Southern Abstraction

New Works by Martica Griffin, Mary Long, and Lisa Weiss
January 19-February 16, 2013

Opening Reception: February 2nd, 6-9 pm

Collectors Art Night: February 1st, 5:30-8 pm

Tinney Contemporary is pleased to present Southern Abstraction- an exhibition showcasing new abstract paintings by Martica Griffin, Mary Long, and Lisa Weiss.  Through their inventive use of various mediums, color palettes, and painting techniques, Griffin, Long, and Weiss manage to create works as unique and captivating as the artists themselves.   Drawing inspiration from personal histories and from travels across the South and around the world, these artists' paintings reflect the richness of their experiences, while inviting viewers to explore both the literal and figurative layers in their works.    

Martica Griffin is a Nashville-based painter whose works combine geometrical form with gesture. The foundation of each work is organic black lines overlaid with a color grid. This energy and structure work together to give the paintings their own sense of rhythm.  Griffin allows the pieces take her where they want to go-scraping, drawing, painting, and glazing, layer after layer.  According to Griffin, "No matter where these adventures in paint take me, it's the journey into the unknown that makes abstract painting so exciting."  

Self-taught in wax encaustic, Memphis based artist Mary Long has been painting with this medium almost exclusively for the past decade.  Using a mostly pre-planned color scheme, Long includes in her paintings personal symbols, graphic elements, marks made with oil stick, and sometimes, decorative paper.  According to Long, the wax encaustic technique allows her to explore her paintings in a more tactile way by selectively scraping, incising, and scarring, which brings to the works elements that are both solid and transparent.

Born and raised in Tennessee, Lisa Weiss describes her new body of work as an "unearthed meditative space."  The work is subtle, minimal and worn, inspired by the qualities of wabi sabi. Expansive light fields are explored revealing marks and symbols that appear, then fade. The paintings can be viewed either as illusive transitional spaces or more as material walls where a weathered surface shows the passing of time. Using many layers of painting media, washi paper, and marble dust on panel, an exquisite surface quality is created that evokes ancient walls or tablets. Within the paintings simple abstract structures alluding to architecture coexist with simple but vast fields of marks, drips and staining.