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Showing posts with label Current Exhibition. Show all posts
Showing posts with label Current Exhibition. Show all posts

Maggie Taylor’s vivid photomontages are awash with whimsy, story and symbolism. In this month’s Gallery Favorites segment we each chose one image from Taylor’s exhibition Internal Logic that personally speaks to each of us, and detail what we find intriguing and delightful about each work. For this post, we are pleased to have Maggie share her favorite as well. 

We hope you enjoy viewing our favorite prints from the exhibition, and please reach out if you have questions about any of the selected artworks — Maggie Taylor’s Internal Logic is currently on view in the photo-eye Gallery, and the newly signed monograph, and limited edition that includes a print, is available through our bookstore- HERE.


Anne Kelly selects If I Had a Boat


Portrait of Gallery Director
Anne Kelly
One of the challenges and joys of collecting photography is deciding which artists to collect, and which images by that artist to select. When it comes to prolific artists, such as Maggie Taylor, the image selection process may seem daunting. My advice is to let the process be fun and organic and not let it intimidate you.

My first rule of collecting is select images you love, even if you can't yet identify why. You will have plenty of time to discover what about the image spoke to you. If you are looking for a more conscious strategy, try making a selection that contains a visual element that you have a personal connection with. I believe that art and music, have the power to stir the imagination and assist in revisiting fond memories. Images that have that transformative power are, in my opinion, rewarding and joyful to live with.

In following my advice, the image that I have selected from our current exhibition is "If I had a Boat". When I was growing up, my grandparents lived on a lake and my grandmother owned a small butterfly sailboat. Some of my fondest memories are watching my grandmother sail, and, as I got older, taking sailing lessons. When I focus on this image, I am temporarily transported back to those carefree Summer days on the lake...the sun on my skin, water splashing, the smell of sunscreen, and perhaps even my grandmother's voice in the distance.


Maggie Taylor selects The Game


Maggie Taylor, The Game, 2021, Archival Pigment Print, 15x15", edition of 15, $3,200

As is normally the case, my personal favorite image is the one I most recently finished. “The Game” started with an intriguing pair of dogs, painted at different times by different artists. I added in a third character — a combination of a baby elephant skeleton I photographed at the Natural History Museum in Oxford, England, a few years ago and a small painting of Napoleon I found at an antique sale. Since there was no person to interact with these creatures, I added the woman who exists in a different dimension, but still has the ability to play with the dogs. Probably the most fun aspect of working on this image was exploring all the possible color palettes and outfits for each character.





Jovi Esquivel selects The Gathering


Maggie Taylor, The Gathering, 2021, Archival Pigment Print, 15x15", edition of 15, $3,200 

Portrait of Gallery Associate
Jovi Esquivel
Within a cloud of aqua, a group of small boats carrying small animals, wearing paper crowns, circle a woman floating in a body of water; at the center of the photograph with her arms and hands open towards receiving, her soft, calm, gaze meets mine as I examine the fleet surrounding her. 

Throughout history, the open palm has been associated with truth, honesty, and openness; in this image, I'd like to think of it as a surrender to a sense of wonder. 

I grew up in Southern California, not in a coastal city, but the thirty-minute drive to my favorite beach made it an easy place to escape to. The view offered by HWY 1 (PCH), heading south toward the state park was the first gift of promise. Now, as a meditative practice, I try to recall as much detail as I can— the range of aqua between me and the horizon while I stand on the shore, the salty breeze, the shock from the touch of cold water that seems to wake every fiber in me. If you've been in the Pacific Ocean, you know it isn't an easy body of water to enter, but I've learned to respect its nature and in turn, it has taught me how to trust myself and follow my intuition. Submerging into its wildness reconnects my soul to my body.

The vivid colors found in Maggie Taylor's The Gathering reconnect me to the moments I have spent standing at my favorite shoreline, bracing myself physically to accept the gifts that come from surrender.


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Internal Logic — Photographs and Art by Maggie Taylor
Maggie Taylor's Digital Creations are built layer by layer, and object by object, through a disciplined studio process of trial and error.

Internal Logic highlights Taylor's sense of what makes an image 'work' and offers insights into the shape and contours of her inspirations.

*The Limited Edition contains one 8"x8" Archival Print.










photo-eye Gallery is proud to represent Maggie Taylor.

Print costs are current up to the time of posting and are subject to change.


To learn more about these and other works by Maggie Taylor, or to acquire specific prints, 
please contact photo-eye Gallery Director Anne Kelly or Gallery Associate Jovi Esquivel.

