Technique Tuesday: Unblended Brushstrokes & Planes of Color

What is it?

Happy Tuesday! This week we’re looking at a style of painting in which depth, roundness, changing values, and changing colors are depicted using separate, unblended brushstrokes. If that still doesn’t sound very clear, no worries, let’s look at a visual example! Here are details from two paintings from our current (FANTASTIC!) exhibition, “Graceful Subtleties,” side by side:

(left) detail from Louise Fenne’s “Sisters”; (right) detail from Jussi Pöyhönen’s “Coconuts”

Take a moment and observe the two different ways in which these artists used the paint to describe rounded forms. Louise’s brushstrokes are blended beautifully and give a soft and even slightly blurred appearance to the roundness of the young woman’s face and shoulder, and to the body of the little bird. The colors, values, and brushstrokes are blended seamlessly, one into another, and present a more true-to-life three dimensional effect. Now look at the contrast between that and the roundness of Jussi’s coconuts. Jussi’s brushstrokes are decidedly more defined, and rather than blending seamlessly, the different colors and values present as separate brushstrokes, and visually as separate planes. It creates a fascinating three dimensional effect, that is less strictly realistic and more painterly, and serves to create a glittering effect of light on these forms. It is this unblended, planar approach to describing form with brushstrokes that we’re going to take a look at today.

Examples from art history:

For a long time, during the leap forward in realistic painting seen during the Renaissance and through many centuries after, the academic standard in painting was a detailed, fully blended, fully rendered depiction of form. This is why, during the emergence of Impressionism in the 19th century, the effect of separated, unblended brushstrokes and the focus on separated planes of color was so jarring, and at first, frowned upon. Perhaps anything less than  the academic standard to which critics were accustomed at first appeared primitive and lacking in artistic merit– but the innovation and brilliance of the Impressionist and Post-Impressionist style did not take long to win many over, and today is still a popular favorite among art lovers. There is an energy in this type of painting, a glittering play of light and exaggeration of form that is visually very appealing. Furthermore, the paint itself becomes a theme of the work, rather than solely the subject which the paint depicts. One begins to see the beauty beyond the image portrayed, and finds it also in the simple application and texture of the paint strokes themselves. Some of the most notable innovators of this technique include Paul Cezanne, Henri Matisse, and Vincent Van Gogh, and some excellent examples can be seen here:

top row: (left) Henri Matisse, “Derain”; (middle) Paul Cezanne, “Mount St. Victoire”; (right) Vincent Van Gogh, “The Large Plane Trees” bottom row: (left) Paul Cezanne, “Still Life with Seven Apples”; Paul Cezanne, “Portrait of Victor Choquet”

As a fun side note, the separation of rounded forms into more geometric planes, particularly in Cezanne’s work, also gives us an exciting glimpse at an art historical movement still to come in the early 20th century, Cubism! Playing with paint in this new way truly opened up the minds of so many artists of the 19th and 20th centuries, and of this century as well!

Examples from Principle Gallery:

Many artists that we show  here at Principle Gallery make use of this technique of unblended brushstrokes and planes of color, some in more subtle ways, and some in more obvious ways. Jussi Pöyhönen and Paula Rubino, however, are two of the most striking examples, and their works featured in the current Graceful Subtleties exhibition are excellent samples of how lovely the effect of this technique can be. Take a look below, and if you haven’t yet, be sure to check out the entire exhibition on our website here!

Jussi Pöyhönen, “Coconuts”

Jussi Pöyhönen, “Jasmine”

Jussi Pöyhönen, “Tomatillos”

Paula Rubino, “Laji”

Paula Rubino, “Summer Clouds”

Paula Rubino, “Universal Pleasures I”

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Technique Tuesday: Broken Color

TT Broken ColorWhat is it?

The technique we’ll be looking at today is a fun one: broken color. This term refers to a technique where an artist will apply colors to a painting in small strokes, but does not blend them, so that they blend optically rather than literally. The effect of this technique a life and vibrancy, and a strong sensation of the sparkle of natural light. The idea of blending colors optically is one you may remember from our post on pointillism, though broken color is not a technique limited to small dots of brushstrokes and can be done with a lot of types of mark making.

