Teresa Magel’s work are not only definitions of what Femininity is but also a dialogue of what internal femininity looks like. The aesthetic beauty is visible because of how Teresa chooses to see the world. True feminine beauty is visible only because it is a reflection of all aspects of what she believes the essence of being female is. ” It is being beautiful outwardly because your soul is truly beautiful. It is displaying strength and persevering amidst vulnerability. It is defining and loving yourself un-apologetically. Its loving yourself unconditionally so that you may be love to others, Beauty.”

Teresa’s figures are often identifiable by their large coiffures of hair and their dreamlike eyes, lending them a sense of serenity and ardor. Teresa will also integrate elements of nature to elicit a feeling of passion and showing grace, such as butterflies, bees, dragonflies and hummingbirds.

Derek Au, Eliza Au, Yewen Dong, Sin-ying Ho, Jing Huang, Nuokan Huang, Wanying Liang, Shiyuan Xu, ChengOu Yu

Belger Crane Yard Gallery presents Journeys opening Friday, October 1, 6 pm – 8 pm at 2011 Tracy Avenue, Kansas City, MO 64108. Artists’ remarks at 6:30 pm. The exhibition will remain on view through January 8, 2022.

Journeys features the ceramic works of nine artists who were either born in China or are of Chinese descent. The exhibition explores themes of identity in a multicultural world, examining both the juxtapositions and intersections between Eastern and Western cultures. Duality and the vacillation between two worlds is present within each artist’s body of work as well as throughout the exhibition.

The passage of time is captured in the crumbling facades of Yewen Dong’s two large-scale wall works. These unfired clay tiles explore the residual traces of touch and memory. Memory also plays a role in the floral porcelain pieces by Wanying Liang. Liang’s works give form to her memories of childhood in China, the questions she has for her mother, and personal struggles with her own body. The physical and mental distance between past and present drives the work of Jing Huang as she constructs ambiguous landscapes that are neither here nor there. Eliza Au utilizes computer-aided methods to reference historical architecture. Au’s wireframe-like pieces explore the limits of interior and exterior space, strength and fragility, and reference both mathematics and the patterns of religious ornamentation. In his series “Simulant,” Derek Au toys with concepts of authenticity and tradition with his use of alternative materials to mimic traditional Chinese porcelain and glaze. Fragility and strength, order and chaos, simplicity and complexity are all present in the amoeba-like forms of Shiyuan Xu. Xu’s porcelain structures reference cellular organisms and the rhythms of growth in response to internal and external forces. The relationship between position and perspective is central to the work of ChengOu Yu as he explores the way experience is distorted based on location. The tiny pottery landscapes of Nuokan Huang feel both contained and limitless – delicate scenes of personal space and boundless imagination. In contrast to the minuscule works of Nuokan Huang is the human-scale vessel of Sin-ying Ho. Ho’s work is covered in cultural, religious, and economic symbolism and touches on themes of dislocation, globalization, and identity. Journeys encompasses an intense blend of imagery combined with traditional and contemporary fabrication techniques and embodies a complex collision of cultures.

In this exhibition, Kelly Porter introduces more than 25 large-scale oil on canvas paintings and nearly 20 monotypes and mixed media works on paper. The work is organic, transcendent and presciently timely, born out of Porter’s decades-long fascination with the basic, essential forms of pathogens, such as bacteria and viruses, their shapes imbued with an inherent beauty that reveals itself under a microscope. That some of the most deadly pathogens look like beautiful flowers at the microscopic level has long intrigued Porter, and inspired her to translate them into ‘atomic flowers.’ The energy of these living forms radiate a powerful vibrancy that is simultaneously constrained and explosive. In Porter’s body of work, atomic flowers are abundant, vivacious and powerful subjects that are brought forward through the medium of art.

Inspired by German philosopher Immanuel Kant, who argued that it is our faculty of judgement that enables us to experience beauty and we grasp those experiences as part of an ordered, natural world with purpose, Porter, too, finds the physical world to be unified, functional, compatible and purposeful. But she delves deeper into unseen worlds, unavailable to the naked eye, and through her exploration offers viewers perspective and appreciation for these natural forms that, indeed, are beautiful.

Porter’s immersion in her fine art deeply influences her commercial work as co-founder of Porter Teleo, a line of hand printed, hand painted wallcovering and fabric that is highly sought after by many of the world’s leading interior designers. The very focused approach she takes to her studio work often leads to new discoveries for her design work, resulting in wallpaper and textile patterns that are entirely new – the intersection where art meets design.

Porter is from Dallas, TX. She received her BFA from Kansas City Art Institute, Kansas City, MO in 1997, where she studied printmaking and philosophy. Upon receiving a full scholarship, she continued her education at the State University of New York in Buffalo, NY, where she received an MFA in 1999. Porter returned to Kansas City for a teaching position at the Kansas City Art Institute and began showing her work in galleries across the country. Kelly Porter’s work has been described by critics as “unique, composed and calming, with layered and labor intensive surfaces.”

Her honors include being named as one of the “21 Under 30 Top Artists to Watch” in 2004 by Southwest-Art Magazine, “Top Visual Artist” in 2006 by Kansas City Magazine, a “Merit Award for Best Product Design” from Interior Design Magazine, 2008, and a number of editorials in Architectural Digest, Elle Décor, Vogue, Town and Country, Women’s Wear Daily, Veranda, Metropolitan Home, House Beautiful, Spaces Kansas City and IN Kansas City Magazine for her surface design work for Porter Teleo.

I stand to paint, spray, scrape, rub, dribble and dance around… to put whatever my subconscious feels like doing. I like big paintings for that reason. It is body in motion. Rather than a single moment in time captured by photography and realism, you are getting me up there or on there. That makes me a “gestural painter” too.

William Rainey’s acrylic on canvas paintings grasp the imagination and transform it to everyday life, emotions, and beliefs. The paintings move into the subconscious much like improvisational jazz; melding reality and fiction with a fascinating journey of color, movement, and shapes.

Describing art is about the left side of the brain. Making it represent something, philosophizing about it is all on the left side. Art like mine is a right brain activity. Sensing, responding, feeling and even having a relationship. So, I invite you to get in your right mind while you experience my art.

Rainey received he first art award 52 years ago and since has attended Anderson Ranch Arts Center, Snowmass Village, CO and the Santa Fe Institute of Fine Arts, Masters Program. Represented exclusively by Blue Gallery since 2000, William Rainey’s paintings can be found in private and corporate collections worldwide. Select corporate collectors include; Shook, Hardy & Bacon, Kansas City, MO, Data Systems International, Kansas City, MO, Restaurant Management Company, Wichita, KS, Missouri Bank, Kansas City, MO, Lanard Toys Ltd., Hong Kong, and The Conafay Group, Washington, DC.

Open Thursday — Saturday, 11:00am — 4:00pm