1300 Rufina Circle, Unit 3. Santa Fe, NM 87507
Tuesday– Saturday, from 10am– 5:30pm
You may also call us at (505) 988- 5152 x202

photo-eye Gallery A Peek at Our Current Exhibition - Internal Logic Maggie Taylor, Anne Kelly & Jovi Esquivel In this Gallery Favorites segment we each chose one image from Taylor’s exhibition Internal Logic that personally speaks to each of us, and detail what we find intriguing and delightful about each work. For this post we are pleased to have Maggie share her favorite as well.
photo-eye Gallery Maggie Taylor's Artist Reception & Book Signing Jovi Esquivel An early digital adopter, Maggie Taylor has been utilizing this technology to build her evocative and elaborate photomontages for over 20 years...

Maggie Taylor. The Gathering, 2021, Archival Pigment Print, 15x15", Edition of 15, $2800


photo-eye Gallery is pleased to announce 

Maggie Taylor  /  Internal Logic

An artist reception and book signing for Taylor's new book and exhibit by the same title. 

This exhibition and book feature...

"dreamlike worlds inhabited by everyday objects"

On View August 6- September 24, 2022
Artist Reception & Book Signing: August 6, 3-5pm


An early digital adopter, Maggie Taylor has been utilizing this technology to build her evocative and elaborate photomontages for over 20 years. These whimsical narratives often begin as pastel background drawings, with additional components such as 19th Century photographs, drawings, vintage toys, seashells, feathers, and taxidermy scanned and meticulously arranged over time to complete the scene. Working instinctively, Taylor crafts a surreal alternate reality with curious peculiarities, rich in symbolism.

Taylor's new book Internal Logic features insights into the shape and contours of her inspirations. Her deep archive of images is the lexicon through which she communicates her multi-layered imaginings. Each image contains the keys to understanding the corpus of other photographs.

>> Learn more about Maggie Taylor's New Series on the photo-eye Blog!<<


As part of our video series photo-eye Conversations, Gallery Director Anne Kelly interviewed Taylor. In this interview, they discuss the artist's latest work, her new book, and her process in great depth. Click on the image below to watch this fascinating conversation!




Maggie Taylor lives on the edge of a sun-drenched prairie populated by cows, alligators, and birds on the outskirts of Gainesville, Florida. She was born in Cleveland, Ohio, in 1961, and moved to Florida when she was 11. Her childhood was spent watching countless hours of science fiction and situation comedies on television. In college, she received a Philosophy degree from Yale University and a master's degree in Photography from the University of Florida. 

Taylor's digital composites have been widely exhibited, published, and collected by many museums.  







Print costs are current up to the time of posting and are subject to change.


photo-eye Gallery is proud to represent Maggie Taylor.


For more information, and to purchase prints from Maggie Taylor
please contact Gallery Director Anne Kelly or Gallery Associate Jovi Esquivel
you may also call the gallery at 505.988.5152 x202
photo-eye Gallery OPENING TODAY | My Childhood Reassembled by Richard Tuschman photo-eye Gallery
photo-eye Gallery is thrilled to present My Childhood Reassembled, an online solo exhibition by New York-based photographer Richard Tuschman.

Richard Tuschman, Five O'Clock Shadows, 2016-2019, archival pigment print, 14.5 x 21.5 inches, edition of 5, $2000

photo-eye Gallery is thrilled to present My Childhood Reassembled, an online solo exhibition by New York-based photographer Richard Tuschman.

In the beautifully nostalgic, contemplative, and visually captivating new work by Richard Tuschman, the real world fuses with digitally created realms, resulting in seamless images portraying the magical and fluid times of youth. A self-taught model maker and photographer, Tuschman painstakingly crafted miniature sets of his childhood home, photographed them, and then digitally inserted real models into the images to recreate the most significant memories from his early years in emotionally compelling scenes with open-ended narratives.

My Childhood Reassembled uses photo-eye’s revolutionary new VisualServer X website builder and is the third in photo-eye's series of online exhibitions, and is the artist's third exhibition with photo-eye Gallery.

 
Richard Tuschman, Early Morning, 2016-2019, archival pigment print, 14.5 x 21.5 inches, edition of 5, $2000

Artist Statement:

I grew up in the American suburban Midwest of the early 1960s. This project reflects my experience in that time and place as a young child trying to make sense out of his world and his family relationships. For this visual memoir, I photographically recreated selected vignettes from my childhood. Based on memory and family snapshots, I constructed a replica of portions of the interior and exterior of my childhood home. I then directed and photographed an ensemble of actor-models who resembled my family members.