Examples from art history:

As you’ve probably noticed, a majority of these techniques we’ve been discussing became a big “thing” during one of two times: the Italian Renaissance, and the Impressionist movement of the 19th century. Broken color comes to us from the latter. The Impressionists, especially the French Impressionists, were primarily concerned with emphasizing the effects of light and color, and less about making their paintings appear very neat, tight, and realistic. A huge part of the way they acheived this loose, sparkling effect of light was the use of broken color. By allowing the viewer’s eye to blend colors together, these painters were able to capture the real sensation of light and imbue the painting with a lot of energy. Though it really began with the Impressionists, broken color is a technique that was used by many differet types of artists in many different movements that followed.

Broken Color Collage

(left to right) Claude Monet, “Haystacks”; Edgar Degas, “Woman In the Bath”; Vincent Van Gogh, “Still Life with Lemons”

Examples from Principle Gallery:

This week, the gallery is preparing for the opening on Friday of Colin Fraser’s solo exhibiton, “Inner Light.” Colin Fraser’s work is a remarkable example of the magical effects of broken color. As Colin’s preferred medium is egg tempera, he ends up doing a lot of thin, small brush strokes and careful layering. The way that he handles the blending of colors using this method is truly extraordinary, and the overall sparkle and life of the light in his work is just gorgeous, particularly in person. If you’re able to come to the gallery to view the exhibition, be sure to get up close to these paintings–it’s a whole adventure in color up close!

If you’re able, please do join us for the opening reception for the exhibition, Friday October 16th, from 6:30 to 9 PM. And DON’T FORGET! Saturday, the 17th, from 1-4 PM, Colin will be doing a live egg tempera painting at the gallery, which we’ll be broadcasting live on our YouTube channel!

Celestial Sun HR

Colin Fraser, “Celestial Sun”

Genuflection, HR

Colin Fraser, “Genuflection”

Pastoral Suite Viridian HR

Colin Fraser, “Pastoral Suite Virdian”

Technique Tuesday: Style and the Spectrum of Realism

Technique Tuesday stylet

Realism….Hyperrealism….Trompe l’oeil….There are many terms we use in the art world to describe the style in which something is painted, and even for those of us who work in the field, it can get a little confusing at times.  The nuances of these styles and movements can be very subtle, but today we’ll just cover the basics. As we are preparing for the opening of the 10th Annual Juried Exhibition for the International Guild of Realism (August 28th!), I figured it would be appropriate to go over just what we mean by all those terms when we talk about Realism! Think of today’s post as a little visual glossary.

Objective vs. Non-Objective

First of all: for the sake of this post, and because it’s what we here at Principle Gallery represent, let’s assume all the art we discuss here is objective art. This essentially means that the art is meant to portray something. Non-objective art is different, as it is not “of” anything, but simply uses the elements and principles of design to create a visually stimulating image. Here are some notable examples of non-objective art:

Non Objective Collage

(left to right) Jackson Pollock, “Convergence”; Mark Rothko “No. 13 (White, Red on Yellow)”; Wassily Kandinsky, “Composition VII”

So, now to look at objective art. A variety of terms are used to help describe and understand the way that an artist communicates the subject matter of an objective artwork. Let’s start with one of the most basic.

Abstract vs. Realistic

The word “abstract” is used a lot in the art world– so much so that its meaning had become a bit obscured. It is often (incorrectly) used interchangeably with “non-objective,” though the two do have different meanings. In fact, both objective and non-objective art can be described as “abstract,” as the word simply indicates a degree of separation from reality. Strict realism is the true opposite of abstract art, but abstract art can still certainly be representative of a person, place, or thing. In such cases, the reality-based subject is still being portrayed, but the realistic qualities have been abstracted for the purpose of the work.

abstraction collage

(left to right) Felicia Forte, “Pigeon with Brown Coat”; Paula Rubino, “Sister Sister Woodstork”; Laura Westlake, “Hello Sailor”

Realism vs. Idealism

“Realism” is a term often used to describe an art movement from the 19th century, when artists– tired of the tradition of Romanticism/Idealism and inspired by the rise of the technology of photography– sought to paint things the way they really were. Romanticism, Neoclassicism, and Idealism were some of the predominant and “flowery” trends in European art for many centuries. These styles often involved adjusting the real appearance of the subject to be more aesthetically or ideologically pleasing (like painting a flower as perfect and flawless, even if the real flower has some wilted petals), exaggerating the emotions displayed by the people being painted, and celebrating lofty subjects like history, literature, mythology, and symbolism. Proponents of Realism, on the other hand, wanted to paint things as they really were, with no artificiality, exotic, or supernatural elements included, just all the real and dirty details. This also meant an emphasis on portraying the subject realistically with the brushstrokes, usually in what is called a linear fashion.

