Hollis Brown Thornton

H. BROWN THORNTON 2007 - 2011 @ if ART Gallery Sept. 16 – Oct. 8, 2011

2011-09-07T14:53:00.001-04:00

HOLLIS BROWN THORNTON 2007 – 2011

@ if ART Gallery

September 16 – October 8, 2011

Opening Reception: Friday, September 16, 5 – 9 pm.

Gallery Talk, Sunday, September 25, 2 pm.
For an ARTIST STATEMENT, CLICK HERE.

For a PREVIEW of the exhibition, CLICK HERE.

On the cover of Free Times, Columbia, SC,
September 7–13, 2011:
H. Brown Thornton, Toucan Sams, 2010,
oil on canvas, 26 x 30 in.
$2,150

PREVIEW of H. BROWN THORNTON 2007 - 2011 @ if ART Gallery Sept. 16 – Oct. 8, 2011

2011-09-07T14:28:00.007-04:00

HOLLIS BROWN THORNTON – 2007 – 2011

if ART Gallery

September 16 – October 8, 2011

Opening Reception: Friday, September 16, 5 – 9 pm

Gallery Talk, Sunday, September 25, 2 pm.

For an ARTIST STATEMENT, CLICK HERE.
For a PREVIEW of the the exhibition, SEE BELOW.

Colors That Don't Exist, 2009, permanent marker

on paper, 8.25 x 10.25 in., $600

NEW

Toucan Sams, 2010, permanent marker on paper,

8.25 x 10.25, $600 NEW

Toucan Sams, 2010, permanent marker on paper,

8.25 x 10.25, $600 NEW

Far Away Gallaxies, 2009, perment marker on paper,

8.25 x 10. 25, $600 NEW

The Fortress Of Solitude, 2010, permanent marker

on paper, 8.25 x 10.25 in., $600

NEW

Toucan Sams, 2010, oil on canvas, 26 x 30 in.,

$2,150 NEW

Toucan Sam, 2010, oil canvas, 10 x 10 in., $600

NEW

AT-AT, 2009, acrylic on canvas, 10 x 10 in., $600

NEW

Jo Jo & The Overlook Hotel Wall Paper, 2010,

pigment transfer, oil on canvas, 26 x 30 in., $2,150

NEW

Memorex, 2011, acrylic on canvas, 30 x 46 in.,

$3,500

NEW

The Origin of Life On Earth, 2009,

acrylic on canvas, 26 x 30 in., $2,150

NEW

VHS, 2009, permanent marker on paper, 8 1/4 x 10 1/4 in.
$600 NEW

The Geography Room, 2009

Acrylic, pigment transfer on canvas

36 x 48 inches, $ 4,400

The Beige Room, the 128K Room or the Virtual Room, 2008
Acrylic, pigment transfer on canvas
30 x 46 in., $3,500
NEW

Osiris and Flower Wallpaper, 2010
permanent marker on paper, 8 1/4 x 10 1/4 in., $600
NEW

The Abominable Snow Monster of the North, 2009
permanent marker on paper, 8 1/4 x 10 1/4 in., $600
NEW

VHS, 2009, permanent marker on paper, 8 1/4 x 10 1/4 in.
$600
NEW

Atari & Jellyfish Wallpaper, 2010, permanent marker on paper
8 1/4 x 10 1/4 in., $600 NEW

Flower Wallpaper, 2010, permanent marker on paper
8 1/4 x 10 1/4 in., $600 NEW

Linda and Gerard, 2011, permanent marker and inkjet on paper
8 1/4 x 10 1/4 in., $600 NEW

Schonbrunn Palace, 2011, permanent marker on paper
8 1/4 x 10 1/4 in., $600/SOLD NEW

The View of the Other World, 2010, acrylic, pigment transfer
on canvas, 24 x 30 in. $1,980 NEW

Heartbeat, 2009, acrylic on canvas, 26 x 30 in., $2,150 NEW

VHS, 2009

Acrylic, pigment transfer on canvas

30 x 26 in., $ 2,150

H. BROWN THORNTON Artist Statement

2009-09-07T15:43:00.000-04:00

H. BROWN THORNTON: ARTIST STATEMENT

The phrase “the earth on the back of the giant turtle” originates, in various forms, in Native American myth. In the story, the world is covered in water and an animal is asked to dive to the bottom of the primordial ocean to collect mud, in order to form the dry land on the back of the giant turtle. This story represents one of countless explanations people throughout history have formed defining the origins of Earth and the nature of the universe. Our understanding and beliefs are always dictated by our limited knowledge, by what we know or don’t know, by being born into a culture or family with a dominant mythological or scientific belief, and by living in a constant state of flux and, eventually, death. It is our perspective, beliefs, culture, religion, science that, to some of us, make this turtle story seem a bit unrealistic, just as future generations will undoubtedly dismiss some of our beliefs. The turtle story is another step in the continuously developing understanding of an ever-changing reality through science and experience, from explaining how and why the sun sets to predicting the path of a hurricane to understanding and accepting physical reality merging with virtual reality. The story represents one of the many beliefs, throughout time, of what is happening here. The work incorporates this myth with a selection of others in an attempt to form a broad story, as people throughout history have done, forming a spectrum of the various ways the unknown is explained through magic, myth, and science.