The title,
My Childhood Reassembled, in addition to describing the act of physically reconstructing the environment, also refers to the science that has shown that memories are not static, but are recreated and reassembled each time they are conjured in the human brain.
 
The set is a replica of the modest house in Shaker Heights, Ohio, where my parents, brother, sister and I lived from 1958–1966, or from when I was age two to age ten. These were my formative years, and my most significant and emotionally resonant childhood memories spring from then and there. Architecturally, the house was exceptionally unremarkable. Built in 1955 on one quarter of an acre, the utilitarian two-family, red brick cube contained two identical three-bedroom apartments, one on each of its two floors. Devoid of almost any architectural ornamentation, the textures and physical characteristics I recall most vividly are the coarse, tightly woven pale brown wall-to-wall carpeting, the mostly unadorned plain, off-white walls, the blue-green mid-century patterned linoleum in the kitchen, the harsh light from the large picture window in the living room, and the rough red brick texture of the exterior. What interests me are the many rich emotional associations conjured by these simple sensory recollections. For example, when I think of the heavily varnished, badly nicked, inexpensive hollow-core bedroom doors I remember the complicated, mixed feelings I harbored towards my siblings, who were alternately my best friends and arch-rivals. When I think of the kitchen linoleum floor, I remember wondering, with a mix of anxiety and curiosity, about the mysteries of my parents’ marriage, trying to make sense of their hushed tones as they spoke quietly in that room when my father came home from work late at night.
 
Richard Tuschman, Pretend Grown Ups, 2016-2019, archival pigment print, 14.5 x 21.5 inches, edition of 5, $2000

The visually nondescript rooms of
My Childhood Reassembled, in contrast to the more romantically picturesque architectural elements and textures of past projects, confront the viewer as stubbornly aesthetically mute, and this is how I remember them. Thus, by necessity, I have relied almost completely on a variety of expressive lighting strategies, along with the actors’ expressions and body language, to convey the range of moods.

Childhood is as emotionally complex a period as any other stage of life, though as children we lack the ability to put such a wide range of feelings into any coherent perspective. Life then can be at times especially magical, at times mysterious, and at times bewilderingly sad. My hope and my aim has been to create a picture that expresses both the joy and pathos of childhood, as reflected in the fluctuating and ever-changing mirror of my memory.
– Richard Tuschman

 
 
 

Richard Tuschman © 2021



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Richard Tuschman's new works are available in two sizes. Currently, all prints are in their 1st tier, but prints are limited and prices are subject to change.

For more information, and to purchase prints, please contact Gallery Director Anne Kelly or Gallery Assistant Patricia Martin, or you may also call us at 505-988-5152 x202
 
 

photo-eye Gallery Mark Klett Virtual Walk-Through photo-eye Gallery
As part of our video series photo-eye Conversations, photo-eye Gallery Director Anne and Mark Klett do a virtual walk-through of Seeing Time: A Forty Year Retrospective, his recent online exhibition.


Byron Checking the Position of the Moon with His Laptop Flaming Gorge, WY, 1997, gelatin-silver print, 20 x 24 in, $3500  
 
As part of our video series photo-eye Conversations, photo-eye Gallery Director Anne Kelly and Mark Klett do a virtual walk-through of Seeing Time: A Forty Year Retrospective, his recent online exhibition. They also discuss the artist's prolific career and the making of his book. Watch this stimulating conversation below or on Vimeo.
 

 
 

 

Anne Kelly, Gallery Director at photo-eye (photo credit: Dave Hyams) & artist self-portrait © Mark Klett, One hour, 52nd Birthday 9/9/04















ABOUT THE EXHIBITION

Seeing Time: A Forty Year Retrospective, an online solo exhibition by renowned photographer Mark Klett, is the first in a series of our Gallery’s major online shows that use photoeye’s revolutionary new VisualServer X website builder.

Held in honor of his new book Seeing Time (University of Texas Press, 2020), this exhibition presents selected photographs from thirteen different projects, some never before seen. An artist of singular originality and vision, award-winning landscape photographer Mark Klett has built a profound and dynamic career that captures the space and history of the American West while evoking notions of time, perception, and cultural memory.

The online show showcases approximately 100 images. Also, a selection of this work is currently on view at photo-eye Gallery in Santa Fe, NM. Contact the gallery at gallery@photoeye.com or 505-988-5152 x121 to schedule your visit!

