especially, represents to me personally a boundless sense of wonder and magic and playfulness.”

Rebecca HainesRebecca’s oil stick and grease pencil paintings are made up of loosely representational drawings, abstracted form and line, and vibrant color fields. She begins with an image in mind and then follows where it leads, allowing the essence of the animal to emerge rather than confining it to its physical accuracies alone. Nothing in her work is brushed; she manipulates the oil sticks to create the effect she wants by scribbling, blending, and smudging, creating hard lines that evolve into simple gestures or vibrant colors that blend into soft shapes. Composition is important, particularly the way the space is broken up by the image and what abstract forms are left in the background. Colors and layers are built up through quick movement, with the final phase being the meticulous realism of the animal’s eyes. Their piercing gaze is what draws the viewer in and brings the subject to life. With these realistic features emerging from an ambiguous background, it seems that you have caught the creature in a moment in time – maybe a startled movement or a wary glance. Sometimes these expressions are intentional, but often times they arrive unexpectedly.

The Great Perhaps by Rebecca Haines at Pippin Contemporary

The Great Perhaps, Rebecca Haines, 24×18″ oil/panel

“This rabbit appeared on my panel one day in a magical, mystical sort of way, like it was peeking out from another dimension and still unsure of this one, so it was keeping two feet in the other world until it had a chance to observe things more closely in ours. He seems to be a rabbit of great distinction or high stature. He enchanted me, and continues to do so…”

Rebecca’s intention as an artist is to communicate the lessons that animals can teach us, while also providing a bridge between the civilized and the wild, between the known and the mysterious.

“Animals are a link to the sacredness of all that is.” -Rebecca Haines

Rebecca is our Featured Artist this month at Pippin Contemporary. Meet her on Friday, June 10th from 5-8pm during the Edible Art Tour with Jambo Café, where participants will snack on delicious African cuisine while viewing Rebecca’s latest work.

Q&A with Gallery Owner and Artist Aleta Pippin

  • by Kelly Skeen
  • May 25th, 2016

This weekend is the highly anticipated Grand Opening of our new location and Fifth Anniversary Celebration at Pippin Contemporary. We moved into our new gallery space at 409 Canyon Road back in March after weeks of preparations (see the work in progress here), and now we’re gearing up for the season in the heart of Santa Fe’s historic art district. This permanent space is the culmination of a dream that started when Aleta Pippin opened her namesake gallery on Lincoln Avenue back in 2011. Since the original opening of Pippin Contemporary, the business has moved twice and now rests permanently at 409 Canyon Road in a space that is more than double the size of any previous location.

From selling her own work in a parking lot in downtown Santa Fe to owning a gallery space on Canyon Road that exhibits the work of 19 painters and sculptors, Aleta Pippin shares her journey as an artist and gallery owner in a city known as one of the top art markets in the country.

Q&A: Aleta Pippin

Aleta Pippin in her studioWhat was your first impression of the Santa Fe gallery scene and how did you break into it?

I started painting in 1992, landscapes and portraiture. It seemed that most art in SF was Native American or Western. As I progressed in my ability I moved toward abstraction. It wasn’t until 2004 that I committed to painting as a career (third) and proceeded to sell my work. I juried into the Santa Fe Society of Artists and began showing my work every weekend from the end of April through mid-October. The shows, though challenging to be out at 5:30 a.m. Saturday mornings to set up the tent, display panels, etc. were fun and a real learning experience. The first painting I sold was $4000. That couple bought two more paintings over the next few months and I still stay in touch with them. That painting signified a life-changing time for this couple and they remember it fondly as a celebration.

I met many artists, including Barbara Meikle and Guilloume, whose sculpture we show. Barbara eventually became my business partner and in 2006 we opened Pippin Meikle Fine Art. I’m thrilled to say that this is the 10th year celebration for Barbara’s gallery, Barbara Meikle Fine Art, which she continued after we decided to move forward on our own.

You’ve moved the gallery three times in the past five years. How did Pippin Contemporary evolve into what it is today?

In 2011, I asked Barbara whether she’d be interested in opening a gallery downtown. When she wanted to focus on her work and the Delgado location, I decided to go ahead and form Pippin Contemporary and sublet space on Lincoln Avenue. It was fun and we did fairly well, however the space was small and the location didn’t have near the foot traffic as what I’d experienced on Delgado, just off Canyon Road. Gallery space came available on the corner of Canyon Road and Paseo de Peralta in 2013. I decided to lease it and move back to Canyon Road. It actually ended up being a fortuitous move as there was room for outdoor sculpture and I ended up showing the work of a few amazing sculptors.