Linear vs. Painterly

The original Realists were rather straightforward about the way that they painted their subjects: crisp, sharp, and very much as they appeared to the human eye–this is all descriptive of linear painting. As the 18th century advanced, art saw the rise of Impressionism, and therefore a more “painterly” way of painting. Painterliness refers to a style in which artists portray something with less than perfect control. Not all edges must be clean and sharp, not every detail and nuance must be shown. This gentle, looser, and more expressive manner of painting was adopted by many masters of the 19th and 20th century, including Vincent Van Gogh, Pierre-Auguste Renoir, and John Singer Sargent.

painterly collage

(left to right) Sergio Roffo, “Dawn, Bailey’s Island”; Gavin Glakas, “7th and F Streets”; Lisa Noonis, “Mixed Bouquet”

Impressionism

Impressionism is a term that was originally coined to describe the art movement of the mid 19th century, pioneered by French artists like Claude Monet, Pierre-Auguste Renoir, and Edouard Manet. Over time, however, it has become a term more broadly applied to art of various time periods, and it describes a painterly style in which the traditional rules of academic painting are not necessarily followed, but rather freely applied color and light is emphasized over line, contour, and shading.

Photorealism vs. Hyperrealism

Photorealism is a US art movement that rose during the 1960’s and 1970’s in the wake of many non-objective art trends including Minimalism and Abstract Expressionism. The purpose of the movement was to reproduce photographs as closely as possible in another medium (like paint), down to the tiniest detail. During the course of the 20th century, the popularity of strict Photorealism faded a bit, eventually developing into what is known as Hyperrealism.

Hyperrealism is a kind of step forward from Photorealism. It does not involve the literal copy of a photograph, but rather utilizes the notions of precision and high definition and produces an image that can include emotional, social, cultural and political thematic elements to enhance the visual narrative. Think of it as painting that’s as realistic looking as a photograph without actually having to be based on a photograph! It gives the artist a little more freedom of expression this way. Hyperrealist paintings are always linear rather than painterly.

hyperrealism collage

(left to right) Larry Preston, “Danish”; Alejandro Rosemberg, “Autumn Series Painting No. 1”; Richard Murdock, “Grapes”

Trompe l’oeil

Trompe l’oeil is a French term meaning “deceive the eye,” and refers to art that is not only painted precisely and realistically, but contains some component of optical illusion that what is depicted is actually three dimensional. Master painters for many, many centuries have utilized tricks to give the illusion of depth and dimension in their works, but trompe l’oeil painters take it to the extremes with incredible depth and realism that makes you feel as though you could reach your hand into the painting! Be sure to keep an eye out for next week’s in-depth look at trompe l’oeil painting!

Alberto Collage

(left to right) Jorge Alberto, “Gone Fishing”, “Trilogy”, “Out of the Bag”

Contemporary Realism

The prevalent trend in objective art today is best categorized  under the umbrella term of “Contemporary Realism.” Contemporary Realist approach representational or objective work and represent the modern age, but do so in a variety of ways. You can see by looking at the range of artists that we have here at Principle Gallery that while these artists are all painting contemporary subjects, some approach it with impressive precision and refinement, while others may render things in a more loose and painterly style. “Realism” today can incorporate an array of subject matters, styles of brushwork, and levels of true-to-life appearance. Take a look at the Principle Gallery paintings featured in this collage, and see if you can decide the most appropriate style terminology to apply to them:

Contemporary Realism Collage

(left to right, top then bottom row) Mia Bergeron, “Sincere Risk”; Valerio D’Ospina, “The Unknown City”; Colin Fraser, “Celestial Sun”; Lynn Boggess, “6 May 2015”; Jeremy Mann, “Rites of Spring”; Barbara Flowers, “Hydrangea in Blue Vase”; Cindy Procious, “Sweet Tooth”; Lisa Noonis, “Pears”; Gregory Prestegord, “Abstract Cabs in the City 1”

It is a real joy for  us at Principle Gallery to see the exciting and original ways that artists depict the world around them, both by incorporating methods from the past as well as infusing the work with a fresh, modern perspective. We are also thrilled to be able to host the 10th Annual Juried Exhibition for the wonderful International Guild of Realism. The show officially opens August 28th, and will contain 91 paintings and drawings from 82 talented Contemporary Realist artists. Be sure to visit our website and follow our social media pages on Facebook, Twitter, Instagram, Pinterest, and YouTube to stay up to date on all the news about the exhibition!