 

Saguaros, individual 20 x 16 inches gelatin-silver prints, if available, prices are $3500 each

  

» View More Work by Mark Klett

 


Hardbound [Signed] $85.00
Limited Edition: $150.00
About the Limited Edition:

Each print offered for our photo-eye Exclusive Limited Edition is 6" x 7½" and signed in an edition of 20.

Previous print editions, including Beneath the Great Arch, Bullet Riddled Saguaro, and Spiral
Carving Facing East, have all sold out!

Limited Edition — Campsite reached by boat through watery canyons, Lake Powell. Only 4 prints left!

 

Campsite reached by boat through watery canyons, Lake Powell  

 

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All prices listed were current at the time this post was published.

For more information, and to purchase prints, please contact Gallery Director Anne Kelly or Gallery Assistant Patricia Martin, or you may also call us at 505-988-5152 x202


 

 



photo-eye Gallery Radiant Allure Kate Breakey's Orotones at photo-eye Gallery Alexandra Jo A selection of 24kt gold leaf orotones featuring images of trees is included in Tree Stories, Kate Breakey’s solo exhibition currently on view at photo-eye Gallery. The orotones add brightness and depth to the subtle hand-colored archival pigment prints and delicate hand-embroidered photographs on silk that make up the rest of the exhibition.

Kate Breakey, Eucalyptus Tree, Fallen Boughs, Kangaroo Island, Archival pigment ink on glass, 24kt gold leaf, 10 x 15 inches, edition of 20, $1920 framed 

The luminescent flash of Kate Breakey’s orotones is a large part of their instant allure. These works are made by printing images directly onto glass, and then carefully applying 24 karat gold leaf behind the ink. The orotones shimmer when directly lit and emanate a warm glow in subdued lighting. The contrast between the ink and gold backing, and the way light is reflected from the gold, creates a shifting, radiant presence that thoroughly captivates viewers.

Kate Breakey, Eucalyptus Trees, Xmas Day,
South Australia,
Archival pigment ink on glass,
24kt gold leaf, 5 x 12 inches, Edition of 20, $1375 framed 
The other side of what makes these unique works so appealing to a wide audience is being able to understand Breakey’s motivation for creating them. In her artist statement about the series, she explains that these works are “an act of investigation — a passionate attempt to establish an understanding of the natural world.” Breakey uses the images in her orotones to highlight and record individual moments in the world that might otherwise go unseen. This insight allows viewers to truly appreciate Breakey’s selective eye and knack for observation.

Like most of Breakey’s work, the orotones are editioned, and yet there is room for variance and individuality in each piece. Since each work is custom framed, and the gold leaf is applied by hand (like the embroidery and hand-applied color in her other works) no two images in an edition will be entirely identical. This makes each piece feel special, and function as a unique object.

A selection of the orotones featuring images of trees is included in Tree Stories, Kate Breakey’s solo exhibition currently on view at photo-eye Gallery. The show combines work from three different series of Breakey’s work, displaying a range of photographic techniques that she is known for. The orotones add brightness and depth to the subtle hand-colored archival pigment prints and delicate hand-embroidered photographs on silk that make up the rest of the exhibition.

Kate Breakey, Scrub, Kangaroo Island, Australia, Archival pigment ink on glass, 24kt gold leaf, 10 x 15 inches, 
Edition of 20, $1925 framed 


Tree Stories is on view at photo-eye Gallery through February 22, 2020. photo-eye Gallery will also show a selection of Kate Breakey's orotones to Photo LA at the end of January. 


»View more work by Kate Breakey

»Read more about Kate Breakey

»More info on Photo LA

All prices listed were current at the time this post was published.

For more information, and to purchase artworks, please contact photo-eye Gallery Staff at:
(505) 988-5152 x 202 or gallery@photoeye.com


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photo-eye Gallery Behind the Image Kate Breakey on Tree Stories Alexandra Jo While the time and meticulous effort that goes into the creation of all of Kate Breakey's work is indeed captivating, her conceptualization behind each image is just as rich. This week, photo-eye is excited to share insight into Breakey's thought process.

Sheoak by Ocean, Kangaroo Island, South Australia, Hand-Colored Archival Pigment Print, 36x32" Image, 
Edition of 20, $2,030, Framed
When looking at Kate Breakey's process-based work, it's easy to get caught up with how each piece was made. While the meticulous effort that goes into the creation of Breakey's work is captivating, her conceptualization behind each image is just as rich. This week, photo-eye is excited to share Breakey's thought process behind all of the images in Tree Stories, our current exhibition of work from three different series, as well as the specific story behind Tree of Life, Mesquite, Full Moon Rising, Bahrain.