Aleta in front of signI have a habit of following my intuition in business. I believe I have an advantage that most people don’t have in that I’ve always been entrepreneurial, starting my business in 1984 in Houston during a terrible recession. I sold that business in 2008, not because I was looking to sell, but because I was given the opportunity by a large company who was buying. Since I no longer lived in Houston and wasn’t as directly involved in the business, it seemed that the timing was right.

Since I’d been focused on art and making a career in it, owning my gallery was a no-brainer. Shortly after Barbara and I opened our gallery on Delgado, we purchased the building, which Barbara bought out in 2013.

Did you ever dream you would own your own gallery on Canyon Road? How does it feel?

No, I didn’t anticipate owning a building on Canyon Road. However, as a result of some events that occurred during my lease, owning my building seemed like a practical option. It had to be the right building though as most buildings on Canyon Road don’t have large space for sculpture. Then the building at 409 Canyon Road came on the market and it seemed like the perfect fit.

I think the building is wonderful. It’s beautiful, the location is outstanding, and it’s one of the largest gallery spaces on Canyon Road.

A Bright Future by Aleta Pippin at Pippin Contemporary

A Bright Future, Aleta Pippin, 30×30″ acrylic on acrylic panel/resin

What do you envision for the future of Pippin Contemporary?

My vision is that we grow the current business via those collectors who come to Santa Fe. My broader view is that we move beyond to focus on the corporate and public art markets. Most of the artists represented by Pippin Contemporary could easily provide artwork for corporate clients, as well as site-specific work. Developing that client base will take time and effort. I realize it won’t happen overnight. There is so much happening right now with technology and the changes it has caused in how retail business is accomplished. We embrace the opportunities that technology provides and as it becomes more refined, we will continue to adapt our business style to it.

I believe just as one step led to another with my art career, that one step will lead to another growing the gallery.

Click here to see new paintings by Aleta Pippin. 

Photo Recap: Canyon Road Spring Arts Festival

  • by Kelly Skeen
  • May 12th, 2016

Last weekend, more than sixty artists took to the streets for the Canyon Road Spring Arts Festival. Painters, sculptors, glass makers and more created original works of art outside the galleries on Saturday; their pieces were sold either by silent auction during the day or at the live auction event that evening.

We celebrated the start of the season with a Local Artist’s Reception on Friday and enjoyed a fun evening with artists, collectors, and friends. On Saturday, Gina Rossi, Rebecca Haines, and Cody Hooper painted in front of the gallery and discussed their work with visitors. All three artists sold the piece they were working on. Enjoy our photos from the event and mark your calendars for next year’s festival, May 11th and 12th, 2017.

Artists and friends enjoying our Friday evening reception:

Photo May 08, 2 29 19 PM

Photo May 08, 2 29 22 PM

Photo May 10, 7 59 39 AM

Photo May 08, 2 29 04 PM

Photo May 08, 2 29 07 PM

Saturday Slow Draw with Gina Rossi, Cody Hooper, and Rebecca Haines:

Photo May 07, 10 35 16 AM

Photo May 07, 12 29 44 PM

Photo May 07, 12 32 22 PM

Photo May 07, 10 55 49 AM

 

A lucky collector!

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Gina Rossi: Listening for the Inner Voice

  • by Kelly Skeen
  • April 29th, 2016

Gina Rossi at Pippin ContemporaryGina Rossi‘s oil paintings are powerful representations of the southwest landscape with open skies, vivid sunsets, and billowing clouds. Her atmospheric scenes are inspired by the beauty of New Mexico and are painted with a passion that allows the artist to capture exquisite and passing moments in nature.

Gina has shared with us her process for translating the limitless beauty of the landscape into her art, along with finding additional paths for inspiration.

 


“Inspiration is key in making art, any kind of art.  My inspiration comes from a myriad of things like the sky, clouds, atmosphere, plant life, scribbles on a wall, and peeled paint.  I see things in my every day life and they get stuck somewhere in my brain where they eventually end up in a painting.  The process is somewhat mysterious. I am not sure how other “creatives” do it, but that is my process.  As an artist, it isn’t just the seeing and the logging it in for future reference but the doing.  The doing is very important and sometimes intimidating.  For me, I usually need time between the seeing and the doing because I often do not know what I am going to do with that bit of inspiration.  It often just shows up.  It says, “Hey, what about me?  It would be perfect for the little area in the upper left hand corner that you are struggling with.”  I listen for these bits of inspiration while I paint.  Assembling a good painting requires the ability to listen to the inspirational voice floating around in your head and it always requires the skill to put it down on the surface of the painting in your hand and in the way you paint.  I am always looking and following my inspiration.  It is usually in the flowing place of my mind’s eye.”