The erased photographs, nicknamed erase face, represent the protagonists of the turtle story, questioning their environment, lines coming out of them like thought bubbles in a cartoon. The lines radiate, mirroring knowledge or beliefs changing over time. These "limbo lines" connect with other people and objects in the environment, representing our dependence on and desire to understand things happening around us. They are our thoughts, questions, and ideas that lead to understanding we develop, either with variations of myths like the turtle story or through science and objectivity. The protagonists identities are hidden, representing anyone. They represent the incomplete nature of memories as well as the fragmented nature of the people and environments in the photos, that inherent motivation to understand their surroundings. The erasure hides individual identities and, most importantly, represent inevitable change and the fact that these individuals, in that specific form, no longer exist, either older or completely gone.

The turtle shell is represented both by hexagonal and triangular pyramidal shapes in the work. The triangular shapes represent the contours of the alligator snapping turtle while the hexagonal shapes indicate the shell patterns. The pyramidal mountains are often surrounded by space, one of the great unknowns, composed of constellations, the ancient order we’ve implied on space. The titles represent the manor in which we organize the world, be it science, magic, humor, mythology, experience, objectivity, or sentimentality. The VHS, like the turtle story, represent outdated things that continue to exist, bound to us by their initial value, and now wound up in habit, nostalgia, or loyalty. The movies themselves are our modern myths. Hero adventures and historic story patterns that gradually change over time. The Atari games represent these same story themes, becoming more and more interactive, the commingling of reality and virtual reality. The pixels of these early games, representing the origins of these initial primitive, digital steps. The Space Invaders especially represent these beginning steps, as well as our fascination with the end of the world scenarios, similar to credits scrolling at the end of a movie. The wallpaper patterns represent the various repeating scenarios that surround us, each wallpaper representing a specific concern. The green Osiris wallpaper represents eventual death. The Entry Hall Wallpaper, the entrance to a larger building of which we typically choose a room to live, the rooms of the belief systems we often follow. The Jellyfish Wallpaper represents the rising and falling oceans over time, the natural world elements we have little to no control over.

The main themes of the work are memories, reality, and the unknown. Memory represents a tangible awareness of the past. Events that have physical remnants and experiences that form our empirical knowledge of reality. At the same time, these memories dissolve, become idealized, fragmented, or outright forgotten. Reality represents our sense of what is true or fact and the ability for this knowledge or truth to change over time. The idea of the unknown represents events of the future, what happens next in an unpredictable reality. On a larger scale, the uncertainty surrounds general questions about being alive. The idea of people knowing their beginning and inevitable end, this awareness of a limited time alive, a fragmented, idealized, and vague memory of the past, fundamental changes in our day to day life, and complete uncertainty of the future, has branched the work into these three fundamental areas.

Who are we? Where do we come from? What happens when we and the people we know die? We live in a constant state of flux and there is a prevailing sense of uncertainty about what happens next. For some religion or mythology answers questions, others it is science and close observance of the objective, and others combine these two approaches. Whatever it is, it is necessary to gain a grasp on how to deal with the change. The world is only going to be like it is right now for a moment. What comes next? We almost always don’t know. And each of us has a different way of dealing with this. Within any belief system, the individual has their own religious or mythic interpretation. A portion of the interpretation is left with the individual and their personal beliefs/experience/knowledge, forming a conflict between the personal and the all-inclusive. And others don't answer these "truth" questions because they believe they are unable to know or rationalize a potential author or the rules of the story from within. The basic idea is we almost always don't know what comes next and eventually everyone we know, including ourselves, will die, and we're all aware of this outcome and each of us has a different way of dealing with this uncertainty.

Hollis Brown Thornton: Photocopy Transfer Demonstration, January 31, 2009

2009-02-02T16:27:00.012-05:00

(AAB Photography)

Salon III: January 15- February 4, 2009

2009-01-07T17:31:00.001-05:00

For exhibition preview, click here.

For installation images, click here.

For printmaking demonstration schedule, click here.

if ART Gallery

presents

SALON III: The Print Exhibition

January 15 – February 4, 2009

if ART Gallery

1223 Lincoln St., Columbia, S.C. 29205

Reception: Thursday, Jan. 15, 5 – 10 p.m.

Opening Hours:

Weekdays, 11 a.m. – 7 p.m.

Saturday, 11 a.m. – 5 p.m.

& by appointment

Printmaking Demonstrations:

Sunday, Jan. 18, 3 – 5 p.m., Marcelo Novo, Print Gocco

Sunday, Jan. 25, 3 – 5 p.m., Phil Garrett, Monotype

Saturday, Jan. 31, 3 – 5 p.m., H. Brown Thornton, Photo Transfer

Sunday, Feb. 1, 3 – 5 p.m., Steven Chapp, Linocut & Photopolymer Prints

For more information, contact Wim Roefs at if ART:

(803) 255-0068/ (803) 238-2351 – if-art-gallery@sc.twcbc.com

For its January 2009 exhibition, if ART Gallery presents Salon III, an exhibition of prints by gallery artists at if ART Gallery, 1223 Lincoln St., Columbia, S.C. The opening reception will be Thursday, January 15, 2009, 5 – 10 p.m. The exhibition will be installed salon-style at the gallery’s first floor and continues if ART’s salon-style exhibitions; in December 2008, Salon I & II took place simultaneously at the gallery and Gallery 80808/Vista Studios in Columbia.