Kate Breakey, Eucalyptus Trees, Xmas Day, South Australia,
Archival Pigment ink 24k gold leaf on glass, 5 x 12 inches,
Edition of 20, $1375 Framed  
Tree Stories
I grew up in rural Australia with a lot of trees — big, old trees that I climbed and played in with my friends as a child. There was evidence that generations of children before us had been in these trees. There were carved initials and remnants of older tree houses and swing ropes. Those treetops were a fantasy world, a place where it was possible to make believe we were different creatures, where we could lie precariously on boughs, and feel them sway and groan in the wind, hear the wind in the leaves, and smell the sap. And it was familiar and comforting, a primal ancestral memory of being tree-dwellers perhaps. In trees we were invisible, but we could see everything — get a whole different perspective. My own house was strangely small from up there. We were also aware trees had stories and histories, and that the cycles of their lives — the seasons, the droughts, fires, floods, and storms — were all written in their rings. They also knew birds, bees, beetles, and earthworms, possums, and generations of people who rested or wrote poetry under them, or sketched or photographed them. As symbols of strength, endurance and wisdom in most cultures, trees have been the subjects of much art, including my own. Each tree has a story, and I have a story about each tree.



Kate Breakey, Tree of Life, Mesquite, Full Moon Rising, Bahrain, Hand-colored archival pigment print, 24 x 30 inches,
Edition of 20, $1730 Framed 

Tree of Life, Mesquite, Full Moon Rising, Bahrain.

Tree of Life is the official title of this tree. It is a 400-year-old Mesquite, with sprawling limbs, growing in the Arabian desert, near the city of Manama in Bahrain. It is on a hill on the site of a 500-year-old fort, now rubble. The tree is considered to be a miracle because no one understands what its water source is, and how it can still be alive at all. Some say, the tree is protected by the Babylonian god of water, and it is fabled to be on the site of the Garden of Eden. People bring water to pour at its base and pray. An armed guard now patrols its perimeter. I was in Bahrain with friends, and there was a full moon rising at twilight, so I suggested we go see the tree. I didn’t have a tripod, but it was lit by spotlights at its base. I waited, and the moon rose through its branches, and in that moment it was indeed miraculous.

All prices listed were current at the time this post was published.

For more information, and to purchase artworks, please contact photo-eye Gallery Staff at:
(505) 988-5152 x 202 or gallery@photoeye.com


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photo-eye Gallery Common Threads Kate Breakey's Exploratory Process Alexandra Jo Breakey’s series of embroidered nests is distinct in the Tree Stories exhibition. However, it is the consistent exploration of materials and open approach to process in Breakey's practice that truly ties each individual work in the show to all the others.

Kate Breakey, Nest 9, Hand-embroidered archival pigment print on silk, 24 x 24 inches, Edition of 20, $2,290 Framed 

Most of the works in Tree Stories, photo-eye Gallery's current exhibition of works by Kate Breakey, are images of the same subject: trees. However, the exhibition actually features photographic works from three different bodies of Breakey’s work, each of which explores a different photographic process or technique. Her shimmering gold orotones feel extremely different than the smoky, soft aesthetic of her hand-colored archival pigment prints, which are divergent in aesthetic from her hand-embroidered prints on silk. Across the board, it not just consistency of subject matter, but the exploration of materials and open approach to process that truly ties each work in the show to all the others.

Kate Breakey, Nest 35, Hand-embroidered archival pigment print on silk
20 x 20 inches, Edition of 20, $2,030 Framed
Breakey’s series of embroidered nests is distinct in the exhibition. These archival pigment prints on silk, which the artist delicately, laboriously, embroiders by hand, have a dimensional objecthood that stands apart from the other works in the show. Viewers are drawn into the intricate, threaded details and soft tones of these works by cast shadows and the subtle but impactful shifts in surface texture. The silk panels are pinned inside shadow-box frames, which adds to the works’ legible sense of depth.

These works are intimate and visually gentle, but hold a strong presence in the gallery space. Breakey’s choice to make the nest images in a larger-than-life scale is impactful. This offers audiences a chance to inspect details in each nest, and highlights how each structure is unique to the needs and instincts of the creature that built it. These images aren’t pictures of trees like the works in the rest of the show, but rather, images of tree materials put to utilitarian use. The ingenuity and attention to detail in Breakey’s exploration of process acts as a bridge between each of the nests and the wider exhibition.

