TOM PRIBYL | THE MESS WE’RE IN

We’ve been spending a lot of time in our homes over the past year. It’s as if the home has become our natural environment. I paint these home environments in which we live and like to describe my paintings as interior landscapes.

It’s been well over a decade since I last painted. I was working at KERA, the PBS affiliate here in Dallas, as a graphics designer and animator. Eventually, the job took up all of my creative energy. You can still see traces of my work at KERA on-air and online.

I found that returning to painting was not as easy as riding a bike. There was a lot I had to relearn in terms of color mixing and handling of materials. It was like I had to get back into shape for painting. Whatever the case, I always work on each painting as though it’s the last one I’ll ever make, because it may well be.

ARTURO MALLMANN | UNPREDICTABLE JOURNEYS

Maybe these recent paintings are too different from each other to be put together in a show, but they are deeply connected in terms of how I experience the world in these turbulent times. Starting each new painting has been to me like starting a journey without a destination, an unpredictable experience, the result of a deliberately random process that allowed images and colors to freely unfold and gradually interact and create meaning.

SIMON WARANCH | NEW PATTERNS

The design of the objects come from imagination and seek to strike a balance between my purpose to create something unique and wonderful, combined with the spontaneity of working with a challenging material, molten glass.

Using my reinterpretation of the Italian Venetian glassblowing technique, each sculptural form is crafted to be sublime and striking. Many works are   mirrored with a reticello style, which creates organic, twisted one-of-a-kind works. These jewel-like pieces seem to simultaneously dominate and blend into the scene.

The hope is that the work is approachable and tranquil, allowing everyone to calmly lose themselves as they enjoy and interpret each piece.