WERNER DREWES

WERNER DREWES

WERNER DREWES

WERNER DREWES | 1899-1985

Werner Drewes initially studied architecture before enrolling in 1921-22 at the Bauhaus in Weimar under Klee, Kandinsky, Itten, and Feininger. For four years – 1923 to 1927 – he traveled the world with his bride, before completing his Bauhaus training in Dessau in 1929. He emigrated to the United States in 1930, documenting that move to New York through a series of woodcuts. In 1936-37, he was an active founder of the American Abstract Artists and participated in the Federal Arts Project in New York before moving on to a teaching career at Washington University in St. Louis.

As an artist for over 65 years, he employed various media from drawing and watercolor, through woodcut and etching, to painting and collage. Translating an early interest in subjective cubist forms, his work evolved into nonobjective abstraction. He was creative until the day of his death.

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The William Havu Gallery
1040 Cherokee Street
Denver, CO 80204

Telephone: 303.893.2360
Email: info@williamhavugallery.com
Fax: 303.893.2813

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Tuesday – Friday  10 a.m. to 6 p.m.
Saturday  11 a.m. to 5 p.m.
Closed on Sundays and Mondays.

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RICK DULA

RICK DULA

RICK DULA

A realist painter of “factoryscapes” and urban views, Rick Dula finds inspiration in the majesty of aging industrial scenes and explores the vitality they once possessed. With his work he aims to realize a deeper history for American culture. Dula recently gained much notoriety in the Denver Art Scene with his 18 x 32 foot trompe l’oeil mural A Moment in Time: Here for Embrace! at the Denver Art Museum. The mural is now part of the Museum’s permanent collection. His newest body of work consists of factories, rural silos, and construction sites, including that of the Clyfford Still Museum during its construction in Denver.

“My current work focuses on a type of urban landscape, mostly in the run down and decaying vestiges of an earlier time. I like to visit cities and seek out the industrial edges, where either side of the train tracks is lined with factories and plants near death. Rust, ruins and abandonment are my roadside attractions, and I photograph (and later paint) these with an eye for dramatic light, often returning several times to catch the best mood. My fascination with corrosion reflects a particularly American longing for deeper history: we don’t have buildings older than a mere couple of centuries as does the rest of the Old World. I think this causes a sort of ‘patina envy’ in our culture. One of my heroes is Charles Sheeler, whose early 20th century paintings of new massive industrial plants were like proud birth announcements for modern industry. My work is more that of the obituary. Although some of the factories and industrial plants are still in operation, I paint what seems to be vanishing from the modern urban landscape, and want to preserve some of the beauty before it is gone.” Rick Dula

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The William Havu Gallery
1040 Cherokee Street
Denver, CO 80204

Telephone: 303.893.2360
Email: info@williamhavugallery.com
Fax: 303.893.2813

Open Hours

Tuesday – Friday  10 a.m. to 6 p.m.
Saturday  11 a.m. to 5 p.m.
Closed on Sundays and Mondays.

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CARLOS ESTEVEZ

CARLOS ESTEVEZ

CARLOS ESTEVEZ

Carlos Estevez’s work is animated by a deep interest in questions of human spirituality. His stated goal is to use his work to reveal the invisible realm to the spirit that lies hidden beneath the visible world, a process that he refers to as an alchemical, metaphysical transformation of mystery into knowledge. The imagery that populates his paintings, drawings, sculptures, and installations bears a dreamy, child-like quality, with recurring references to marionettes, automatons, fantastical architectures, cosmic geometries, angelic beings, and strange, chimerical creatures.

A recipient of the Joan Mitchell Foundation Painters & Sculptors Grant, the Cintas Foundation Fellowship in Visual Arts, and the Grand Prize in the First Salon of Contemporary Cuban Art in Havana, Carlos Estévez was born and raised in Cuba and moved to Miami in 2004, where he lives and works. He graduated from the University of Arts (ISA) in Havana and solo exhibitions of his work have been presented at the National Museum of Fine Arts, Havana; Tucson Museum of Art, Arizona; The Patricia and Phillip Frost Art Museum at Florida International University, Miami; Center of Contemporary Art, New Orleans; Lowe Art Museum at Miami University, Florida; and the Stoors Gallery at University of North Carolina Charlotte. Estévez has participated in group exhibitions presented at the 6th and 7th Havana Biennials; the 1st Biennial of Martinique; Arizona State University Art Museum in Tempe; Pérez Art Museum Miami, Florida; Maison de l’Amerique Latin, Paris, France; Casa de América, Palacio de Linares, Madrid, Spain; and several others.

Estévez has been an artist-in-residence in Academia de San Carlos, UNAM, Mexico; Gasworks Studios, London, England; The UNESCO-ASCHBERG in The Nordic Artists’ Center in Dale, Norway; Art-OMI Foundation, New York; The Massachusetts College of Art, Boston; Cité Internationale des Arts, Paris; Montclair University, New Jersey; Siena Art Institute, Italy; Sacatar Foundation, Isla Itaparica, Salvador de Bahía, Brazil; and McColl Center for Art + Innovation in Charlotte, NC; among other places.