Kate Breakey, Nest 32, Hand-embroidered archival pigment print on silk, 24 x 24 inches, Edition of 20, $2,290 Framed

Tree Stories is on view at photo-eye Gallery through February 22nd, 2020

ABOUT THE ARTIST
Kate Breakey was born in Adelaide, Australia and received her MFA in photography from the University of Texas, Austin in 1991. Breakey is known for working in a multitude of photographic techniques, including large-scale, hand-colored archival pigment prints, gold-leaf backed orotones printed on glass, and hand-embroidered images printed on silk. Since 1981 her work has appeared in more than 75 solo exhibitions and more than 50 group exhibitions in the United States, France, Japan, Australia, China, and New Zealand.

All prices listed were current at the time this post was published.

For more information, and to purchase artworks, please contact photo-eye Gallery Staff at:
(505) 988-5152 x 202 or gallery@photoeye.com


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photo-eye Gallery Kate Breakey: Tree Stories Opening Friday, November 29, 2019 Alexandra Jo Tree Stories encompasses a wide array of approaches to a singular subject as the exhibition will include a combination of the many photographic materials and techniques Breakey is known for. An opening reception for Tree Stories will take place this Friday, November 29th from 5-7 pm in coordination with the Railyard Arts District Last Friday Art Walk.

Above Image: Kate Breakey, Tree of Life, Mesquite, Full Moon Rising, Bahrain, Hand colored archival pigment print

The versatility of technique that comes from Kate Breakey’s studio is astounding. Though all of the work centers around photography, Breakey is an artist who explores the relationship between materials and images with a sense of openness and experimentation. This Friday, November 29,  photo-eye Gallery will host an opening reception for Tree Stories, our current exhibition featuring a diverse selection of Kate Breakey's photographs.

Kate Breakey, Eucalyptus Trees, Xmas Day, South Australia, 
Archival pigment ink on glass, 24k gold leaf, 5 x 12 inches, $1375 Framed 
Some of the oldest living things on earth are trees. Simultaneously fascinating and daunting in their endurance, trees are seemingly still and eternal, yet are constantly growing and changing. Trees have many stories to tell, as forests provide the backdrop for countless fairytales, ghost stories, and ancient mythologies. Home to a variety of creatures, intelligent beyond our full understanding, and vital to many of earth’s ecosystems, these deciduous beings connect many aspects of life on our planet. Trees can experience the equivalent of many human lifetimes and have become symbols for the cycles and mysteries of the natural world.

Tree Stories encompasses a wide array of approaches to a single subject, as the exhibition will include a combination of the many photographic materials and techniques Breakey is known for. Shimmering gold-leaf orotones bring richness and a dazzling quality of light to this selection of work. Hand-colored photographs of trees are traditionally illustrative and straightforward, while delicately hand-embroidered photographs of bird nests on silk embody grace and elegance in exquisite detail.

This exhibition also coincides with photo-eye’s 40th Anniversary celebration. Founded as a mail-order photography book source in 1979 in Austin, Texas by Rixon Reed, photo-eye has grown into one of the leading contemporary photography galleries while continuing as the oldest and largest photography bookstore in the country. Today, photoeye.com is recognized as one of the foremost websites devoted to contemporary photography and our online bookstore includes the world’s largest selection of contemporary photobooks. photo-eye Gallery and Bookstore have been in Santa Fe since 1991.

Kate Breakey, Nest 32, Hand embroidered archival pigment print on silk, 24 x 24 inches, Edition of 20, $2290


Tree Stories will run November 22, 2019 to February 22nd, 2020 with an opening reception this Friday, November 29th from 5-7pm in coordination with the Railyard Arts District Last Friday Art Walk.


ABOUT THE ARTIST
Kate Breakey was born in Adelaide, Australia and received her MFA in photography from the University of Texas, Austin in 1991. Breakey is known for working in a multitude of photographic techniques, including large-scale, hand-colored archival pigment prints, gold-leaf backed orotones printed on glass, and hand-embroidered images printed on silk. Since 1981 her work has appeared in more than 75 solo exhibitions and more than 50 group exhibitions in the United States, France, Japan, Australia, China, and New Zealand.

All prices listed were current at the time this post was published.

For more information, and to purchase artworks, please contact photo-eye Gallery Staff at:
(505) 988-5152 x 202 or gallery@photoeye.com


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