Among the printmaking techniques represented in the exhibition are etchings, dry points, lithographs, woodcuts, linocuts, photopolymer prints, embossings, monotypes, silkscreens and photo transfers.

During the exhibition, gallery artists Steven Chapp of Easley, S.C., Phil Garrett of Greenville, S.C., Brown Thornton of Aiken, S.C., and Marcelo Novo of Columbia will give demonstrations of various printmaking techniques. For times and demonstrated techniques, see above.

Artists in the exhibition include Karel Appel, Jeri Burdick, Carl Blair, Lynn Chadwick, Steven Chapp, Corneille, Jeff Donovan, Jacques Doucet, Phil Garrett, Herbert Gentry, Tonya Gregg, John Hultberg, Richard Hunt, Sjaak Korsten, Lucebert, Reiner Mährlein, Sam Middleton, Eric Miller, Joan Mitchell, Dorothy Netherland, Marcelo Novo, Hannes Postma, Edward Rice, Anton Rooskens, Kees Salentijn, Laura Spong, Brown Thornton, Bram van Velde, Katie Walker, David Yaghjian and Paul Yanko.

if ARTwalk: Salon I & II: December 11- 24, 2008

2008-11-30T16:18:00.000-05:00

For exhibition installation images, click here.

THE SALON I & II

Dec. 11 – 24, 2008

an exhibition at two Columbia, SC, locations:

Gallery 80808/Vista Studios

808 Lady Street

if ART Gallery

1223 Lincoln Street

Reception and ifART Walk: Thursday, Dec. 11, 5 – 10 p.m.

at and between both locations

Opening Hours:

Weekdays, 11 a.m. – 7 p.m.

Saturday, 11 a.m. – 5 p.m.

Sunday, 1 – 5 p.m.

& by appointment

Open Christmas Eve until 7 p.m.

For more information, contact Wim Roefs at if ART:

(803) 255-0068/ (803) 238-2351 – if-art-gallery@sc.twcbc.com

For its December 2008 exhibition, if ART Gallery presents The Salon I & II, an exhibition at two Columbia, SC, locations: if ART Gallery and Gallery 80808/Vista Studios. On Thursday, December 11, 2008, 5 – 10 p.m., if ART will hold opening receptions at both locations. The ifART Walk will be on Lady and Lincoln Streets, between both locations, which are around the corner from each other.

The exhibitions will present art by if ART Gallery artists, installed salon-style at both Gallery 80808 and if ART. Artists in the exhibitions include two new additions to if ART Gallery, Columbia ceramic artist Renee Rouillier and the prominent African-American collage and mixed-media artist Sam Middleton, an 81-year-old expatriate who has lived in the Netherlands since the early 1960s.

Other artists in the exhibition include Karel Appel, Aaron Baldwin, Jeri Burdick, Carl Blair, Lynn Chadwick, Steven Chapp, Stephen Chesley, Corneille, Jeff Donovan, Jacques Doucet, Phil Garrett, Herbert Gentry, Tonya Gregg, Jerry Harris, Bill Jackson, Sjaak Korsten, Peter Lenzo, Sam Middleton, Eric Miller, Dorothy Netherland, Marcelo Novo, Matt Overend, Anna Redwine, Paul Reed, Edward Rice, Silvia Rudolf, Kees Salentijn, Laura Spong, Tom Stanley, Christine Tedesco, Brown Thornton, Leo Twiggs, Bram van Velde, Katie Walker, Mike Williams, David Yaghjian, Paul Yanko and Don Zurlo.

Artist's Statement: Hollis Brown Thornton

2008-07-14T14:23:00.001-04:00

Great Sea Creatures & The Earth On The Back Of A Giant Sea Turtle, 2007

Acrylic, carbon transfer on canvas

10 x 10 in

hbt07-030

$500

The phrase “The Earth on the Back of the Giant Turtle” originates in Native American myth. In the story, the world is covered in water and an animal is asked to dive to the bottom of the primordial ocean to collect mud to form the dry land on the back of a huge turtle. Although this earth origin may seem silly today, the story is one in countless explanations cultures throughout history have formed defining the origins of Earth and the nature of the universe. We constantly question events happening around us and our answers are always dictated by our limited perspective, by what we know or don’t know, by being born into a culture with a dominant religious or mythological or scientific belief, and by living in a constant state of flux and, eventually, death. And it is our perspective, beliefs, culture, religion that make this turtle story seem a bit unrealistic, just as future generations will likely dismiss certain beliefs of our culture as outrageous. The story of the earth on the back of the giant turtle is another step in the continuously developing understanding of an ever-changing reality through science and experience, from explaining how and why the sun sets to predicting the path of a hurricane to trying to understand the growing impact of virtual reality to the potential future realities of global climate change, peak oil, and energy crisis.

The environments in the work are constructed of both the tangible and the remote, things that are already understood and things in a vague state of formation. For instance, images in the photographs are tangible aspects of reality, frozen moments in time, people and places that exist, or at one time existed. Erasing or obscuring elements of the photograph puts the situation in a state of transition. Adding the lines and drawings adds other influences and potentials. Sometimes these lines are controlled by the elements in the photograph and sometimes they are completely independent. But the figures in the photographs, they are the reason the myths exist, they are the questioners who come up with the stories and explanations, so their environment is altered to represent these uncertainties and changing beliefs.