His work is included in numerous prestigious collections, such as those of the National Museum of Fine Arts, Havana; Museum of Fine Art, Boston; The Ludwig Forum, Aachen, Germany; The Bronx Museum, New York; Perez Art Museum Miami, Florida; Drammens Museum for Kunst of Kulturhistorie, Norway; Tucson Museum of Art, Arizona; Denver Art Museum, Colorado; Yale University Art Gallery, Connecticut; Arizona State University Art Museum, Arizona; Fort Lauderdale Art Museum, Florida; The Patricia and Phillip Frost Art Museum at FIU, Florida; The Mint Museum, North Carolina; BNY Mellon Art Collection, New York; and The Lowe Art Museum, Florida.

Estevez’s first monograph, Carlos Estévez: Entelechy. Works from 1992 to 2018 by Carol Damian, Ph.D., was published in 2019 by Tucson Museum of Art and Historic Block, Arizona; also, Images of Thought. Philosophical Interpretations of Carlos Estévez’s Art by Jorge J. E. Gracia was published in 2009 by State University of New York Press, Albany; and Carlos Estévez: Bottles to the Sea, edited by Jorge J. E. Gracia was published in 2015 by State University of New York Press, Albany.

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The William Havu Gallery
1040 Cherokee Street
Denver, CO 80204

Telephone: 303.893.2360
Email: info@williamhavugallery.com
Fax: 303.893.2813

Open Hours

Tuesday – Friday  10 a.m. to 6 p.m.
Saturday  11 a.m. to 5 p.m.
Closed on Sundays and Mondays.

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SUSHE FELIX

SUSHE FELIX

SUSHE FELIX

Sushe Felix is a Denver-based artist. She is both a painter and sculptor. Her work is abstract and based on the movements of nature and the landscape. The Modernist painters from the 1930s and 40s and the transcendental painters from Santa Fe, NM influence her. Sushe has works in the permanent collections of the Denver Art Museum, the Colorado Springs Fine Arts Center, and the Kirkland Museum of Fine and Decorative Art, Denver, CO.

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The William Havu Gallery
1040 Cherokee Street
Denver, CO 80204

Telephone: 303.893.2360
Email: info@williamhavugallery.com
Fax: 303.893.2813

Open Hours

Tuesday – Friday  10 a.m. to 6 p.m.
Saturday  11 a.m. to 5 p.m.
Closed on Sundays and Mondays.

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TRACY FELIX

TRACY FELIX

TRACY FELIX

Tracy Felix is a Denver-based artist whose work consists of stylized landscapes of Colorado and the West. The Hudson River School painters and the American Regionalists influence him. Tracy has works in the permanent collections of the Denver Art Museum, the Colorado Springs Fine Arts Center, and the Kirkland Museum of Fine and Decorative Art, Denver

Contact Us

The William Havu Gallery
1040 Cherokee Street
Denver, CO 80204

Telephone: 303.893.2360
Email: info@williamhavugallery.com
Fax: 303.893.2813

Open Hours

Tuesday – Friday  10 a.m. to 6 p.m.
Saturday  11 a.m. to 5 p.m.
Closed on Sundays and Mondays.

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JOHN GIBSON

JOHN GIBSON

JOHN GIBSON

John Gibson is a native of Massachusetts, born in Boston in 1958. He attended the Rhode Island School of design (where he earned a BFA in 1980), before earning his post-graduate degree from the prestigious master’s program at Yale. Gibson had his first one-man show at the University of Massachusetts in 1984, and he began showing in group exhibitions in the Boston and New York areas in the late 1980s. In the early 1990s, Gibson’s paintings began to focus on pyramidal compositions of spheres resembling children’s playground balls, decorated in the manner of colorful soccer balls. Executed in oil on wooden panels, these pieces began to attract generous critical praise for Gibson from the pages of the Boston Globe, the Partisan Review, and The New Yorker, among others. Gibson’s paintings are filled with subtle yet provocative disjunctions, which challenge the viewer’s initial perceptions of the pieces. While these images would seem at first to be fairly simple atmospheric, realistic renderings of colorful balls, a closer examination will reveal that the surfaces of Gibson’s paintings are deeply scored by the artist in geometric patterns that sometimes conform to, and in other instances defy, the outlines of the spheres rendered in paint. An invisible substructure is suggested in these incisions, which also serve to reinforce the physicality of the painting. Some pieces also include incised and/or painted suggestions of shadowy architectural spaces (arches, hallways, shallow niches) in which the balls are placed. The scale of the objects rendered is ultimately unclear: the balls could be of the large, inflatable type, but they alternatively suggest the density of much smaller decorated wooden croquet balls (a disjunction heightened by the scale of the paintings, which range from larger-than-life to miniatures of only 10 by 6 inches or less). Additionally, the multiple-ball, open-pyramid arrangements depicted in Gibson’s paintings are impossible structures, suggesting that however realistically they may be rendered, they are in fact constructs of the artist’s imagination, straddling the divide between representation and geometric abstraction. John Gibson’s work is currently found in numerous corporate and public collections around the country, including those of the Metropolitan Museum of Art in New York, the University of Massachusetts, the Ackland Art Museum in Chapel Hill, North Carolina, and the New York Public Library.

Contact Us

The William Havu Gallery
1040 Cherokee Street
Denver, CO 80204

Telephone: 303.893.2360
Email: info@williamhavugallery.com
Fax: 303.893.2813

Open Hours

Tuesday – Friday  10 a.m. to 6 p.m.
Saturday  11 a.m. to 5 p.m.
Closed on Sundays and Mondays.

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