2025 Exhibition Program
Introducing the artists who are participating in the 2025 Green Kill exhibition Program.
People of all persuasions and orientations,
In 2025, Green Kill will present six exhibitions, each for a span of two months—January/February, March/April, May/June, July/August, September/October, November/December. Each exhibition will present two artists.
You are invited to come and see what twelve very original and diverse artists, six man and six women, are up to in their creative lives. And of course the arists will offer their work for sale
There may be short performances at some of the openings. If anyone is interested in reading one or two poems or playing one or two songs at any of these openings, please write to 229greenkill@greenkill.org.
As always, you will be treated to a buffet table of healthy finger foods. Please come and celebrate with the artists.
“Art washes away from the soul the dust of everyday life.”
—Pablo Picasso
January/February
Dan Keegan, Scott Kigour
Installation January 9 and 10, opening January 11 closing February 22 ( because of the holiday calendar this one exhibition opens on the second Saturday of the month)
Dan Keegan
I work with nature. It's complexity and subtlety represent long-standing challenges to me. My drawings reflect an influence of the "wabi sabi” aesthetic and the recognition of the infinite beauty and forms of nature as well as its fragility. My drawings are not straightforward observations. Working from photographs I combine images, multiple viewpoints, inversions and even duplicates to create views of nature not wholly sensible but almost believable. The Shadow Series of works is an ongoing study of light and shadow patterns on forest paths and trails; abstractions that are literally at our feet but also suggest the vast universe beyond. The Climate Change Series is based on the 4 elements of earth, air, fire and water. I hope the works speak for themselves. Black and white? I enjoy an emphasis on form, value and intensity.
Scott Kigour
Magical Botanicals - A Transformation Story About Human Nature
When walking through a field of sunflowers I feel the biodynamic energy of nature. I see anonymous flowers with humanlike dimensions expressing moods and personalities which I want to transform into individual characters. This society of botanical actors, found performing in random fields in the countryside, convey narrative and emotion visually. For me, this relationship between art and nature is a form of alchemy – a process of transformation – that changes natural forms into evolved living entities. Through observing sunflowers for many years, I have found a way of channeling New York City urban experiences with Upstate Hudson Valley rural experiences. I involuntarily read my emotions into flowers. It’s these emotional projections, these impressions of sunflower expressions, that I have slowly developed into a series of animated botanicals and figures that mirror our human nature.
March/April
David Gonzalez, Karen Jensen
Installation February 27 and 28, opening March 1 closing April 26.
David Gonzalez
Like a lot of the music I admire and compose, this work is about layers and improvisation. The pieces begin with a flow of abstract marks and then, following unfolding impulses, layers are added one on top of the other, all the while revising, refining, and refreshing the initial source inspiration. These digital collages are done in Procreate with various pens, brushes, patterns, and photographs. The portrait aspect of this work is the final piece of the puzzle. Through the improvisational process an abstract space emerges which, in time, suggests the people I wish to celebrate. Their images are brought into the work and finessed into a completed portrait.
Karen Jensen
I have a fascination with the inescapable EverythingAtOnceness of existence: of course it’s always too much and seems to just keep on like that. Since answers seem so often to lie just beyond what can be quantified, shadows and layers and reflections are my tools and favorite playthings.
May/June
Deirdre Day, Joanna Grabiarz
Installation May 1 and 2, opening May 3 closing June 28.
Deirdre Day
A series of Paperworks by Deirdre Day
Each of these collage panels represents a text that in the past was useful in some fashion—dictionaries, magazines, newspapers, pornography, catalogs cookbooks, encyclopedias, bibles, etc. In times before, paper and printing were the most efficient conveyors of knowledge and products, paper was the glues of culture. Now paper exists but has lost its relevance. These sculptural collages recycle the past.
Deirdre Day often shows her collages at Greenkill Gallery and designs her installation like shows to fit the available space. She is working on a memoir, “Clutch,” in addition to her paper work.
Joanna Grabiarz
I make art because I like telling stories. When I bring my etchings to life I try to channel cat-like creatures with wild hair and moss growing from their backs. I want to take my viewer on an imaginary expedition to the forest floor of the Amazon jungle. I grab them by hand. We turn six and are collecting butterfly samples together. When night comes we sit in front of the fire. In their lap I place a hypnotic fruit bat with jewel eyes. Concentrate, relax, squint your eyes, your body feels like you swallowed a big rock. Slowly open your eyes, you are wearing shiny armor like Joan of Arc. The placental mammal has become my voice. Flying Fox is the storyteller now and he wants to explain what my work is about. He rambles about biology worship, translucent frogs full of tiny eggs, cow herder dreams, turkey feather capes, soul brothers and garden snails living under the lilac bushes. They say no one really knows what he is talking about but there's a wise gleam in his eyes.