Technique Tuesdays: Pointillism

Technique Tuesday PointillismWhat is it?

Pointillism is a painting technique that popped up in the late 1800’s as an off-shoot of Impressionism. Essentially, pointillism uses small, distinct dots or strokes of different colors in a pattern to form an image. This technique relies on the ability of the eye to blend the dots of color–it’s actually quite similar to the way that computer screens and printers use tiny pixels of just a few colors (most printers have just four inks, CMYK) and posititions them all just right so that our eye blends them and sees a smooth image with normal-looking colors. So instead of mixing colors on a palette, the artist presents dots on the canvas that we mix with our eyes. To give you a very basic idea, here’s a visual example:

Seurat detail

detail of a crop from Georges Seurat’s “La Parade de Cirque”

In the close-up detail on the left, you can see a wide variety of colors–yellow, orange, red, different shades of blue, and shades of green–but take a look at the upper left corner of the crop on the right. That’s where this close-up comes from. But, when we’re a bit further away, we see the dots begin to blend into a warm shade of green. And check out how blended everything becomes when we take another proverbial step back to look at the painting as a whole:

3716

Georges Seurat, “La Parade de Cirque”

Examples from art history:

Fun fact: when I (Pam) was in the eighth grade, my art teacher taught us our first art history mnemonic device with the rhyme “Seurat knew a lot about dots.” Yes, indeed he did! Seurat’s “A Sunday Afternoon on the Island of La Grande Jatte” is probably one of the most well-known pointillist images ever:

A_Sunday_on_La_Grande_Jatte,_Georges_Seurat,_1884

Georges Seurat, “A Sunday Afternoon on the Island of La Grande Jatte”

Georges Seurat and Paul Signac were the original pioneers of the use of pointillism, referring to it as Neo-Impressionism. “Pointillism” was actually a derisive word coined by art critics, but the connotation of the word is no longer mocking. Many artists began to experiment with this technique, including Vincent Van Gogh, Camille Pissarro, and Maximilien Luce, among many others. Later, a group known as the Divisionists would tweak the idea by using larger, more square brushstrokes to create similar blended colors and patterns.

AH Collage

(left) Vincent van Gogh, Self-portrait; (middle) Paul Signac, “Le Clipper, Asnieres”; (right) Camille Pissarro, “Apple Picking at Eragny-sur-Epte”

Examples from Principle Gallery:

Several artists that we represent here at Principle Gallery occasionally dabble in pointillism in their works (check out the work of Mia Bergeron and Colin Fraser!), but one artist springs to mind in particular, with his classical and frequent use of the technique. GC Myers, whose annual solo exhibition opens THIS FRIDAY, has a knack for using pointillism to create a lovely and magical effect in the skies of many of his colorful landscapes. The dappled effect can give a sense of starlight, the glow of a sunset, the sparkle of bright sunshine, or sometimes just pure, magical texture.

The whole exhibition will be on display at the gallery by the end of this week, so please join us for the official opening on Friday, June 5th, from 6:30-9 PM! If you’d like to see a complete digital preview for the show earlier in the week, just send us an email! For now, please enjoy this sneak peek!

The Singular Heart 72

GC Myers, “The Singular Heart”

Freed to the Wind 72

GC Myers, “Freed to the Wind”

Solitude and Reverence 72

GC Myers, “Solitude and Reverence”

Clair de Lune 72

GC Myers, “Clair de Lune”

Technique Tuesdays: Alla Prima

Technique Tuesday Alla Prima

What is it?

