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Sam Abell
Bogdan Achimescu
William Albert Allard
Susan Bacik
Robert Barbee
Lisa Beane
William Bennett
Cary Brown
Anne Chesnut
Dean Dass
Johanna Drucker
John Borden Evans
Shelby Fischer
Lydia Gasman
Lou Hicks
A. Peyton Hurt
Herb Jackson
Deborah Kahn
David Lee
Gloria Lee
Taliaferro Logan
Ann Lyne
Megan Marlatt
Annie Harris Massie
John McCarthy
Genevieve McConnell
Donna Mintz
Martin Mullin
Stefanie Newman
Trisha Orr
Mata Ortiz
Beatrix Ost
Nina Ozbey
Lincoln Perry
Edie Read
Celia Reisman
Martha Saunders
Italo Scanga
Elizabeth Schoyer
Nicole Noelle Sherman
Anne Slaughter
David Summers
Rob Tarbell
Ted Turner
Christophe Vorlet
Russ Warren
James Welty
Sanford Wintersberger
Clay Witt
Stanley Woodward

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David Summers

Images | Images 2 | Images 3 | Images 4 | Essay


Essay on David Summers

Marks and virtual space on a surface are reciprocal, and infinite apparent things may arise from a first mark, just as infinite virtual spaces must arise to accommodate them. If marks are "things" in space, they also show us surfaces of those things, virtual color and light, which again may be articulated in infinite ways.

Brushstrokes make their own kind of endlessly unique spaces, which, rather than letting run their course, I make describe what I have chosen to paint. For me, painting is trying to make the marks of painting like the things, space and light I see, weaving pictorial space and light into an acknowledgment of whoever or whatever I am facing. Once I have decided what to paint, I try to feel the rightness of every touch of the brush, at the same time that what I see can't be anything but the endless occasion for invention. A painting is done when a particular subject assumes something like its own presence and distance in the equally particular space of the painting.

I usually don't let the painted surface touch the edge, so that the marks will float, not borrow architecture from the edges. The paintings compose themselves from the inside out. While I paint, I feel I am trying my best to draw with light; this is impossible, of course, because paint is paint and because light continually changes. But the simple and impossible disrelation of painting and light to me is itself endlessly fascinating, always promises meaning, and any persuasive analogy I find to the play of light, even how a few shadows lie together, is a gain. Light touches our retinas a first time, leaves our eyes just as suddenly and silently, and in an instant knits up the place we were. In the meantime, it is the great place and time in which we share our lives.

The paintings are mostly arranged according to the thoughtless habit and permutationality of a life. They are paintings of familiar people and things, things I see out of the corner of my eye, gifts I have been given, things that strike my fancy (as we say), objects no longer meaningful once used. I try to make them as beautiful with light as they are, or were, or seem to try to persist to be. Painting light is a kind of homage to what is and was for me, much as it is and was for you, and it is inescapably both lyric and elegiac.

 

Images | Images 2 | Images 3 | Images 4 | Essay

Fall 2007 highlights
Jul
Aug
Selected Emerging & Established Artists
  Newcomers Rob Tarbell, Taliaferro Logan, Kiki Slaughter, and Peyton Hurt will share the stage with well known Dean Dass, Lincoln Perry, and others
Sep Stanley Woodward: 
  A Retrospective
  Stefanie Newman: 
  Reconstructing Art History
Oct Lincoln Perry: 
  Three Decades
Nov Russ Warren: 
  Portraits
Dec Dean Dass:
  Drawings and Paintings
 
Spring 2008 highlights
  Lydia Gasman, Ted Turner, Megan Marlatt, and Rosemarie Fiore
  Charlottesville Second Annual Festival of the Photograph

Special events
First Fridays
5:30 - 7:30 pm
Collectors’ Previews
Les Yeux du Monde will host Thursday Night Previews and Conversations with the Artists for interested collectors and friends. To receive invitations, please contact the gallery at 434.973.5566 or > Contact Us

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