July/August
Steven Van Nort, Phyllis Segura
Installation July 3 and 4, opening July 5 closing August 30.
Phyllis Segura
Painting can go anywhere. It’s like thinking. The images arrive from we don’t know where. Often artists are guided to reveal a continuity from one image to another throughout their entire career. This is not my way. What arises is often a surprise and then I mold it to become a display of its fruition. There are no rules except to actually allow the work to reveal itself. Often I am surprised at the conclusion of this process. Sometimes an entire suite is created using a pre-conditioned motif until it exhausts itself.
As in moments of life, there is no way to repeat the separate arising. I often look and wonder ‘where did that come from?’ We made friends for that brief moment, and I accepted its arrival, played with it, and moved on. The possibility of a return is always there of course, but I am on the move and await the next surprise. I can be fooled though and have to lay down some laws of aesthetics, clarity, movement, spatial consideration, and appeal. Much contemplation is used as to what one finds acceptable to put out into the world, so as not to create more confusion.
My paintings are not done in one sitting but over time. The ingredients are gathered by looking. Sometimes one section needs articulation, so I go there and the pursuant domino effect of bringing attention elsewhere. My view, which has been consistent though its expression has varied, is of the outer layers beyond the ocular. I’m always imagining the beyond. I tend to leave earthly boundaries but always seem to land back on the ground tethered again.
Following the tradition of a contemplative approach is foremost; the action of the eye/hand collaboration reveals itself beyond accepting and rejecting. Ancient principles, similar to those used in martial arts or flower arranging, have long been part of my process, are now developed from years of training. It’s a responsibility. It’s too late to stop now. I give you the results.
Steven Van Nort
“ Steve Vannort’s open-weave webs of light-filled abstractions are haunting and evocative. Architectural in implication, autobiographical in intonations, they are neither “mirrors” nor “windows” to external worlds but rather metaphorically concrete “portraits” - passages to places and sense known and recaptured…”. Joan Simon
September/October
Nancy Catandella, Carol Levine
Installation September 4 and 5, opening September 6 closing October 25.
Nancy Catandella
Painting from nature is not copying the object; it is realizing one’s sensation.- Paul Cezanne
The portraits in this exhibition are of my friends, and not meant to be a mirror image of that person. They’re an exploration of that person’s physical and spiritual presence. They’re also paintings of my perception of that person’s personality and the idea of an unseen mysterious life energy that is part of them. The animals seen with the individuals in the portraits reflect the concept of all forms of life having equal moral consideration; the basis of biocentric ethics. They’re also “spirit” animals guiding or representing that individual.
Along with portraiture, I create photoencaustics, paint landscapes and abstract works in acrylic mixed with water based cold wax medium. More of my work can be seen on my website: hhtp://nancynancycatandella.com
Carol Levine
My work reflects a long-standing interest in mythology, the nature oftime and the philosophical idea of becoming. I think about a systemsview of life - complexity, networks. In my latest series of drawings, Emergence, fertility, birth, the interconnectedness of all life, the beauty of biological forms, and the symmetry/asymmetry of the universe all come into play. The drawings result from a nonverbal and largely subconscious process. Recalling the poet, John O’Donohue: “…like a river flows, [my drawings develop] carried by the surprise of its own unfolding.” I offer my works as an invitation to each viewer to make meaning of them.
November /December
Installation October 30 and 31, opening Opening November 1 closing December 27.
Peter Head
Born with the blues and allergic to pews.
I keep my eyes and ears open to the absurdity of the world. Sadness and humor in liberal amounts. My left hand likes to hold hands with my right hand, but my right hand starts to feel claustrophobic if it goes on too long. I like to sing to the stars, but I always listen to the moon. The sun is very loud these days.
Richard Treitner
My work explores what flows between magickal divinity, and earthy eroticism; petroglyphs, old religions, sexuality, dreams, altered consciousness, political nausea, science, pop culture, evolution, spiritual growth, nature and world that seems to have turned it’s back upon it.
