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Nina Tryggvadottir and Alcopley – Two Solo Exhibitions

Originally posted on davidrichardgallery.com Abstract Expressionism and Segue into the 1960s: Nina Tryggvadottir: Paintings from 1952 – 1963 Alcopley: 1950 – 1965, Selections in Oil, Watercolor, and Ink Video of Gallery Talk With Una Dora Copley and Scott Jeffries, moderated by Kathryn M Davis of ArtBeat Santa Fe David Richard Gallery, LLC Santa Fe Venue - 1570 Pacheco Street, Suite E2 | Santa Fe, NM 87505 P: (505) 983-9555

Left: Nina Tryggvadottir, Abstraction (NT-OL-62-02), 1962, Oil on linen, 18 x 23.94 " Right: Alcopley, Sarnothrace, 1965, Oil on canvas, 39.625 x 59.875 " Click here to view video

Nina Trggvadottir, one of Iceland’s best-known artists, has her first solo exhibition with David Richard Gallery in a presentation of her geometric and lyrical abstract paintings from 1952 to 1963.

Seeing her work as part of a historical evolution, Tryggvadottir has even cited baroque masters such as Rembrandt as influential figures in her development, connecting her work deliberately to art history. Her rich artistic career was interconnected in another sense, as she engaged internationally with prominent artists, critics, gallerists, and art historians, absorbing influence and engaging in critical debate. Tryggvadottir painted portraits, in a partially cubist style, and engaged with a range of media such as, printmaking, watercolor, collage, book art, glass, and mosaic.

Installation View: Nina Tryggvadottir

Click here to go to the exhibition

Installation View: Nina Tryggvadottir Click here to go to the exhibition

Alcopley, Abstract Expressionist and prominent member of the New York School, has his first solo exhibition with David Richard Gallery and his first show since 2009, exploring the flow of structures through his multi-media brushwork.

Installation View: Alcopley Click here to go to the exhibition

Installation View: Alcopley

Click here to go to the exhibition

Rhythm, or flow, is essential in Alcopley’s aim to give form to his felt experiences. He does so with a gestural immediacy, in what Herman Cherry, the painter, poet, and longtime friend, describes as “nerve sensations made visible.” Carrying sketchbooks around with him everywhere and transcribing his experience in his own unique short hand allowed him enough preparation to take his brush to canvas, paper, and linen. He was particularly interested in the experience of music and its translation into visual form, much like Wassily Kandinsky whom he had an intimate familiarity with, growing up in Dresden, Germany at the turn of the twentieth century.

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