Alla prima, also called “wet-on-wet” and “direct painting,” is a very popular method of painting in which the artist applies paint to the canvas essentially in one sitting (“alla prima” is an Italian phrase that translates to “at once”). One way to better understand the technique is to examine the alternative way of painting. For a long time since oil paints rose in popularity in the fine art world, paintings were completed in a rather slow and deliberate manner. First, an underpainting was created (stay tuned for a look at underpainting on an upcoming Technique Tuesday post!) and from there, layers of paint were carefully built up and allowed to dry in between applications. For some works, this process could mean it would take several weeks or even months for the painting to be completed. In contrast, alla prima painting involves wet paint being layered on wet paint, typically with only a brief sketch rather than an underpainting to guide the rest of the composition. Alla prima paintings are typically completed in one session, though some artists will later return to an alla prima work to make adjustments. Though the traditional method of using an underpainting and building up many layers of paint with time for each to dry is still one that is widely used, it was not until the Baroque era that artists began to explore the expressionistic and practical advantages of alla prima painting.

Examples from art history:

In contrast to the very deliberate, layered painting methods of fellow Dutch Golden Age masters like Vermeer and Rembrandt, Frans Hals made use of the alla prima method of painting as a way to explore realism with a more free and expressive touch. While the style was seen by some traditionalists as sloppy and not appropriate for fine art painting, many began to appreciate the energy and vitality that alla prima painting could give a work. Later, in the 19th century, the Impressionists took up the practice of alla prima painting too, both for the vivid expressiveness it imparted as well as for the fact that the artists of that movement were painting things that they wanted to capture right in the moment. Impressionists began seeking to capture the scene before them by translating the quick impression of light and color, rather than painstaking focus on perfecting the forms or composition. They began to paint life around them–people walking along the street, the effect of the sunrise, dancers in practice, people at a party or a luncheon. Since these scenes could not be staged and slowly painted in the studio, the practice of alla prima painting became especially popular with artists like Edouard Manet, Edgar Degas, Claude Monet, and many, many others.

alla prima collage

(left) Claude Monet, “Impression Sunrise”; (middle) Frans Hals, “Malle Babbe”; (right) Edouard Manet, “The Luncheon on the Grass”

Examples from Principle Gallery:

Many of the artists that we show at Principle Gallery use the alla prima painting technique. Some, like Lynn Boggess, use this method because it is effective for quickly and expressively capturing the scene before him while he paints on location. Others, like this month’s solo exhibition artist Kevin Fitzgerald, use alla prima when painting smaller studies that they will use as a basis for larger and more involved works later on. When we hold live painting demonstrations at the gallery, such as the Face Off events each summer or solo demonstrations like last year’s with Teresa Oaxaca, the artists use the alla prima method to quickly create their beautiful paintings and capture the essence of the subject in the moment. We are thrilled to have Teresa Oaxaca back again this year for another live demonstration in May, followed by a live demo with the incredible fellow Principle Gallery artists (and a former teacher of Teresa’s) Robert Liberace. Be sure to mark your calendar for May 15th and May 29th to view some incredible alla prima painting right here in the gallery!

pg alla prima collage

(left) Lynn Boggess, “28 April 2014”; (middle) Kevin Fitzgerald, “Gulf Coast Dawn”; (right) Teresa Oaxaca, “Alla Prima”

 

 

Technique Tuesdays: En Plein Air

Technique Tuesday en plein air

What is it?

Today’s Technique Tuesday topic takes us on a trip to the great outdoors as we explore the world of Plein Air painting. The term “en plein air” is a French expression that translates to “in the open air.” It is used to describe the technique of painting outdoors, with the subject in full view of the artist. Although these days many artists work in their studios, often with photographs as reference, many artists still love to paint en plein air–especially landscape artists! When a landscape is created outdoors, the artist is often able to capture the space, the air, and the light more accurately than they could from a photograph alone. The task of plein air painting can be a bit tricky, as artists have to deal with obstacles like unpredictable weather and shifting light throughout the day. Many artists truly enjoy the challenge, though.

Examples from art history:

Painting outdoors has been done for a very, very long time, but it was not until the mid-1800’s that it had a true boom in popularity. After the introduction of paint in tubes and the “box easel”, an easel with telescopic legs and some storage capacity, painting outdoors became a lot more convenient, and the Impressionists were among the first to take advantage of the fact. As the growing movement of Impressionism was largely focused on looser representations focusing on light and color, plein air painting was the perfect method. Impressionists like Pierre-August Renoir, Claude Monet, and Camille Pissarro took advantage of the plein air painting technique, and the popularity soon spread across Europe and the Americas. Check out this neat plein air painting done by American artist Winslow Homer in 1868– not only is this a plein air landscape itself, but it depicts several other artists working en plein air as well!

