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Chris Liberti, D.A. Bishop and Roy De Forest

May 17 - July 1


Chris Liberti’s new paintings recall his earlier collage work, as he layers form upon form to build up a textural painting that appears almost three-dimensional. Painting on wood, provides an interesting and additional texture to the work.

Liberti says of his work,“I’m attempting to create an image that can stand on its own, orchestrated by limitless variations of compositions and color relationships.  Through introspection and self-scrutiny, engaging all obstacles with an honest response to try and capture an inexplicable sensation. The history of the surface reveals change, until it finds a place where it can be content. A painting can never be what you want it to be, it can only be what it needs to become.


D. A. Bishop paints the landscape with a deft hand, using abstraction, painterly brushwork, and color contrast to communicate the role of the land in American psychology and identity. Capturing images of rolling hills, towers, gas pumps, water tanks and roadside buildings, he records a landscape imbedded in common memory, a lay of the land shaped and changed by human interaction.

Born in rural Virginia, Bishop has lived in many places along the eastern seaboard before moving to the West Coast. Primarily self taught, he discovered after a brief period at the Atlanta School of Art that life experience was more exciting than a structured art education. Working as a billboard painter, a graphic artist for a theater company, and itinerant limner, he now lives and paints in Sonoma County, California.



In the 60’s, De Forest joined the University of California, Davis faculty, which included William T. Wiley and Robert Arneson, and, with them, became a major participant in the “Funk” art movement. Using bizarre shapes and figures, he rejected the reductive nature of minimalism, and embraced complexity in the spirit of independence and irreverence. It was at this time that his paintings, drawings, and prints evolved into the brilliantly patterned mystical geographies, through which romped his signature dogs, wandering semi-humans and phantasmagoric traveling beasts. These visually compelling canvasses filled larger and more dazzling spaces with gleeful, self-reverent, yet serious and sophisticated images. As De Forest’s work grew more recognizable, the origins and relationships between such grew more personal, suggestive of dream worlds and developing personal mythologies.


May 17
July 1
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