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Varnish Fine Art
Varnish Fine Art
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Decker Studios Bronze
December 12, 2006 - January 27, 2007
Opening Reception and Auction of 1 Sanford Decker sculpture: Friday December 15, 7-11pm
Decker Studios Bronze
A fitting end to 2006 for our sculpture-centric gallery, this group show of bronze sculpture from the southern California Decker Studios Foundry features Sanford Decker, Ynez Johnston, Karen Mortillaro, Jose Ismael Fernandez, and Tanya Ragir with a portion of the show's proceeds benefiting the Ventana Wildlife Society. Information about Ventana Wildlife Society may be found online at www.ventanaws.org.

As well as being an accomplished sculptor, Sanford Decker is the owner and founder of Decker Studios full service fine arts atelier, providing a complete range of casting and fabrication services in materials that include bronze, stainless steel, silver, gold, and aluminum.

Karen Mortillaro's love of detail and craftsmanship binds with her interest in anamorphia, both a concept and a technique that she uses to lift images from a flat page and turn them into three-dimensional forms. Her exquisite and imaginative pieces of Alice down the rabbit hole evoke the wonder of those images that everyone knows from childhood.

At 86 years of age with a National Endowment for the Arts grant under her belt along with a Guggenheim Fellowship, Ynez Johnston has shown her work extensively, both nationally and internationally. Her combination of modernism with ancient art forms, including references to Byzantine, Persian, Mexican, Indian and Southeast Asian motifs has registered throughout her career in a variety of mediums, including lithography, watercolor, oil as well as wood and bronze sculpture.

Iconic and heroic are the terms that come to mind when looking at the work of Jose Fernandez. His work reflects the impulses of an artist of a different era a-la Stanislav Szukalski, to create forms in bronze that shoulder concepts of solidarity, redemption, innocence and purpose.

Tanya Ragir and her series of totems reflect her interest in the sensual relationships between land and human form. She frames details of figures then alters the scale in order to deepen the relationship we have to the figure. "I perceive beauty," she says, "as authenticity, not perfection. In all the work, I have a great reverence for grace, and attempt to find a balance between sensuality and power."

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