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TRAHC Announces Winners of the 26th Annual Juried Exhibition

Many great works of art have been exhibited at the TRAHC's Annual Juried Exhibition during the last 26 years and the longevity of program attests to its many successes. TRAHC has had the opportunity to get to know many wonderful artists during the years and we hope to get to know even more in the future.

This year TRAHC had 428 entries submitted by 116 artists. Of those, 106 pieces by 75 artists where chosen.

Please see below for the award winners:

Best of Show
“2 min turn” by Cindy Holmes

FaEllen and Jim Yates Collection Purchase Award
“The Master Cellist” by Judy Wright Walter

First Place
“crazy; excitement; stimulated” by Dan Thornhill

Second Place
“Sign Me” by Mario Kiran

Third Place
“The Four Seasons VII” by Gary Bachers

Fourth Place
“Tea From the Deep, Deep Sea” by Glen Knod

Also, please see below for the Juror’s Statement.

TRAHC’s 26th Annual Juried Exhibition

Juror’s Statement

Many entrants present accomplished technique or an interesting idea, but the work that stands out seems to arise from unstoppable emotional necessity. Art history belongs to the risk-takers and experimenters with great convictions and self-belief.

Chief among the strong personal visions presented here is Cindy Holmes’ 2 min turn, the work of a mature artist with great powers of invention and facility, pushing beyond her comfort zone. She presents an enigmatic winged figure that we have never seen before, but which inhabits a universe with convincing authority. The different kinds of paint application – from ‘found and appropriated’ palette impasto to modeled chiaroscuro to scumble to wash – all dance with collage and ambiguous vertical stripes. She stops, provokes, and delights us. It is an impressive delivery.

In crazy; excitement; stimulated, Dan Thornhill writes on the picture plane in a private language of marks and shapes, which spin noisily across the surface in a dashed, rollicking vivacity. Within this overall complex of urgent, syncopated rhythm, wrought forms seem abstracted from a primitive vocabulary. As we read further in the shallow relief, we find he’s carved a figure and even labeled him CRAZY MAN. The translucent layering and reduced palette indicate and construct the figure in a throbbing mystery. Quite a ride…

Mario Kiran’s Sign Me seems to grow and wiggle in the web of a starry cosmos. Are the four hands signing a secret message? Are the dark, heavy calligraphic forms a password to understanding? Is this floating world of foliate form and mechanical structures caught in the enlaced patterns of the mind? Never underestimate the power of a black line on a sheet of white paper.

Panels depicting the four seasons have been popular for centuries, but none I know of look remotely like Gary Bacher’s The Four Seasons VII. Showing the same view of a tree over time, uniquely set at night, this artist pursues a highly-stylized interpretation so regularized in symmetry it trumpets design, but it deploys leaves and twigs with a density that looks almost pointillist. This obsessive embroidery surrounds an ocular moon in this overwhelmingly organic landscape. Is this the mind’s eye for psychic focus? Though rendered in Prismacolor pencil, the panels feel as carved as linocuts. Embrace your mania.

Can we define the precise moment when Craft transcends the conventions of the utilitarian and becomes Art? In Glen Knod’s Tea from the Deep, Deep Sea, he leaps into that vertiginous moment with unabashed glee. Exploiting clay and glaze to capture the sculptural grace of a water bird or swaying sea plant, he abandons its functional vessel origins and lets lyricism fly. Sensual, voluptuous – this pot takes me higher.

- James DeWoody, Adjunct Professor at New York Institute of Technology

TRAHC is thrilled that you entered this year and we hope to see many more great works from you in the years to come.

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