In many people’s lives, computers are becoming more and more important and perhaps necessary aspect of existence. Now we live in a merging of real and virtual worlds, an intermingling of realities to form this current reality. This new reality allows new forms of communication and interaction, we have virtual identities, personal websites, social networking, and we have video games, allowing the people to be the protagonists in new mythic adventures. We are able to create images and events that were once impossible, either in the huge blockbuster movies or tiny computer manipulated photographs. Ever increasingly, we are made up of pixels and html code.

A pigment transfer process moves the images from virtual reality to tangible reality. The steps in this process, from the initial computer work to the outsourcing for the actual prints to the transfer of the mirrored prints to the final physical scrubbing and removal of the paper, each step has its own variables, many of which are uncontrollable. The materials of this method are carbon (from the black transfer pigment) calcium (in the gesso and marble dust) and water (used to remove the paper from the transfers).... these are also a human's main ingredients. The process involves a combination of chance and control, central to the idea of not being in complete control and to the limitations of any human pursuit, while at the same time, being driven by the operation of creation and destruction. The materials of this method are carbon (from the black transfer pigment) calcium (in the gesso and marble dust) and water (used to remove the paper from the transfers).... these are also a human's main ingredients.

The photographs are occasionally sideways, reinforcing the idea of being on a planet, in space, spinning around. So they are not sideways, but rather in various positions floating in space. The world is round, we are sideways and upside down to many people around the world. So, ultimately, in the sideways photographs, it is the desire to avoid viewing the world from one specific perspective, to try to think outside of that limitation.

The lines drawings, both on their own and combined with the photographs, are at times influenced by other images and at other times influenced by the previous line. And then there are times were the drawing is uninhibited doodles. These lines are the ideas, the questions and answers of the figures, ideas that are influenced by things existing, ideas that are slight variations of previous ideas, and ideas that are seemingly unclassifiable. Some lines are complete and others fragmented. The lines change the same way perspectives change over time, from the idea of the earth being on the back of a turtle to the earth being at the center of the universe to one planet of trillions of billions floating around at no special place in space.

The mountains in the drawings are the back of the alligator snapping turtle, the giant turtle of the southeastern United States. The mountains range in numerous small jagged spikes, representing the contours of the turtle’s shell, to larger pyramidal mountains then begin to resemble the Egyptian pyramids, another ancient belief of creation, the pyramid representing the primordial mound from which the earth was created, and death, the pyramid being a tomb. And the mountain’s color and the flowing paint, often similar to the melting glaciers, which represents the current reality of global warming.

Then we look up from the ground and see outer space, a place we continue to ask and answer question after question after question. There are as many theories and myths explaining why events happen in space as there are tangible answers. Why do some stars appear blue and others red? Why are there stars concentrated in the Milky Way? Why do some objects in space follow their own path and not the general movement of the stars? What is dark matter? Do aliens live in the universe?

The space invaders, which originated in the early Atari video games, represent the origins of virtual reality. Their simple illustrations are noticeably constructed of the square pixels that make up the virtual world. With any beginning, there is an ending, and the invaders illustrate the preoccupation many cultures and belief systems have with an impending doom. This potential end may arrive in the form of space invaders or some other object from space or something here on earth, perhaps a disease or it may be the man made doom, such as the computer itself. It could arrive very quick or very slowly and obviously, like the space invaders, like the closing credits at the end of a movie.

As for the very large paintings, their abstraction, the combination of directly applied marks and free flowing paint, the horizontal broken by the vertical, the continual flux and conflict, and the drips, sometimes transforming subtly and at other times dramatically, very much like our own ideas. They are the vague, undefined scenarios, in the process of formation, meandering, painted versions of the lines, and these drip lines travel across the surface of the painting partially controlled and partially uninhibited, the exact way in which we are in partial control of our environment.

Biography: Hollis Brown Thornton

2008-07-13T13:48:00.001-04:00

Great Sea Creatures & The Earth On The Back Of A Giant Sea Turtle, 2007

Acrylic, carbon transfer, graphite on canvas

10 x 10 in

hbt07-003

$500

Thornton was born in 1976 and raised in Aiken, South Carolina. In the spring of 1999, Thornton received his BFA from the University of South Carolina in Columbia, SC. While at Carolina, he studied painting with Philip Mullen and Jim Steven.

Following college graduation, Thornton worked in a studio space at Gallery 701 in Columbia, SC. Gallery 701, a cultural center for visual and performing arts, once held one of the largest collections of Columbia, SC artists. In February 2000, Thornton had his first solo show at 701. It was in preparation for this show that he began using his 10 x 10 inch painting format.

In June 2000, Thornton moved to a family house in Modoc, SC, where he worked for a year. Thornton then moved to Chicago in August 2001 and was employed as Gallery Director at Mongerson Galleries and Assistant Preparator at Russell Bowman Art Advisory. While in Chicago, it became apparent that the South was a significant aspect of Thornton’s work and it ultimately lead him to return to Aiken in August of 2005. Currently, Brown Thornton lives and works in a warehouse studio in Aiken, South Carolina.

