Eastern Shore inspies artists to fill library gallery
by Nick Bottis

Every summer, Virginia Wesleyan’s distinguished resident artist, Barclay Sheaks, sets off for the wilds of the Eastern Shore with a stalwart group of artists searching for truth, justice, the coldest beer and the spiciest steamed crab. This road trip, known as the “Barclay Sheaks’’ Art Odyssey”, is a tradition around these parts. Another tradition is the autumn showing of art work from the Odyssey in the gallery space in the Hofheimer Library. As usual in the past, the present show is eclectic and has much depth .

Upon entrance, the viewer is has the pleasure of seeing Sue Myers’ large acrylic figure painting juxtaposed with two little, figure paintings by Barclay Sheaks’ and Cynthia Rector. Myers’ painting seems solid-almost architectural. It has the partial outlines and flat color planes of a Cezzane. The work by Sheaks’ and Rector glow like little jewels when juxtaposed next to the larger and more subtlety colored work by Myers. The Barclay Sheaks’’ work is a small nude; dark and mysterious, depicting a woman trying on a hat. It is aptly titled, “Nothing to Wear” . Rector’s little painting, “Jennifer Figure Study XX”, is a presentation of a clothed figure in a chair. It’s power comes from it’s bold strokes of color.

The pastel portraits shown by Nancy Harris are like a shift in visual gears. They are soft and subtle to the pont of being almost monochromatic. They are in total contrast to the painting, “Seated Nude” by Jean Hess. Her work is very hard edge and bright, the figure looks—no, make that glares at the viewer in a confrontational manner. Like it or hate it, the work is not one to be ignored.

he untitled still life by C. Witchey just says “summer”. Steamed crabs, Old Bay Seasoning, and cold beer painted brightly and with a delightfully skewed perspective bring back memories of the Eastern Shore. She has managed to find a new way to present an old genre.

Edith Edwards painting, “Summertime,” is another clothed figure study. This one shows us a solid application of paint. The work has a weight and a substance to it without negating the femininity of the model.

Painter Art Carter’s previous occupation of engineer is evident in the precision and hard edges of his two landscapes. Charles Scalar and the Preciscionist Movement seems to be his inspiration. Carter’s hard edges contrast nicely with Sheaks’’ landscape, “Oyster, Va.” It depicts an old, derelict working boat stranded in a large expanse of marsh grass. The work has the moody atmosphere which has become a trademark of Barclay Sheaks’’s’s work.

Betty Anglin, head of the art department at Christopher Newport University , hung a large watercolor portrait. It has a wonderful looseness and informality which is in keeping with the spirit of the Art Odyssey programs. The painting was worked wet and loose, the obvious joy in the process of painting is evident. She left pencil lines in place and we never forget that this work, while it is a portrait of a person, is also pigment and carbon on paper, put down in an interesting way and it has meaning in that light as well.

In a way, Betty Anglin’s painting is a metaphor for the Art Odyssey experience. It’s not just about producing pretty pictures , but it’s about taking chances, and experimenting. It’s about letting the paint run and trying something new—leaving the pencil marks. It’s about a process of learning and discovery .

If you would like more information about next summers Art Odyssey, contact Barclay Sheaks in the painting studio.