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November 21, 2014 - December 20, 2014 

Opening Reception is Friday, November 21st from 6-8pm


Elizabeth Gilfilen “Laid Ledge”

Jeremy Chandler "Prone Positions"


FRED.GIAMPIETRO 315 Peck Street Gallery

November 21 – December 20, 2014


FRED.GIAMPIETRO Gallery is pleased to present “Laid Ledge”, an exhibition of new work by Elizabeth Gilfilen and "Prone Positions", an exhibition of new work by Jeremy Chandler. This is Elizabeth and Jeremy's first solo shows with the gallery.


Elizabeth writes:

“The title of this exhibition, “Laid Ledge” alludes to the painting act, and to locating the physical and perceived edge of uncertainty. With paint, I move fluidly through the work, and I record each misstep. Accumulated marks grow and deviate; torquing forms emerge based on the decisions I make. A kinetic energy can overwhelm, yet I strive for a tension in the marks that is sprung almost as tight as the coils and tendons that create them. It is the alternating recognition of corporeal form and its immediate denial that causes me to revisit the work over many months. Over time, the scaffolding of marks can collapse into overlapping landscapes, defined by risk and just out of reach.“


Elizabeth Gilfilen received her BFA from the University of Cincinnati and her MFA from Virginia Commonwealth University. Awards include: Yaddo, The Marie Walsh Sharpe Foundation Space Program, Gallery Aferro Studio Residency, The Bronx Museum's AIM Program, and the Robert Blackburn Printmaking Workshop SIP Fellowship. Exhibitions include: Morgan Lehman Gallery, NY, Reynolds Gallery, Richmond, VA, the Aldrich Contemporary Art Museum, CT, and the Hunterdon Museum of Art, Clinton, NJ. Her work will be published in New American Paintings; and has been reviewed in Two Coats of Paint, The Boston Globe, The Newark Star-Ledger and The New York Times.


In a recent statement, Jeremy describes his work: "My art practice has grown out of a desire to express my own personal history; experiences, relationships, and identity through a prolonged engagement with place and a process that emphasizes shared experiences with those I photograph. I create content through a variety of conceptual and formal approaches, such as straight photography, tableaus and documentary and narrative film projects. Throughout, futility, ritual, sublimity, land use and methods of concealment are all recurring themes in my work. My visual language is informed by my own memories, cultural mythology, and depictions of masculine identity through cinema, art history, and popular culture. I am interested in subverting ritualized expressions of masculinity to reveal a more nuanced idea of maleness and how culture and myth can often intertwine to create altered perceptions of space and place.


In my most recent photographs, I construct images by repurposing methods utilized by hunting and military culture, turning otherwise weaponized techniques into benign aesthetic devices. I activate spaces that are typically already known to me, through the introduction of people, found and homemade props, and cinematic methods of storytelling."


Jeremy Chandler received his BFA from the University of Florida and his MFA from the University of South Florida. Jeremy's work has been exhibited in many prestigious galleries and museums both nationally and internationally. Chandlre's work will be published in Ellen Mueller's new publication titled, "Elements and Principles of 4D Art and Design"; and has been reviewed in Oxford American Magazine, The News Herald, and The Daily Loaf. Chandler's work can be found in The Center for Fine Art Photography in Fort Collins, CO, All Children's Hospital in St. Petersburg, FL and other public and private collections.

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October 10, 2014 - November 22, 2014 

Opening reception is Friday, October 10th from 6-8pm


FRED.GIAMPIETRO Gallery is pleased to present new works by Karen Dow and Laurie Gundersen in an exhibition titled, Cross Currents.


Karen Dow makes flat work, yet the architectural and sculptural elements within belie their flatness. The distinct layers in the artist's newest body of work act in surprising ways, exposing forms while ghost images reveal themselves under marble dust gray. Like exposed composite rock segments, striations appear. Stacked and patchworked forms assert themselves as the gray fogs over layered and masked formations. Most of these solid forms are the final layer, completing the balancing act. Within Dow's painting, there is always the possibility of imbalance and irregular shapes ready to topple at the slightest breeze.


Dow has spent the last few years using printmaking techniques to create unique works on paper. The act of creating these monoprints itself has influenced the artists approach to the painting process. By inking hand cut materials, variable color and texture appear in the print process. Dow has recreated this indeterminacy by masking her canvas laid affixed to board with a hand cut frisket, an opaque vinyl material that adheres to the surface. The hand cut line wobbles, making both the mask another way for the artists hand to come across. By painting over all but these masked areas, the artist creates an "Aha" moment when she excavates the relics left behind. Louise Nevelson's irregular forms, composed of collaged remnants, serve as both an apt comparison as well the artists’ inspiration. Rather than work with collage, the artist builds a thorough world beneath and chooses her own remnants.


Signal, 2014 is a multi­tiered work, containing several blocks of color. In the upper left, a square is divided black on the left and gray on the right. It appears to be right at the front of the plane, helped some by a red/orange layer behind it. This small area recalls Barnett Newman's zips as well as Pat Steir's large nearly monochromatic diptychs. The red and orange area in the middle left of the plane, also propped on a ledge, is a focal point and causes the eye to draw up to the dark area and then over to the right to view the "flag". The flag is an area with a four segment square. All around the gray midtone, adds a muted field of light. With Signal, 2014 soft, dusty colors recede and bring to mind Giorgio Morandi's Etruscan palate. The dominant colors, autumnal yellow and orange and gauzy sky blue, light the way. Everywhere a counter balance of color is assumed, dispersing weight around the plane.


- Jeff Bergman


Laurie Gundersen writes in a recent statement, “I am a utilitarian folk artist:

a dyer, spinner, weaver, quilter and basket maker. Primarily self-taught, I have explored these various media by diving into materials close at hand. Fascinated by the creative ways of making folk art from scrap, I make textiles reflecting that spirit and my love for blending contemporary designs with traditional techniques.


This collection of small textiles has helped me reflect and remember the people whose work in textiles have inspired me and provided movement in my life.  Annie Albers, Lenore Tawney, Mary Hambridge, Randall Darwall, Hiroko Harada & Yoshiko Wada to name a few.  Over the past decades my craft has slowly evolved, eventually leaving the art-to-wear movement behind.  However, I have been gathering textiles over the last three decades in hopes of constructing art with it. Here is the new beginning of that process.”


Gundersen lives and works in the Shenandoah Valley of Virginia. Her studio/showroom is called Appalachian Piecework and is located at the train depot in Staunton.


Fred.Giampietro Gallery specializes in emerging and mid-career contemporary art.

This exhibition will take place at the Fred Giampietro Gallery’s new downtown location, 91 Orange St., in the historic 9th-Square district. Gallery hours are Wednesday through Saturday, from 11 AM to 6 PM.