DON EDDY March 11 - April 12, 2005
Don Eddy's work of the past three years takes him deeper into the explorations of nature, perception, life's mysteries and the world around him-both natural and urban. While the artist's earlier works were object oriented, depicting glassware, silverware and toys on a reflective series of glass shelves, his paintings of the past decade have turned to the imagery of what we behold in the world.	Don Eddy, Shape Changer II-By Scylla or Charybdis, 2005, acrylic on canvas, 44 x 24 inches
Don Eddy, Jacob's Ladder, 2004, acrylic on canvas, 75 x 36 inches	No longer does the artist select images for cerebral, narrative or metaphorical reasons; he juxtaposes images in poetic relationship to one another, "echoing ecosystems," as the artist calls these connections of structure. In Donald Kuspit's book, Don Eddy, The Art of Paradox, the author writes: "an Eddy picture is a kind of Chinese box in which each stage of consciousness folds into the other, creating an all-in-one effect, giving the picture a magical density and grandeur."
Don Eddy's new paintings are infused with a meditative atmosphere of calm and quiet, be they images of nature or of the city itself. The artist says about Temenos in Byzantium, a tondo painting of New York, surrounded by four small square images from nature (a rabbit in the grass, a robin on the ground, a golden carp, and a hand holding a marble) at compass points North, South, East and West: "the expanded presence of the urban environment in my paintings of the past few years is a way of seeing through the noise and cacophony of the urban environment to a spiritual domain in the midst of it."	Don Eddy, Temenos in Byzantium, 2004, acrylic on canvas, 64 x 64 inches
Not unlike a spinning compass pointing direction, the four surrounding images set up a metaphorical wheel of life as they circle a corner of Central Park's lake, reflecting buildings at the edge of the park. It is a golden moment of the year; autumn in her red and orange garb sets the stage for contemplation. Not only do the four small canvases suggest the cycle of life, they also refer to the four elements: earth, air, fire, water, a powerful, yet peaceful polyptych.
Don Eddy, Persephone Cycle: Rise and Return, 2003, acrylic on canvas, 50 x 34 inches	Don Eddy, Persephone Cycle: Farewell, 2005, acrylic on canvas, 50 x 34 inches
A series of four paintings entitled "The Persephone Cycle" depicts each of the four seasons at its height, devoid of people, nature at its most majestic, most inspiring, and most lonely. Each one of these paintings stands alone as an independent work, the four together take the viewer through the cycle of nature throughout the year.
Don Eddy, Persephone Cycle: Lacrimae Demeter, 2005, acrylic on canvas, 50 x 34 inches	Don Eddy, Persephone Cycle: Two Together, 2005, acrylic on canvas, 50 x 34 inches
Don Eddy, Speaking in Tongues II, 2003 acrylic on masonite, 14 x 18 inches	Another series of paintings entitled "Speaking in Tongues" depicts the most anthropomorphic of flowers, the orchid, which the artist paints in acrylic, and draws in colored pencil on paper. Like his polyptychs, the "Speaking in Tongues" paintings are multi-layered and charged with meaning. The reference to the flower's sexual quality is undeniable, as is the reference in the title to the many languages of our time.
These paintings are Eddy's personal reference to a contemporary Tower of Babel. "If we listen and pay attention, we will hear the language," the artist says. This series too is about our perception of the world, which the artist provides in magnified focus. Tying the orchid paintings to the artist's main body of work is his focus on light as primary subject. Light pervades the orchids as it bathes the seasons from fall to spring, as it sparkles over city buildings and bounces off windows. Perhaps Eddy, one of the early realist painters in the '70s, is not a realist painter but a luminist?	Don Eddy, Speaking in Tongues, 2003, acrylic on canvas, 50 x 34 inches
Don Eddy, Speaking in Tongues III, 2004 colored pencil on paper, 12 x 12 inches	Don Eddy, Speaking in Tongues V, 2004, colored pencil on paper, 12 x 12 inches
Don Eddy, Speaking in Tongues VI, 2004, acrylic on canvas, 36 x 24 inches	Don Eddy, Speaking in Tongues VIII, 2004, acrylic on canvas, 36 x 24 inches
Don Eddy, Genesis Song, 2003, acrylic on canvas, 44 x 44 inches	Donald Kuspit writes: "For all the activity in the nineties painting-the abruptly changing images and the intricate drama of nature-there is a remarkable air of silence about them. It is the silence that is witness to the sacred, the absence of sound that contains within it awareness of a sacred presence." One senses this sacred presence in the artist's new works, which focus on the themes of life, death, rebirth, and hope.