Timeless by Gina Rossi at Pippin Contemporary

Timeless, 36×48″ oil/panel

El Corazon by Gina Rossi at Pippin Contemporary

El Corazon, 40×30″ oil/canvas

El Dorado's Treasure by Gina Rossi at Pippin Contemporary

El Dorado’s Treasure, 36×36″ oil/panel

The Light Beyond by Gina Rossi at Pippin Contemporary

The Light Beyond, 36×48″ oil/panel

Gina will be participating in the Slow Draw on May 7th for the
Canyon Road Spring Arts Festival, and will be in attendance for our Local Artists’s Reception on Friday, May 6th, 5-7pm.

Click here to see more of Gina’s Santa Fe landscapes
Gina Rossi art at Pippin Contemporary

Meeting in the Middle: Aleta Pippin & Greg Reiche Collaborate

  • by Kelly Skeen
  • April 12th, 2016

Aleta Pippin in her studioMeeting in the Middle. This is the title of Aleta Pippin and Greg Reiche’s first collaborative piece, which now hangs in a corporate office building in Houston, Texas. Spanning over 12 feet long and reaching over 3 feet high, this monumental work merges Aleta’s acrylic and resin abstract panels with Greg’s kinetic glass and steel grids. Aleta and Greg have been showing their work alongside each other at Pippin Contemporary for three years, but the idea to create a piece together didn’t transpire until about six months ago.

Greg Reiche assembling sculptureA group of attorney’s in Houston, who have collected 26 of Aleta’s paintings so far, contacted Aleta last November to request a very large piece for their conference room.

“I wanted to give them something extraordinary,” said Aleta. “I felt that individual panels was the way to go, but it seemed that making three or five individual painted panels simply wasn’t as dramatic as it could be.”

Then something clicked, and that’s where Greg came in.

“I have to admit, I was surprised when Aleta asked if I would like to collaborate on this piece,” explains Greg. “I have great admiration for her work and was quite flattered by the request, but was also a bit skeptical at first as to whether it would work well.”

They decided early on that Aleta would create the painting first, and Greg would respond. Aleta painted five panels with acrylic paint and a resin surface. The piece then went to Greg’s studio, where he worked from her color palette. The piece was completed within two months…and the results were nothing short of spectacular.

Golds, blues, purples and subtle reds in Aleta’s panels blend together among interesting textures, and the resin finish adds a luminosity to the piece that lends itself well to the effects of Greg’s iridized glass tiles. The tiles perfectly pick up the gold and purple hues, and the three dimensionality of the steel grid adds a dynamic contrast to the surface of the piece. Just as in his own sculptures, Greg uses brass wire to attach each glass tile to the steel, adding another texture and glint of gold to the overall composition.

Meeting in the Middle, Pippin-Reiche Collaboration

Meeting in the Middle (3), Pippin Reiche collaboration

Meeting in the Middle, video of Pippin-Reiche collaboration

Meeting in the Middle, Pippin Reiche Collaboration

Although unsure at first, Greg was amazed at the outcome.

“In the end, I think it worked beautifully,” says Greg. “The combination of her luminous, organic paintings with the linear grid structure and iridized surfaces of my glass work, worked surprisingly well. I love the way the diverse mediums play so well off each other and the incredible depth of color and luminosity of the entire piece.”

Aleta concedes. “I’m thrilled that Greg agreed to do this. Personally, I’m so excited about how beautifully it turned out and it is such a unique piece that I can see it becoming an important part of Greg’s and my work. It gives each of us the opportunity to reach a market that we weren’t as able to access on our own.”

Soliloquy - Pippin-Reiche Collaboration

Soliloquy, Pippin-Reiche Collaboration, 54 x 47 x 3″, $13,500

The artists were so enthusiastic that they immediately started a second collaborative piece, Soliloquy, to hang in the gallery. This work is a bit smaller in size, 54 x 47”, but creates a similar impact with glass and steel grids moving along both sides of a vertical acrylic/resin panel, which glows with purple hues and tangible texture.

“All in all, I would say it was a fantastic match and I can see the potential for some amazing collaborations in the future as we work together to push the boundaries even further.” (Greg Reiche)

Are you interested in a collaborative piece by Aleta and Greg for your home or office? Call the gallery at 505-795-7476 or email pippincontemporary@gmail.com to discuss and personalize a dynamic piece of original art.