Canyon Road Paint & Sculpt Out 2016

  • by Kelly Skeen
  • October 10th, 2016

Rebecca Haines, Paint OutThis weekend is the Canyon Road Paint & Sculpt Out, a lively event where artists demonstrate their creative process along historic Canyon Road. Artists bring paint, clay, fire, glass, easels and more to this event, and give visitors an interactive art experience as they involve onlookers with their process. Autumn is a beautiful time of year in Santa Fe with sunny blue skies and crisp mountain air, providing a brilliant backdrop for the event.

Alongside the visual artists, music students from Santa Fe public schools will perform from 1-3pm, and a parade of all 500 performers will take place at noon. Choirs, string ensembles, bands and more will participate in what is a highly anticipated event for the students.

This year at Pippin Contemporary, Cody Hooper, Gina Rossi, and Rebecca Haines will participate in the Paint & Sculpt Out. Watch Cody’s light-infused abstracts take form through his layering and blending process; see Gina’s cloud and mountainscapes evoke the magic of a Santa Fe sunset; and witness the soft personalities of wild animals come to life in Rebecca’s contemporary wildlife paintings.

Cody Hooper, Paint Out

Gina Rossi, Paint Out

Join us on Friday evening 5-7pm to kick off the weekend with Aleta Pippin‘s exhibition, For the Love of Color. The vibration of color in Aleta’s new work will energize your evening and lift your spirits as you experience the freedom and passion imbued in each piece. Click here to read more about the show.

Aleta Pippin: For the Love of Color

  • by Kelly Skeen
  • September 29th, 2016

Aleta Pippin, Santa Fe abstract painterThis October, an explosion of color will enliven the gallery with Aleta Pippin’s exhibition For the Love of Color. The show will run from October 12th through October 26th, with an opening reception on Friday, October 14th, kicking off the weekend of the Canyon Road Paint & Sculpt Out.

For this exhibition, Pippin is exploring new imagery within abstraction using both acrylics and oils. Vivid color continues to be central to her artistic expression with painting palettes that vary from soft mingling hues to strong contrasting colors. Swirling movement and flames of soft color rise up the canvas in Radiance, a 60×36” oil painting, while energizing motion and layers of striking hues vibrate against each other in Color Burst, a 36×36” oil on canvas.

Pippin’s intuitive painting style allows her to freely express her personal visions through abstract art. “My goal with every painting is to impart an internal expression that flows freely through me,” says Pippin. “It’s basically a narrative inspired by the paint.”

Color Burst by Santa Fe artist Aleta PippinColor Burst by Aleta Pippin

Pippin is also revisiting pouring the paint, a technique she explored many years ago in her career. Feeling drawn to the free flowing movement of the paint and the ambiguity of the outcome, Pippin is now approaching the process with a broader skill set and renewed vision. New poured pieces will be on display for the exhibition including Magenta Pour, 48 x 48”, oil. Pippin says of this piece:

“In 2003 through 2005 I used the process of pouring the color. I liked the large splashes and serendipitous events occurring through the use of this process. All of those paintings were done using acrylics; I’d never tried it with oils. So in revisiting the technique, I decided to do some of the paintings using oils. I loved what happened. The color melded together differently than acrylics. I plan on continuing to fine-tune this process.”

Magenta Pour by Aleta Pippin, Santa Fe artistMagenta Pour by Aleta Pippin

Read Aleta Pippin: For the Love of Color full press release and browse the exhibition catalog. You can also view new inventory on Pippin’s artist page. We look forward to seeing you at the opening reception on October 14th, 5-7pm.

Adam Shaw: Pursuit of the Present

  • by Kelly Skeen
  • September 12th, 2016

Adam Shaw Studio“The beautiful metaphor about painting is that the practice, the pursuit of the present, is reflected in and is one with the product. The painting itself stands as a testament to the practice of being present.”

Adam Shaw’s layered contemporary oil paintings reflect the artist’s spiritual and philosophical practices, which are also embodied in his current exhibition title, Pursuit of the Present. With this body of work, Shaw meditates on the idea of life’s seemingly simple yet elusive work of being fully engaged with each passing moment. According to Shaw, this is a required habit in the artist’s studio.

“The act of painting is a practice which supports a heightened engagement with the present moment,” explains Shaw. “You could even say it demands it, but that would be an exaggeration. It only demands it if you want the work to be real.”

Bliss of Being (journey to self) by Adam Shaw at Pippin Contemporary
Bliss of Being, Adam Shaw, 54×48″ oil/canvas

By “real,” Shaw means that the artist was fully engaged while the piece was being created. For his own process, Shaw immerses himself in the work and allows the paint to flow from a place where his knowledge and love for philosophy, literature, physics, and nature resonate. The product, often taking years to be deemed complete, is layered with highly textured oil paint, scrawled lines from revered poems, philosophical statements or Buddhist contemplations, mathematical equations, or recurring icons taken from the natural world.

Garland by artist Adam Shaw at Pippin Contemporary

Garland, Adam Shaw, 66×60″ oil/canvas

For Pursuit of the Present, Shaw’s paintings explore that dance between language and image with metaphysical and philosophical themes. Literary and poetic references are highly present in the work, as well as the artist’s visceral reverence of the natural world.

Adam Shaw: Pursuit of the Present
Opening Reception: Friday, Sept 16, 5-7pm
Show runs 9/14 – 9/27

Click here to browse the online exhibition catalog.


In the Studio with Adam Shaw

  • by Kelly Skeen
  • August 30th, 2016

Shaw Studio
Adam Shaw‘s layered oil paintings are streams of happy accidents created among chaos. Hundreds of bottles, tubes, brushes, and other painting materials are strewn across all available surface area in his California studio, while a delicate glass of red wine balances among the debris. Unfinished canvases line the walls waiting for their turn on the easel that sits powerfully in the front of the room. An amp rests  quietly in the corner (paintings stacked on top) with an electric guitar propped nearby. Lines of poetry and short phrases are scrawled on the walls alongside the artists handprints; nothing seems to be untouched. In the middle of it all is Adam Shaw, moving from one painting to the next as he creates order from the chaos.

Shaw Studio

“The artist’s studio is part mad scientist’s lab, part operating room, part temple, asylum, play-ground,” says Shaw. “The energy swirling in there is like that burning under a rocket that’s in a perpetual state of lift off, an energy of raw creation, a beast without skin.”

Shaw Studio

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Shaw’s paintings evolve in the studio over long spans of time – often taking years to complete – with anywhere from a dozen to a hundred layers of oil paint on the surface. The artist works and reworks, removes paint, adds texture and repeats, sometimes changing the composition entirely. In many of his latest paintings, Shaw uses boxes as visual elements that section off areas of a painting that have otherwise evolved. These boxes act as windows into earlier versions of the piece, allowing the viewer to witness its evolution.

Rising Tide by Adam Shaw

Rising Tide, Adam Shaw, 50×50″ oil/canvas

Infinite Consanguinity by Adam Shaw at Pippin Contemporary

Infinite Consanguinity, Adam Shaw, 66×60″ oil/canvas.

Passing in the Night by abstract painter Adam Shaw at Pippin Contemporary

Passing in the Night, Adam Shaw, 40×40″ oil/canvas.

See these works and more in Shaw’s upcoming exhibition, Pursuit of the Present, running Sept 14 – 27th. Join us for the opening reception on Sept. 16th, 5-7pm to meet the artist.

See Exhibition Catalogue

Click here to browse Adam Shaw’s full portfolio

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


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 Kelly Skeen
  • 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.

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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.