2017 ARTISTS  
Born in Tyler Texas, Tod Bailey began to paint while studying Journalism at the Commerce campus of Texas A & M. After completing the university, he lived and exhibited in Dallas, relocated to Sarasota, Florida and exhibited there for three years. After which, Tod came to Houston where he has been establishing himself and gaining collectors since 2008. In 2016 Bailey had a large solo exhibition at the Ted Casablanca Gallery in Palm Springs, and in 2017 exhibited at Monarch Gallery in Galveston. Tod has also been invited to exhibit small scale sketches in the Menil Collection bookstore.

Tod said he was uncomfortable to write about his art. He said that he realizes viewers naturally want to hear an artist explain, for instance, if his work is abstraction, or instead intensely expressionistic figuration.

"Viewers want to know if the painted forms have meaning, does this form represent sunshine hitting architecture, for example, or is that one a disembodied penis? All of that."

In his words, " It can't be avoided that references and associations rise from the subconscious, this is human, but expect the forms to appear highly stylized." It is preferable to him, that the viewer pay close attention to the canvases. "Notice coloring, some subtle, others vibrant and sumptuous, and visually take in the paint handling, brushstrokes will range from bold and energetic to purposely applied."

The most important thing to know about each composition, is the artist's passion for manipulating paint.
Alan Disparte
Hindsight Bias

Alan Disparte is a multi-disciplinary artist based in Austin, Texas. Through a filter of gestural and psychedelic abstraction, Disparte's practice offers a hyperbolic mix of references to memory, technology, body aesthetics, nature, culture, gender, and time distortion.

Disparte received his MFA in Painting and Video from San Francisco Art Institute in 2007. He has a BFA in Applied Arts from California Polytechnic University. Disparte has exhibited in Austin, Portland, San Francisco, La Jolla, Los Angeles, Sacramento, Phoenix and London.

Casey Arguelles Gregory
Have It All

Have It All is my most personal exhibition to date. All of the works in this show attempt to reconcile my own experiences as an artist with my experiences as an average, thirty-something mother with a part-time job. Issues as diverse as feminism, gentrification, middle-class materialism and the sometimes contradictory physical landscape of suburbia are on offer here. The exhibition unites sculpture and painting in a variety of modes, all of which are firmly rooted in my process-based practice. 

Through these different approaches to artmaking, I hope to present a broad, humane, and sometimes humorous investigation of what it means to be a young (ish), emerging (ish), female artist in this specific time and place. These works, individually but especially collectively, represent a radical descent from the thirty-thousand foot academic perspective that I have traditionally taken. They are of, and about, my own life- an autobiographical offering in which I hope you the viewer will find some glimpses of the familiar.

Bill Hailey
Sumatran Paintings and Anti-Fascist Still Lifes

"A poet is someone who stands outside in the rain hoping to be struck by lightning." - Blackbeard

Abandoned at birth, Bill Hailey was raised in Asia by missionaries. After dropping out of Baylor University to pursue a burgeoning career in Japanese sushi porn that was tragically cut short in a freak on-set accident, he joined the Royal Army of the Dutch Indies as a mercenary and was stationed in Sumatra.

There he promptly deserted and vanished into the jungle. He resurfaced after nine months in Texas, where he authored the award-winning series of children's books The Firecracker Eaters.

After dabbling in anarchism and door-to-door Bible sales he subsequently reinvented himself as an artist, and is currently at work on a series of overripe tropical fantasies, The Sumatran Paintings, as well as a series of Anti-Fascist Fleurs du Mal (Flowers of Evil) still lifes, and post-election Clusterfux.

Moving ever closer to realizing his dream of starting a pagan love cult in the jungles of South America, his sensibility can be succinctly summed up in the song of the incorrigible prankster Nero during the Great Fire of Rome  in 64 AD:

"What shall I love if not the enigma? Between living and dreaming there is a third thing. At a certain point attitude is all we have left and  if you can read this it may already too late."
Valyntina Grenier

painting, drawing, encaustic, installation art, and neon

I make joyful 2D and installation art to counter cruelty in the world by creating lighthearted environments in which to contemplate politically charged imagery. I have learned to embrace accidents as moments of innovation and progress.

I wouldn’t paint the way I do if I hadn’t studied poetry. I earned a BA in English at The University of California, Berkeley, and an MFA in poetry at St. Mary’s College, California. My undergraduate studies introduced me to art as an agent of social change, but poetry really taught me to think (allegorically, symbolically, metaphorically). My art is on the side of life that insists, “Don’t Shoot.”

At the same time, I am compelled to fulfill art’s potential to serve as a form of protest. BOTH AND, a series of trans images, is at an intersection of feminism, reproductive health, and lgbtq equality. My initial drawings for the series, a subconscious response to my formerly repressed homosexuality, were made during recovery from a surgery to diagnose endometriosis (I have since had a radical hysterectomy).

As a woman and a lesbian, in a culture that presupposes procreation, I feel that my purpose is to make art that inspires tenderness, compassion, and empathy.

'Both And' 36" x 36" pure pigment and acrylic paint by Valyntina Grenier


Jeff Wheeler


I think whatever you have, you can do wonders with it, if you accept it  One should not worry so much about innovations if it is possible to deal so directly with experience. The objects [I chose] are used to make art, just like paint is used to make art.  I am for art that embroils itself with everyday crap and still comes out on top.  

The relationships may be the subject matter, the relationships of the fragments I do.  The content will be something more, gained from the relationships. I am for art that embroils itself with everyday crap and still comes out on top.  

I am from the West Texas landscape and it is my stage.  It’s a way for me to make a painting that I hope is beautiful, and something that I am familiar with so I can concentrate on the painting itself. My Art springs from my desire to have things in the world which would otherwise never be there. Sometimes I see it and then paint it…other times I paint it and then see it.

When we are giving up, today, the illusion of space in a picture, that doesn’t suit me.  I don’t know what else there is.  It’s really something if you can get a visual sensation that is pleasurable, or worth looking at, or enjoyable, if you can just make something worth looking at.  What the artist says it is, you can see by his work.  I would like to leave it just like that.


 
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