"Artists Sketching in the White Mountains" by Winslow Homer

“Artists Sketching in the White Mountains” by Winslow Homer

Examples at Principle Gallery:

Many, many of our artists at Principle Gallery have painted outdoors, but some of them make special effort to do as much of their work en plein air as possible, to give their landscapes a real sense of freshness and life. Sometimes, as it’s understandably easier, artists will paint en plein air and create small studies, then go back to their studios to create a larger version of the work. Either way, it’s often easy to sense when observing a landscape whether the artist used the plein air painting technique in their work; the paintings seem so realistic and fresh, you can almost smell the great outdoors! Here’s a collage of several Principle Gallery artists who delight in working en plein air. Click on the artists’ names in the list below to view more of their amazing work on our website!

Plein Air Collage

 

(Upper left) Bethanne Kinsella Cople: Bethanne is a great lover of the plein air painting technique. She travels all over the country to paint different outdoor vistas with her signature lush and loose brushstrokes, and has experienced all the ways plein air painting can be both exhilarating and tricky–and sometimes bizarre! Once, when on a plein air painting retreat in Jackson Hole, Wyoming, Bethanne stepped away from her canvas for a few moments, only to turn around and find that an enormous bear had wandered up to inspect her work! (Not to worry, though, he soon moved along and Bethanne was safe.) Pictured: Bethanne Kinsella Cople’s “Tow’rd Some Far-Distant Wood”

(Upper middle) Lynn Boggess: As you may have noticed, we’ve just had an exhibition of Lynn’s work open this past week! It’s a great show, so be sure to click here if you haven’t yet checked it out. Lynn paints outdoors about three times a week in the woods of his native West Virginia, armed with canvas, paints, and cement trowels in lieu of palette knives, because they give him the flexibility he needs to create his vivid, thickly textured landscapes. Somewhat abstracted, though remarkably realistic at the same time, Lynn’s work has the true ability to make the viewer feel as though they’re truly out in the woods themselves. Pictured: crop of Lynn Boggess’s “2 January 2015”

(Upper right) Kevin Fitzgerald: Based on the eastern shore of Maryland, Kevin has some beautiful views right around him, so it’s no wonder that he enjoys taking advantage of them to create plein air works. Kevin often works in the method mentioned earlier, by creating smaller works en plein air and sometimes painting larger works in the studio based on those studies. Kevin’s work has an incredible sense of peace to it, as the colors and light are captured so beautifully at all different times of day and painted with a profound softness and grace. Keep an eye out, because we’re expecting a whole bunch of new paintings from Kevin within the next few weeks, as we prepare for his solo exhibition, opening March 20th! Pictured: Kevin Fitzgerald’s “Wheatfield Dawn”

(Lower left) Douglas Fryer: Currently based in central Utah, Douglas Fryer is well known for his incredible paintings, and his landscapes in particular. They have an ethereal, thoughtful quality to them that seems to at once capture a sense of stillness as well as the movement of the outdoors. Though he sometimes paints in the studio from photographs, Douglas excels at capturing landscapes en plein air, even occasionally participating in plein air competitions! His landscapes capture what he refers to as the “hidden poetry” in the places all around us, even those that may seem mundane at first glance. Pictured: Douglas Fryer’s “Autumn Memory, South Randolph”

(Lower middle) Gene Costanza: An artist who delights in the “painterly” application of oils, Gene focuses on a semi-Impressionistic portrayal of landscapes and man’s interaction with nature. Primarily self-taught, Gene shifted his career to painting after spending over 20 years in law enforcement. Using the discipline and patience developed during his time on the force, he now creates landscapes with a soft yet vivid atmosphere to them, inviting the viewer to “step into” the scene themselves. Gene will be part of a two-person exhibition called “Coastal Light,” coming up at Principle Gallery Charleston in March, so check out this link to see his new works! Pictured: crop of Gene Costanza’s “Winter Creek”

(Lower right) Sergio Roffo: Sergio Roffo was born in Italy, later immigrating with his family to Boston, MA. He currently resides on the Massachusetts coast, where he paints his incredible coastal landscapes and nautical scenes. With an elegance and freshness, Sergio captures the light and texture of his coastal environment in his beautiful paintings. Sergio will also be exhibiting with Gene Costanza in the upcoming “Coastal Light” exhibit at Principle Gallery Charleston next month–view it here! Pictured: crop of Sergio Roffo’s “Daily Catch”