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Current Exhibit

art by Sean-Paul Pluguez art by Colin Blakely 
art by Kate Breakey Art by Claire A. Warden


STILLNESS - Colin Blakely, Kate Breakey, Sean-Paul Pluguez and Claire A. Warden in Stillness 
Jan. 30-March 10, 2017
Mon.-Thu. 10 a.m.-5 p.m.
Fri. 10 a.m.-3 p.m. (closed rodeo break Feb. 23-24))
Louis Carlos Bernal Gallery
free and open to the public

Reception: Feb. 9, 5-7 p.m.
Artist Lecture: March 1, 7 p.m.

Under the direction of David Andres. The exhibit features work by Colin Blakely, Kate Breakey, Sean-Paul Pluguez and Claire A. Warden. Stillness brings together one sculptor and three photographers that use the concept of silence or motionless to give the viewers a sense of calmness. Each artist uses unique mediums including encaustic, iconic scrolled landscapes, identity in saliva, and grape stakes with 24kt gold leaf. Additional images are on display at the Tucson International Airport gallery Feb. 1 through March 30.

Blakely, the new chair at the School of Art, UA, is exhibiting large-scale archival pigment prints of iconic landscapes. He states, “My interests center on depictions and interpretations of the landscape. Distinct from the notion of land, untrodden by human feet yet completely ravaged, the landscape exists only as an embodiment of our collective cultural imagination.”

Breakey’s “Taxonomy of Memory” includes still life and figurative archival digital prints with encaustic (wax), displayed in unique picture frames. She says, “I have never really understood which particular desire, or in what precise moment, or for which exact reason I am compelled to photograph certain objects in the world, to sort through, select, alter, and hang on walls to remember them. Maybe it is to remind myself I am part of the grand taxonomy of all living things, and perhaps it is so I can know them better, and in so doing know myself.”

Pluguez’s “Genetically Modified Forest” is one element of his AU79 Gold series. The large-scale installation features eight foot grape stake and lumber pieces, with 24kt gold leaf, mounted on Baltic birch bases. On a narrative level, he explains, “The Genetically Modified Forest, speaks of man's limited abilities to deal with his own planet. We fall far short of success and perfection and always are left with the refuse of our actions. Nature itself is our harshest critic. The stillness of the forest is not indifference, but bemusement.”

Walden’s exhibit “Mimesis” is a series of pigment prints grounded in issues of identity, the other and the psychology of knowledge and power. She uses saliva and mark making as part of her process. Walden states, “I use these interventions as symbolic acts to expose the inherent biologic and socio-cultural forces that stimulate the emergence and performance of an identity. This process produces a series of images that reveal certain truths in identity and simultaneously the inadequacies of language to describe oneself.”

Additional images are on display at the Tucson International Airport gallery Feb. 1-March 30.

Pima Community College Louis Carlos Bernal Gallery is located at the Center for the Arts on West Campus, 2202 West Anklam Road in Tucson (just west of downtown). For more information about this exhibition please contact the gallery at 520-206-6942 or

Sean-Paul Pluguez, The Genetically Modified Forest, wooden grape stakes and lumber, 24kt gold leaf, Baltic birch
Colin Blakely, Niagra, digital archival pigment print
Kate Breakey, Standing Nude, digital archival print, pencil, encaustic
Claire A. Warden, No. 15 (Genetics), pigment print