Exhibitions: Hollis Brown Thornton

2008-07-12T12:28:00.001-04:00

Great Sea Creatures & Punica Granatum, 2004

Acrylic on canvas

10 x 10 in

hbt04-117

$500

SOLO EXHIBITIONS
2009 if ART Gallery, Columbia, SC
2008 The Earth on the Back of the Giant Turtle, preview exhibition, if ART Gallery, Columbia, SC
The Earth on the Back of the Giant Turtle, Linda Warren Gallery, Chicago, IL
2007 Great Sea Creatures & the Earth on the Back of the Giant Turtle , if ART Gallery, Columbia, SC
2006 Mary Pauline Gallery, Augusta, GA
2005 Great Sea Creatures & Punica Granatum, City Art, Columbia, SC
Great Sea Creatures & Punica Granatum, Jackson Gallery & Sculpture Garden, Aiken, SC
2004 The Great Fish & Every Kind of Plant that Bears Seed, Jackson Gallery & Sculpture Garden, Aiken, SC
2002 Verdir, Chicago, IL
2001 80808 Vista Studios, Columbia, SC
Aiken Center for the Arts, Aiken, SC
2000 Gallery 701, Columbia, SC

GROUP EXHIBITIONS
2008 The Inventory, if ART Gallery, Columbia, SC
20th Anniversary Juried Art Exhibition, South Carolina State Museum, Columbia, SC
2007 Art Miami, Miami, FL
The Warming Landscape, www.thebruise.com
The Project Room, Linda Warren Gallery, Chicago, IL
Kleinformat / Small Format, The Columbia - Kaiserslautern Exchange, if ART Gallery, Columbia, SC
A Holiday Exhibition, Mary Pauline Gallery, Augusta, GA
2006 South Carolina Birds: A Fine Arts Exhibition, The City Gallery at Waterfront Park, Charleston, SC
Take The Field, Winfield Studio & Wilmington Street Gallery, Winfield, KS
South Carolina Birds: A Fine Arts Exhibition, Pickens County Museum of Art & History, Pickens, SC
A Holiday Exhibition, Mary Pauline Gallery, Augusta, GA
2004 Aberration/Pollination, Linda Warren Gallery, Chicago, IL
South Carolina Birds: A Fine Arts Exhibition, Sumter Gallery of Art, Sumter, SC
South Carolina Birds: A Fine Arts Exhibition, Franklin G. Burroughs - Simeon B. Chapin Art Museum, Myrtle Beach, SC
2003 The Felt Moment, Columbia Museum of Art, Columbia, SC
2001 Procession, Fresh Pastabilities, Columbia, SC
Phobia 2001, Thirteenth Floor Gallery, Chicago, IL
2000 The Muse, Gallery 701, Columbia, SC
Aritsta Vista 2000, Columbia, SC
1999 USC Student Art Show, McKissick Museum, Columbia, SC
Foundation, Gallery 701, Columbia, SC

Works of Art: Hollis Brown Thornton

2008-07-11T14:54:00.036-04:00

Works of art by Hollis Brown Thornton are available at if ART Gallery, 1223 Lincoln Street, Columbia, SC.
Contact Wim Roefs at if-art-gallery@sc.twcbc.com or (803) 255-0068/(803) 238-2351.

The View of the Other World, 2010, acrylic, pigment transfer
on canvas, 24 x 30 in.
NEW

The Fortress Of Solitude, 2010, permanent marker

on paper, 8.25 x 10.25 in., $600

NEW

The Beige Room, the 128K Room or the Virtual Room, 2008
Acrylic, pigment transfer on canvas
30 x 46 in., $3,500
NEW

VHS, 2009, permanent marker on paper, 8 1/4 x 10 1/4 in.
$600
NEW

The Abominable Snow Monster of the North, 2009
permanent marker on paper, 8 1/4 x 10 1/4 in.
$600
NEW

VHS, 2009, permanent marker on paper, 8 1/4 x 10 1/4 in.
$600
NEW

Flower Wallpaper, 2010, permanent marker on paper
8 1/4 x 10 1/4 in., $600
NEW

Linda and Gerard, 2011, permanent marker and inkjet on paper
8 1/4 x 10 1/4 in., $600
NEW

Colors That Don't Exist, 2009, permanent marker

on paper, 8.25 x 10.25 in., $600

NEW

Toucan Sams, 2010, permanent marker on paper,

8.25 x 10.25, $600 NEW

Toucan Sams, 2010, permanent marker on paper,

8.25 x 10.25, $600 NEW

Far Away Gallaxies, 2009, perment marker on paper,

8.25 x 10. 25, $600 NEW

Toucan Sams, 2010, oil on canvas, 26 x 30 in.,

$2,150 NEW

Jo Jo & The Overlook Hotel Wall Paper, 2010,

pigment transfer, oil on canvas, 26 x 30 in., $2,150
NEW

Toucan Sam, 2010, oil canvas, 10 x 10 in., $600
NEW

Osiris and Flower Wallpaper, 2010
permanent marker on paper, 8 1/4 x 10 1/4 in., $600
NEW

Heartbeat, 2009, acrylic on canvas, 26 x 30 in., $2,150
NEW

Atari & Jellyfish Wallpaper, 2010,
permanent marker on paper
8 1/4 x 10 1/4 in., $600
NEW

