My entire process is a formal exploration of color, texture, space, and time. I draw inspiration from so many different sources… distressed architecture, pop art, graffiti, abstract expressionism, the New Aesthetic movement and so much more.” – John
“My work is a surface where this dialogue becomes visible explorations of my surroundings and my identity, a surrogate self with limitless possibilities. Often referencing architecural spaces, wallpapers, and raw materials… “ – Lisa
KLAIRE LOCKHEART – Atrium Artist
Flipping the binary doesn’t solve all the problems related to the objectification of women in art, but it does provide an entertaining start. I use humor to inspire viewers to consider that passive representations of women for the heteronormative male gaze are neither natural nor universal. In response to the abundance of dehumanizing imagery I am expected to appreciate for art’s sake, I invented the brodalisque. These oil paintings feature masculine men who recreate the poses and passivity of historic odalisques. Western Orientalist painters typically portrayed odalisques within the harem, a place where unrelated men were not allowed to enter. To update the trope of creating a “realistic” painting in a prohibited space, I place my subjects within the hidden mysteries known as the man cave. I render these forbidden environments representationally to persuade viewers that these compositions are factual and not at all fictitious. If the excessive depictions of nude women in art are really truly about form and aesthetics, not power and ownership, then my paintings should be completely serious and not remotely silly. (The newest paintings in this series were created with a generous grant from the Elizabeth Greenshields Foundation.)
JOHN McCAUGHEY & LISA WICKA – Gallery Artists December 2022 – February 2023 My entire process is a formal exploration of color, texture, space, and time. I draw inspiration from so many different sources… distressed architecture, pop art,... Read More
CLASS IS FULL Ages: 21+ Prepare for a lovely valentines themed charcuterie class. Make boards to share with your significant other in anticipation of this love filled holiday . Learn what meats pair wiell with cheeses, while learning some... Read More
Cost: $10 / Member Discount Ages: 15+ Come join me in this sassy and strong kpop dance class. This class is both beginner and intermediate friendly! A lot of this dance is attitude, so I’m excited to see... Read More
Access Bars is a gentle, hands-on technique that quiets the mind. It’s like deleting all of the old files and downloads on your computer that slows it down. Instead of functioning from auto pilot, you can be present... Read More
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Last Updated: November 4, 2022 by webmaster
McCaughey, Wicka and Lockheart Exhibitions
JOHN McCAUGHEY & LISA WICKA – Gallery Artists
December 2022 – February 2023
My entire process is a formal exploration of color, texture, space, and time. I draw inspiration from so many different sources… distressed architecture, pop art, graffiti, abstract expressionism, the New Aesthetic movement and so much more.” – John
“My work is a surface where this dialogue becomes visible explorations of my surroundings and my identity, a surrogate self with limitless possibilities. Often referencing architecural spaces, wallpapers, and raw materials… “ – Lisa
KLAIRE LOCKHEART – Atrium Artist
Flipping the binary doesn’t solve all the problems related to the objectification of women in art, but it does provide an entertaining start. I use humor to inspire viewers to consider that passive representations of women for the heteronormative male gaze are neither natural nor universal. In response to the abundance of dehumanizing imagery I am expected to appreciate for art’s sake, I invented the brodalisque. These oil paintings feature masculine men who recreate the poses and passivity of historic odalisques. Western Orientalist painters typically portrayed odalisques within the harem, a place where unrelated men were not allowed to enter. To update the trope of creating a “realistic” painting in a prohibited space, I place my subjects within the hidden mysteries known as the man cave. I render these forbidden environments representationally to persuade viewers that these compositions are factual and not at all fictitious. If the excessive depictions of nude women in art are really truly about form and aesthetics, not power and ownership, then my paintings should be completely serious and not remotely silly. (The newest paintings in this series were created with a generous grant from the Elizabeth Greenshields Foundation.)
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