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Opening Reception, May 18, 5-8pm

ABOUT THIS EXHIBITION: Places offer emotional connections through familiar encounters with them; these experiences internalize them into useful subjects.  Until that point, these are usually superficial musings.  When an authentic understanding of these places occurs, we can travel from novel infatuation to the discovery of profound nuances that create something meaningful.

Home is not intended as a literal depiction of houses. 

Home is often used as a broad concept that involves frame of reference – a place to begin or end.   The term also alludes to where we are, where we belong, or where we want to be. 

I’ve lived in Sarasota since 2015.  Prior to that, I lived in Philadelphia since 2001. 

My work relies heavily on immediate surroundings as a starting point.  After only living in Southwest Florida a short while, it became quickly apparent that the buildings, light, and what surrounds them would command my full attention for some time to come.  The mystery that surrounds my daily travels fills my mind (and the phone that I take reference photos with) on a daily basis.

This series of paintings are comprised of oil paintings and watercolors.  With both media, the painting process is similar: layering fields of saturated, thin glazes or washes that use simple snapshots as their initial source. 

My hope is that these paintings evoke feelings and memories similar to cinematic moments, alluding to our collective routines and associations with films, photographs, and paintings that have shaped our own perception and sensibilities.  -Keith Crowley

BIO: Keith Crowley moved to the Lone Pine RV Park in Ruskin, FL, in February 2015 after making the decision to take the position of Sr. Preparator at the Ringling Museum of Art.  This was a decision to try to minimize the cost of living in Florida while his wife and son remained in Philadelphia while their house was listed for sale. 

During this time, Crowley commuted to Sarasota on a daily basis from Ruskin from the camper that he borrowed from his brother-in-law.  These six months were an unusual adjustment, but he spent a lot of time observing this strange new place without focusing much on a visual art outcome.  The light and the buildings immediately grabbed him as something that was very foreign.  Keith immediately sensed that this new habitat was a fertile painting subject, but it would take time to internalize these surroundings and use it as authentic imagery.

Crowley’s visual background is one that is committed to painting, first and foremost.  After receiving his MFA in Painting from the Savannah College of Art and Design in 2001, he immediately began working as a preparator in Philadelphia (in many of the great collections in the greater Philadelphia area) upon graduating, and eventually would work on a permanent basis at Princeton University Art Museum. 

It was at Princeton that Crowley would gain an immersive education, specifically in the rich Photography and Asian Art collection.  At about 2006 he began using snapshots (almost exclusively) as the basis of his painting imagery.  Keith found that the commonplace aspects of commuting through Southeastern PA and Central New Jersey to be profoundly important to his imagery, and has remained focused on the landscape as a subject since. 

While living in Philadelphia, Crowley exhibited at Bridgette Mayer Gallery, and later became a member of Tiger Strikes Asteroid, an artist-run gallery collective. 

Since moving to Florida, his work has been exhibited at Tampa Museum of Art, Tempus Projects, Wiregrass Museum of Art (Dothan, AL), Beacon College and upcoming solo exhibitions are scheduled at the Chipola Art Center, Gaze Gallery, and Art Center of Sarasota. 

Painting enhances human metaphor. Multiple translucent layers of color create aberrations and inconsistencies that reflect individual hand-made decisions in the process. The repetitive daily cycles of haste produce meditative stillness. This contradiction is the basis of my exploration of color and its relationship to the familiar yet elusive landscape.
— Keith Crowley