On View
at The Koelsch Gallery

Gail Siptak
Kelly Moran
Jill Slaymaker

September 21 - October 31, 2019
Gail Siptak

the door is open, the other is behind me
it's fun, it's a puzzle
never know where it will go
it's a story, it's theater 
objects are fresh to me
never gonna stop

i have been a creator for as long as i can remember, watching my dad's wood working while creating ideas in my mind.  painting as a child with supportive encouragement from my mother.

found myself in houston in that funny way life takes you.  i didn't want to go back to my previous place so i sought out a job that fit my creative style.  intimidate and brave all at the same time as a young, intuitive soul who was in need of a job and a place to create.  i landed in a fabulous family owned store and found a spirit that got me and i got him that was a mentor, inspiration and friend.  that help me grow to the person i may not have known was there.  we designed and chorographed the most fabulous displays.  collecting and arranging objects has been a passion from those early days forward.

this body of work represents a life time of painting, arranging, teaching, encouraging, designing, living and having fun!

Kelly Moran

I presently have a studio in Houston Heights. My past training has been in painting, ceramics and printmaking which has contributed to my love of craftsmanship and process orientated work. I draw upon contemporary events, personal life, and intuition  to compose  well crafted, quirky universal images. I am  an avid collector of ephemera  mostly from the 20's to present.  My studio is filled with different sets of encyclopedias, how to books, vintage cookbooks, vintage medical books, paper dolls and all of their clothes, Montgomery Ward Catalogs  etc. These books are treasures found at estate sales, on eBay and are gifts from admirers or people that want to unload their collection. They are mined to find  just the right images from another time that speak volumes about our culture where we are now and then. My images are layered with meanings some straightforward some not. Among the  Work being shown at Koelsch Gallery are pieces that consist of a technique combining collage, lino cut print and vintage paper dolls. The imaginary is layered with plant and human forms with hopes that questions will  arise to the viewer about sexuality and humans place in nature.
 I like this Quote from Carl Jung. It sums up what I think I try to tap into in my practice of being an "Artist": "The Artist is not a person endowed with free will, who seeks his own ends, but one who allows art to realize its purposes through him. As a human being, he may have moods, and a will, and personal aims, but as an artist, he is a "man" in a higher sense: He is a collective man", a vehicle and molder of the unconscious psychic of mankind."

I received a BFA in painting from Louisiana Tech University,  studied ceramics at University of Houston Graduate program, participated in the artist collective Little Egypt Enterprises in Houston. and was associate director of Texas Collaborative, Houston, a place where National and international artist collaborated to produce their prints. I also taught printmaking at HSPVA. My work is in private National and International collections plus in  the MFAH permanent collection. 

Jill Slaymaker

Influenced by recent art residencies in Assisi and Greve, Italy, studying the use of gold leaf in Byzantine and Renaissance painting, and a trip to Japan to study textile design, my otherworldly environments are often inhabited by a lone figure lost in a chaotic world.

I combine 'puzzle piece' images (from sketchbooks and travel photos) to create relationships between disparate elements, always looking for connections. I am attempting to confirm the concept from Western physics and Eastern philosophy that all phenomena is interdependent and interconnected.  Fritjof Capra's writings on chaos theory are especially fascinating to me.  He explains that, thanks to advanced computer technology, the movement of clouds, fire, falling leaves and other forms of motion in nature, previously thought to be somewhat random or 'chaotic,’ are actually measurable and have very similar mathematical patterns.

The new series of gouache explorations usually begin with parts of an orange tree.  Ever since a trip to Rome where I healed quickly from an illness, painting under a 900-year-old orange tree still bearing fruit, I include an orange tree in almost every work.  The orange tree is for me a symbol of rejuvenation and hope.