Search | Clear, 82 F (28 C) RSS | ||
NOMA’s Besthoff Sculpture Garden (5:00 PM)
The NOLA Project presents this festive comedy that pits two of Shakespeare's most beloved characters in a war of words and wits
1200 Robert E. Lee Blvd (5:00PM- 11:00 PM)
The Holy Trinity Cathedral is inviting Grecophiles of all ages out to Bayou St. John for goat burgers, traditional music and dancing, and regional libations
The Convention Center (6:00PM-9:00 PM)
An experience for both foodies and wine connoisseurs with live music by Flow Tribe
Zephyr Field (7:00 PM)
New Orleans baseball against the Omaha Storm Chasers
One Eyed Jacks (7:30)
Sketchy Characters Productions brings you a comedy sketch and web series that plays off the madness of the French Quarter
Shadowbox Theatre (8:00 PM)
Straightforward conversational drama explores one area's gentrification through 50 years
Art Klub, 513 Elysian Fields Ave (8:00 PM)
An interactive and sparkling performance presented by Nari Tomassetti
The Little Gem Saloon (8:00 PM)
The fourth evening of a chamber music festival that has something for classical aficionados and dilettantes alike
Howlin’ Wolf (9:00 PM)
A funky two night celebration of the band’s 30th anniversary
Circle Bar (10:00 PM)
Rock around Lee Circle tonight
Iles of Light
Bill Iles' Transcendental Forests
Painter Bill Iles reigns in Southern terrain to controlled, comprehensive and complex works. His oil paintings depict forest scenes of Southwestern Louisiana, inspired by the land around Lake Charles and Dry Creek, the small town where he was born.
Those who have ventured out of New Orleans and had the chance to see Southern fall landscapes will appreciate his body of work showing in March at the Cole Pratt Gallery (3800 Magazine St.)
Featured in the Louisiana Endowment for the Humanities publication A Unique Slant of Light: the Bicentennial History of Art in Louisiana, Iles is a prolific artist with a secure spot in our country’s perspective of the natural world. However, he does not leave the viewer with any lofty impressions. Kind and open, he has a generous personality and thoughtful perspective on his life work.
“Our ability to see is such a precious gift,” he says. And it’s easy to see how much he has devoted his life to this gift. On the day he delivered his paintings to the gallery, we talked about light and vision. It’s clear that his eyes are as important a tool to him as his brush. His paintings deal a lot with perception and putting down human vision into concrete images.
We talked about how when the daylight is fading, and there’s barely any light left in the sky. It’s really our imagination that gives color to the outline of grass and trees, he said.
“We think we see more color than we actually do,” he said.
The muted blues and greens of the bark of the trees in Late Autumn are a good example of this phenomenon, and in Dusk falls on the Winter Woods he pushes the palette almost to the point of being monochromatic.
Repetitive and meditative, his color palette and composition express a certain serenity that doesn’t actually exist in reality. Given the complexity and often unideal nature of life, his work aims to harmonize the chaos of the woods. His emotional attachment to these scenes stems from his childhood in the woods of Lousiana, where his father would take him hunting.
Unwilling to shoot the animals, he would “hide out” in a corner of the woods, observing. These formative years were the beginning of a life-long exploration of wilderness. In a press release issued by the Cole Pratt Gallery, Iles quotes Emerson’s essay On Nature: “In the tranquil landscape, and especially in the distant line of the horizon, man beholds somewhat as beautiful as his own nature.”
Iles is heavily influenced by transcendental thought, and like other artists before him like Poussin or William Morris, he seeks to make sense of reality by creating a harmonious and balanced image.
The “line of the horizon” that Emerson wrote about is a significant reference for Iles to choose. Unlike many other landscape artists, who begin their work by painting the background sky or water, Iles intuitively starts his paintings with the foreground image, like the way our eye works. In a few of his paintings, like "Embankment Viewed from the Creek," we have to concentrate and struggle to make out the brush and trees before we arrive in the distance.
In a 2010 article for myneworleans.com, John R. Kemp writes of Iles: “Muted beech trees in the foreground of his paintings act almost as barriers that viewers must breach before emerging into the distant sunlight and bright colors.”
Looking at his work definitely requires a certain amount of time and focus because his vegetation sometimes borders on abstraction. The reward of doing this is stepping back and making sense of the assembly of colors and textures, and realizing that there are some bigger pictures in the horizon of Iles’ paintings.
Dead Huey Long, Emma Boyce, Ian Hoch, Sarah Esenwein, Ryan Sparks, Will Dilella, Chris Rinaldi, Lianna Patch, Phil Yiannopoulos, Cate Czarnecki, Jonas Griffin, Jennifer Abbot, Mary Kilpatrick, Elaina Patton, Mike Horst, Devin Bambrick, Katherine McGuire, Norris Ortolano, Joe Shriner
Ryan Sparks, Kerem Ozkan
Michael Weber, B.A.
Assistant Managing Editor
B. E. Mintz
Published Daily by
Minced Media, Inc.