Memorex, 2011, acrylic on canvas, 30 x 46 in.,

$3,500
NEW

The Geography Room, 2009

Acrylic, pigment transfer on canvas

36 x 48 inches, $ 4,400

VHS, 2009

Acrylic, pigment transfer on canvas

30 x 26 in., $ 2,150

The Beekeeper's Skin, 2008

acrylic on canvas

48 x 36 in., $ 4,400

The Origin of Life On Earth, 2009,

acrylic on canvas, 26 x 30 in., $2,150
NEW

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer, graphite on canvas

10 x 10 in., hbt07-003, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer, graphite on canvas

10 x 10 in., hbt07-002, $600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer, graphite on canvas

10 x 10 in., hbt07-004, $ 600

The Earth on the Back of the Giant Turtle, 2007

acrylic, graphite on canvas

44 x 48 in., hbt07-01, $ 5,200

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer, graphite on canvas

10 x 10 in., hbt07-010, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer on canvas

10 x 10 in., hbt07-008, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer, pigment transfer on canvas

10 x 10 in., hbt07-007, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer on canvas

10 x 10 in., hbt07-006, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer on canvas

10 x 10 in., hbt07-011, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer on canvas

10 x 10 in., hbt07-020, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer on canvas

10 x 10 in., hbt07-017, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer on canvas

10 x 10 in., hbt07-016, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic on canvas

10 x 10 in., hbt07-014, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer on canvas

10 x 10 in., hbt07-012, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer on canvas

10 x 10 in., hbt07-025, $ 600

Great Sea Creatures & The Earth on the Back

of the Giant Turtle, 2007

acrylic, pigment transfer on canvas

10 x 10 in., hbt07-024, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer on canvas

10 x 10 in., hbt07-023, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer on canvas

10 x 10 in., hbt07-015, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer on canvas

10 x 10 in., hbt07-022, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer, pigment transfer on canvas

10 x 10 in., hbt07-021, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer on canvas

10 x 10 in., hbt07-030, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer on canvas

10 x 10 in., hbt07-029, $ 600

Great Sea Creatures & The Earth on the Back

of the Giant Turtle, 2007

acrylic, pigment transfer on canvas

10 x 10 in., hbt07-027, $ 600

Great Sea Creatures & The Earth on the

Back of the Giant Turtle, 2007

acrylic, pigment transfer on canvas

10 x 10 in., hbt07-026, $ 600

The Earth on the Back of the Giant Turtle, 2008

acrylic, pigment transfer on canvas

26 x 30 in., hbt08-08, $ 2,150

Every Kind of Plant That Bears Seed VIII, 2005

acrylic on canvas

52 x 58 in., hbt05-03, $ 7,500

Willows, Oaks, Poplars & Sycamores, 2005

acrylic, pigment transfer on canvas

10 x 10 in., hbt05-026, $ 600

Great Blue Heron, 2005

acrylic, pigment transfer on canvas

10 x 10 in., hbt05-024, $ 600

Great Sea Creatures & Punica Granatum, 2004

acrylic on canvas

10 x 10 in., hbt04-122, $ 600

Great Sea Creatures & Punica Granatum, 2004

acrylic on canvas, 10 x 10 in.

hbt04-117, $ 600

Great Sea Creatures & Punica Granatum, 2004

acrylic on canvas

10 x 10 in., hbt04-112, $ 600

Great Sea Creatures & Punica Granatum, 2004

acrylic on canvas

10 x 10 in., hbt04-131, $ 600

Carbohydrates Help Give You Energy for Growing,

2005, acrylic, pigment transfer on canvas

10 x 10 in., hbt05-020, $ 600

Great Sea Creatures & Punica Granatum, 2004

acrylic, pigment transfer on canvas

10 x 10 in., hbt04-105, $ 600

Great Sea Creatures & Punica Granatum, 2004

acrylic, pigment transfer on canvas

10 x 10 in., hbt04-101, $ 600

FOX GTI R.E.M. HOPE SEGA ETV, 2008

acrylic, pigment transfer on canvas

10 x 15 in., $ 900

The Monarchs' Migration, 2008

Pigment transfer on canvas

10 x 15 in., $ 175

421 Winged Birds & Punica Granatum, 2004

Acrylic, pigment transfer on canvas

70 x 70 in. (25 individual 10 x 10 in. paintings)

$ 9,500

The Effects of a Prevailing Wind is Exemplified by

a Uniquely Contoured Tree Growing Away
from the Direction of the Wind, 2003

acrylic on canvas, 10 x 10 in., hbt03-074

$ 600

Angiosperms Spread Through the World at a Time

when the Continents Had Not Yet Split Apart, 2003

acrylic on canvas, 10 x 10 in., hbt03-091, $ 600

Complicated Phenomena Such as Atmospheric and

Oceanic Circulations are Being Predicted with

Increasing Accuracy by Computers, 2003

acrylic, color pencil on canvas

10 x 10 in., hbt03-075, $ 600

Nectar Is Essentially an Aqueous Solution of Sugars

2003, acrylic, pigment transfer on canvas

10 x 10 in., hbt03-103, $ 600

AT-AT, 2009, acrylic on canvas, 10 x 10 in., $600
NEW

Cree Indians Call Electricity Nimischiiuskataau

(Fire That Shakes the Ground), 2008

acrylic, pigment transfer on canvas

30 x 46 in., $ 3,500

Hollis Brown Thornton's Preview Show: May 9-16, 2008

2008-05-08T12:24:00.001-04:00

O N E W E E K O N L Y

May 9 – 16, 2008

if ART Gallery

presents

HOLLIS BROWN THORNTON

The Earth on the Back of the Giant Turtle

[A preview of the solo exhibition at Linda Warren Gallery, Chicago Il.,

June 27 – August 16, 2008]

Opening Reception: Fri., May 9, 5 – 10 p.m.