Don Eddy, Anteros Spring (for E. B.), 2004, acrylic on canvas, 50 x 34 inches	Don Eddy, The Divided Line: Water, Dust and Light, 2003, acrylic on canvas, 64 x 38 inches
Don Eddy was born in Long Beach, California in 1944. He received a B.F.A. in 1967 and an M.F.A. in 1969 from the University of Hawaii. The artist attended the University of California, Santa Barbara, 1969-70, for post-graduate study.	Don Eddy, The Phantom Gardener, 2002, acrylic on canvas, 36 x 74 inches
Don Eddy, Speaking in Tongues VII, 2004, colored pencil on paper, 9 x 18 inches	Don Eddy, Epinoia and Dianoia, 2004, acrylic on canvas, 36 x 74 inches
Don Eddy, Harvest, 2004, colored pencil on paper, 10 x 18 inches	Don Eddy, Speaking in Tongues IV: Lamentation and Hope, 2004, acrylic on canvas, 9 x 23 inches
Don Eddy, Speaking in Tongues X: Three That Lead, 2005, colored pencil on paper, 13 x 7 inches	Don Eddy, Speaking in Tongues IX: Voices in Blind Man's Alley, 2005, colored pencil on paper, 9 x 23 inches
Don Eddy 2002 Exhibition	Don Eddy - Photography
Don Eddy resides in New York.	Don Eddy, The Art of Paradox, written by Donald Kuspit published by Hudson Hills Press, New York is available through the gallery.
Don Eddy's work is represented in numerous public collections: Akron Art Museum; Boise Art Museum, Idaho; The Cleveland Museum of Art, Ohio; The Contemporary Museum, Honolulu; Danforth Museum of Art, Framingham, Massachusetts; Evansville Museum of Arts& Science, Indiana; Flint Institute of Arts, Michigan; Fogg Art Museum, Harvard University, Massachusetts; Fort Wayne Museum of Art, Indiana; Solomon R. Guggenheim Museum, New York; Hofstra Museum, Hempstead, New York; Honolulu Academy of Arts, Hawaii; The Metropolitan Museum of Art, New York; Mississippi Museum of Art, Jackson; The Museum of Modern Art, New York; Museum of Art, Oklahoma City; Pioneer Museum and Haggin Galleries, California; Rhode Island School of Design Museum of Art, Providence; The Saint Louis Art Museum, Missouri; San Antonio Museum of Art, Texas; Santa Barbara Museum of Art, California; J.B. Speed Art Museum, Louisville, Kentucky; Springfield Art Museum, Missouri; Storm King Art Center, Mountainville, New York; The Toledo Museum of Art, Ohio; Whitney Museum of American Art, New York; among others, and in collections abroad: Israel Museum, Tel Aviv; Museo de Arte Moderno, Bogota; Neue Galerie, Aachen; Saint Etienne Museum, France; Utrecht Museum, Belgium.	Don Eddy's work has been widely shown throughout this country at the Arkansas Arts Center, Little Rock; Bergstrom-Mahler Museum, Neenah, Wisconsin; Boca Raton Museum of Art, Florida; The Butler Institute of American Art, Youngstown, Ohio; Boise Art Museum, Idaho; The Brooklyn Museum, New York, Carnegie Institute, Pittsburgh; Center for the Arts, Vero Beach, Florida; The Cleveland Museum of Art, Ohio; Columbus Museum of Art, Ohio; Contemporary Arts Center, New Orleans; The Contemporary Museum, Honolulu; Danforth Museum of Art, Framingham, Massachusetts, Duke University Museum of Art, Durham, North Carolina; Flint Institute of Arts, Michigan; Greenville County Museum of Art, South Carolina; Heckscher Museum, Huntington, New York; The Huntington Museum of Art, West Virginia; Indianapolis Museum of Art, Indiana; Museum of Art, Fort Lauderdale; The Museum of Modern Art, New York; Nassau County Museum of Art, Roslyn Harbor, New York; The Oakland Museum, California; Oklahoma Art Center, Oklahoma City; Orlando Museum of Art, Florida; Pennsylvania Academy of the Fine Arts, Philadelphia; The Philbrook Museum of Art, Tulsa, Oklahoma; Polk Museum of Art, Lakeland, Florida; San Antonio Museum of Art, Texas; San Francisco Museum of Modern Art, California; Tampa Museum of Art, Florida; Tucson Museum of Art, Arizona; Virginia Beach Center for the Arts, Virginia; Virginia Museum of Fine Arts, Richmond; Whitney Museum of America Art, New York; Wichita Art Museum, Kansas; Jane Voorhees Zimmerli Art Museum at Rutgers, University, New Brunswick, New Jersey; among others, and abroad at Aarhus Kunst Museum, Denmark; Australia National Gallery, Canberra; Gl. Holtegaards, Copenhagen; Centro Mostre, Rome; The Gulbenkian Museum, Lisbon; in Japan at City Museum of Iwaki; Hokodate Museum of Art, Hokkaido; Kumamoto Prefectural Museum of Art; and Prefectural Museum of Iwate; Kunstverein, Hannover; Kunsthalle, Nuremberg; Musee de Strasbourg: Musee d'Art Moderne et Contemporain, Strasbourg, France; Salas de Exposiciones de Bellas Artes, Madrid.