Welcome to Tregoning & Company
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Presence, in its varied manifestations can embody a quality of “otherness.” This is what I attempt to reveal without reverting to tedious styles of fantasy or metaphorical figuration. Obscure and familiar objects and artifacts arranged in unique juxtapositions and settings become totemic-like and evocative. Released from their original functions and initially grouped by variable choice, the final composite of disparate forms can reveal new and unsuspected affinities and qualities. They begin to disclose form’s capacity for non-verbal expression and an eloquence in the encompassing stillness.
Many of the modern movements considered two-dimensionality inviolate and I strive to maintain structural integrity through a foundation of basic geometric shapes. But the spectrum of Modern genres also included PitturaMetafisca, Surrealism and Magic Realism, all characterized by a quality of psychologically charged spatial depth. These were my creative precedents and as a contemporary realist I strive to express the essence of form in compositions of contained or expansive space. As a result, my paintings range from the table-top to the open vista. It is my hope that these works offer the observer a momentary respite from the cacophony of the day, encourage a sense of wonder of the phenomenal world and act as visual reminders of the enigmatic nature of our reality. -- Anthony Schepis |
Click here to read the CAN Journal article on James March's exhibition at T&Co, Cosmic Shift
Cosmic Shift
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July 21 - August 26, 2017
The idiom of my body of new work I like to call Op-Expressionism. It is a combination of Geometric Abstraction and Op Art techniques that I have been employing for the last 10 to 15 years with Abstract Expressionism, which is fairly new to me. My last show, “Cassini” in 2015, was when I started to merge these 3 disciplines in my painting, my premise being the exploration of outer space, like the NASA space probe of that name. “Cosmic Shift” is not about altering the trajectory of my search but merely a slight shift in focus --which is more about exploring different aspects of style than about content.
I generally start my paintings with large palette knives and brushes to build an expressionist foundation and then build on whatever chance relationships occur with precise geometric and optical techniques. I basically impose order onto chaos. A complete synthesis of the different techniques is the resulting effect. ~James Massena March |
Puzzled Bipeds
The Body
It’s been said that even the angels ache for a body, sometimes. If I did figurative work what would it look like? I asked myself this question often. I soon realized that figures were part of my work for many years, an ongoing series of pen and ink drawings.
Projecting them on larger canvases I was able to find many new compositions and entanglements. I’m often asked where the figures originate. There is an ache in my body, on the outside everything is calm the inside is much different.
The postures here are not meant to be literal. I’m trying to create an impression, as simply as possible that describes my two natures. One grasping and one allowing.
This is my situation, moment to moment, day to day and year to year. Where the figures in these paintings come from is a mystery. Dominating the scene, they emerge like rebellious children seeking attention from their elders
- Matt Dibble
It’s been said that even the angels ache for a body, sometimes. If I did figurative work what would it look like? I asked myself this question often. I soon realized that figures were part of my work for many years, an ongoing series of pen and ink drawings.
Projecting them on larger canvases I was able to find many new compositions and entanglements. I’m often asked where the figures originate. There is an ache in my body, on the outside everything is calm the inside is much different.
The postures here are not meant to be literal. I’m trying to create an impression, as simply as possible that describes my two natures. One grasping and one allowing.
This is my situation, moment to moment, day to day and year to year. Where the figures in these paintings come from is a mystery. Dominating the scene, they emerge like rebellious children seeking attention from their elders
- Matt Dibble
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April 7 - May 20
The INEFFABLE:
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This exhibition celebrates the Bi-centennial of Zoar Village’s founding in 1817.
Don Whitemyer assembled a fine collection of Zoar paintings executed by German-American artists best recognized as members of the generic ‘Cleveland School’: Adam Lehr, George Adomeit, August Biehle, Ferdinand Gottwald, William Sommer –all of whom delighted in weekends and trips away from Cleveland, enjoying illicit home-brewed spirits, camaraderie, and painting in both Zoar village and the adjacent countryside. Tim continued to expand the collection he inherited from his dad with purchases from the annual Whitemyer invitational show held in Zoar, made up of paintings depicting Zoar Village. Both men had close ties to Youngstown painter and Butler Museum director Clyde Singer; there are numerous paintings, drawings and prints by this American master as well represented in the Whitemyer Collection. |
Eterovich on Ideastream!
Listen to the T&Co interview here with Ideastreams' Dee Perry on The Sound of Applause! Perry speaks to curators Bill Tregoning of Tregoning & Company and the Cleveland Institute of Art's Bruce Checefsky about the work of Cleveland artist and educator Anthony Eterovich and the city-wide exhibition celebrating the centennial of his birth.
78th Street Studios - Third Friday Art Walks featured on WKYC 3
CLEVELAND -- The building is a former automotive factory and once was the American Greetings headquarters. Now the 78th Street Studios is the largest fine art complex of it's kind in Northeast Ohio and it's drawing artists and crowds to the Gordon Square art district every month. Although the building takes up the majority of a city block, it still feels like a hidden gem. Inside, 47 creative businesses occupy different creative spaces on three floors.