No work from the exhibition will be for sale

The Inventory: February 15-26, 2008

2008-02-15T13:28:00.000-05:00

The Earth On The Back Of The Giant Turtle, 2007

Acrylic, graphite on canvas

44 x 48 in

$5,200

if ART

presents at

Gallery 80808/Vista Studios

808 Lady St., Columbia, S.C.

THE INVENTORY:

A Group Show of if ART artists

Feb. 15 – 26, 2008

Artists’ Reception: Friday, Feb. 15, 5 – 10 p.m.

Opening Hours:

Saturdays, 11 a.m. – 5 p.m.

Sundays, 1 – 5 p.m.

Weekdays, 11 a.m. – 7 p.m. and by appointment

For more information, contact Wim Roefs at if ART:

(803) 238-2351 – wroefs@sc.rr.com

For its February exhibition, if ART presents The Inventory, a group exhibition of artists from if ART Gallery. The show will consist of many new works by if ART artists as well as older pieces from the gallery’s inventory.

Included in the show will be work by Columbia artists Jeff Donovan, Mary Gilkerson, Marcelo Novo, Anna Redwine and David Yaghjian. Other South Carolina artists include Carl Blair, Jeri Burdick, Phil Garrett, Bill Jackson, Peter Lenzo, Dorothy Netherland, Matt Overend, Edward Rice, Tom Stanley, Christine Tedesco, H. Brown Thornton, Leo Twiggs, Katie Walker and Paul Yanko. Furthermore, the show will present work by former South Carolina residents Tonya Gregg, Eric Miller and Andy Moon. Also included are California collage artist Jerry Harris, Dutch painter Kees Salentijn and German artists Roland Albert, Klaus Hartmann and Silvia Rudolf.

Kleinformat/Small Format: October 26- November 12, 2007

2007-11-08T18:43:00.000-05:00

(To enlarge, click on image above.)

Kleinformat/Small Format: The Columbia - Kaiserslautern Exchange is currently showing at if ART Gallery, 1223 Lincoln Street. This exhibition runs from Friday, October 26 until Tuesday, November 13, 2007 and included an opening reception on Friday, October 26 from 5 - 10 PM. Additional hours are: Weekdays from 11 AM until 7 PM and Saturdays from 11 AM until 5 PM. The exhibit features work by five South Carolinians (Mary Gilkerson, H. Brown Thornton, Stephen Chesley, Mike Williams, and Tonya Gregg) and five Germans from Columbia's sister city, Kaiserslautern (Silvia Rudolf, Roland Albert, Reiner Mahrlein, Ralph Gelbert and Klaus Hartmann).

Deanna Leamon & H. Brown Thornton: March 9-20, 2007

2007-02-23T18:33:00.001-05:00

if ART, International Fine Art Services

presents at

Gallery 80808/Vista Studios, 808 Lady St., Columbia, S.C.

TWO SOLO EXHIBITIONS:

Deanna Leamon: Shroud

H. Brown Thornton:

Great Sea Creatures & the Earth on the Back of the Giant Turtle

March 9 – 20, 2007

Artists’ Reception:

Friday, March 9, 5 – 10 p.m.

Opening Hours:

Saturdays, 11 a.m. – 5 p.m.

Sundays, 1 – 5 p.m.

Weekdays, 11 a.m. – 7 p.m.

and by appointment

Contact Wim Roefs at if ART: (803) 238-2351 – wroefs@sc.rr.com

For its March exhibition at Gallery 80808/Vista Studios in Columbia, S.C., if ART, International Fine Art Services, presents solo exhibitions by Deanna Leamon and H. Brown Thornton. Leamon will exhibit mixed media works on paper. Thornton will show mixed media paintings. Both artists are represented by Columbia’s if ART Gallery, 1223 Lincoln St., (803) 238-2351.

Leamon is a professor at the University of South Carolina art department. Her graphite-driven works on paper have received great critical acclaim. Leamon only sporadically shows in Columbia, and this show will be her first local solo exhibition in a commercial gallery. Leamon’s work was in “Thresholds: Expressions of Art & Spiritual Life.” The exhibition was curated by New York art critic Eleanor Heartney and traveled throughout the Southeast from 2004–2006. Leamon also was in “The Felt Moment,” a 2003 show of contemporary art from the Carolinas at the Columbia Museum of Art.

Aiken native and resident Brown Thornton also was in “The Felt Moment.” Thornton received his BFA from the University of South Carolina art department in 1999. From 2001–2005 he lived and worked in Chicago, where he shows with the Linda Warren Gallery. The realization that the South was a significant aspect of his work – and the fear of another cold Chicago winter – made Thornton decide to move back to Aiken, where he lives and works in a warehouse studio.

“I want my work to constantly emphasize the temporal, passing moment,” Thornton says of his abstract acrylic paintings with representative elements. “This can be something that just happened or something that happened long ago and only remains as fragments made up of memories or photographs. I think I am defined more so by a collection of constantly passing events, both present and past, than most anything else. I often place the whale skeletons on dry land, emphasizing that this land was not dry at one point and may one day be under water again.”

The impetus for Leamon’s current work is the war in Iraq, she says, “especially those aspects of that war that our government doesn’t want us to see, such as Iraqi casualties. This work continues my concern with individual human suffering as a consequence of large bureaucratic exercises of power. I continue to explore new ways to extend drawing and to make the drawing medium serve the artistic message.”

if ART Gallery Opening: November 2006

2006-11-12T14:35:00.000-05:00

Great Sea Creatures & Punica Granatum, 2004

Acrylic, carbon transfer on canvas

10 x 10 in

hbt04-101

$500

OPEN NOW:

if ART Gallery

1223 Lincoln St.

Columbia, S.C.

Gallery Hours:

Most days, except Sunday, from 11:00 AM – 7:00 PM

& by appointment (call 803-238-2351)

For more information, contact Wim Roefs at if ART

(803) 238-2351 – wroefs@sc.rr.com

On Nov. 10, 2006, if ART, International Fine Art Services, opened if ART Gallery. The gallery is at 1223 Lincoln St., Columbia, S.C., in the Vista district, across from the Blue Marlin restaurant. For more information, contact if ART’s Wim Roefs at (803) 238-2351 or wroefs@sc.rr.com.

If ART Gallery carries the work of South Carolina artists Leo Twiggs, Mike Williams, Carl Blair, Tom Stanley, Virginia Scotchie, Tonya Gregg, Peter Lenzo, Jeff Donovan, David Yaghjian, Anna Redwine, John Monteith, Christine Tedesco, Brown Thornton, Paul Yanko, Laura Spong, Steven Chapp, Katie Walker, Edward Rice, Aaron Baldwin, Bill Jackson, Herb Parker, Dorothy Netherland, Eric Miller, Mary Gilkerson, Matt Overend, Kim Keats and Phil Garrett. The gallery also carries work by Dutch artist Kees Salentijn, German artists Reiner Mahrlein, Roland Albert and Klaus Hartmann, and Washington Color Field painter Paul Reed.

The gallery also carries a wide selection of unframed and lithographs, silkscreens, etchings and other limited edition prints by such nationally and even internationally prominent artists such as Karel Appel, Richard Hunt, Bram van Velde, John Hultberg, Sam Middleton, Benny Andrews, Hannes Postma, Corneille, Lucebert and Alvin Hollingsworth.

Since March 2005, if ART, International Fine Art Services, has organized commercial gallery exhibitions in Columbia, mostly at Vista Studios/Gallery 80808. In addition to presenting gallery artists and special exhibitions at if ART Gallery, if ART will continue to organize exhibitions at Vista Studios/Gallery 80808. The company also provides curatorial and exhibition design services.

Most recently, in September, if ART was hired by the Technical College of the Lowcountry to install dozens of art works at the college’s new building in Bluffton, S.C. Earlier this year, if ART installed two exhibitions of work from the South Carolina state art collection at the Sumter (S.C.) Gallery of Art. The if ART production “South Carolina Birds: A Fine Art Exhibition,” curated by company owner Wim Roefs, is at the Pickens County Museum of Art & History until Nov. 11, 2006. The exhibition opened in 2004 at the Sumter Gallery of Art and traveled to the Burroughs & Chapin Museum in Myrtle Beach, S.C., and the City Gallery at Waterfront Park in Charleston, S.C. Roefs wrote the essay for the exhibition catalogue, which he also edited.

In 2005, Roefs curated exhibitions of work by Leo Twiggs and Carl Blair for the Fine Arts Center of Kershaw County in Camden, S.C. He also curated an exhibition of paintings by Marcelo Novo for HoFP Gallery in Columbia, S.C., and wrote the essay for the exhibition catalogue. Earlier this year, Roefs curated an exhibition with work by Dutch artist Kees Salentijn for the Center of the Arts in Rock Hill, S.C. In May, he curated an indoors/outdoors sculpture exhibition for the city of Dillon, S.C.

Roefs contributed an essay to the catalogue for the exhibition “A Collection for Margaret: The Personal and Private Art of Carl Blair.” The exhibition is on view at Hampton III Gallery in Greenville until Nov. 11. Roefs teaches a course in African-American art at the University of South Carolina.

Since March 2005, if ART has published eight small exhibition catalogues. The catalogues featured short essays by Roefs about Aaron Baldwin, Mike Williams, Anna Redwine, Tom Stanley, Carl Blair, Janet Orselli, Matt Overend, Laura Spong, Leo Twiggs, Jeff Donovan, John Monteith, Dorothy Netherland, Herb Parker and Phil Garrett and Mary Gilkerson and the process of making monotypes.

SOLD WORKS OF ART

2005-10-02T13:57:00.005-04:00

Schonbrunn Palace, 2011, permanent marker on paper
8 1/4 x 10 1/4 in., $600

August 10, 1983, 2008

acrylic, pigment transfer on canvas

10 x 15 in.