From Southern American to the South of France: Mary West Quin and Philippe Halaburda at the Lionheart Gallery

Contact: Susan Grissom, Gallery Director
Phone: 914.764.8689

From Southern American to the South of France:
Mary West Quin and Philippe Halaburda Featured at the Lionheart Gallery
July 8 through September 1, 2016

June 15, 2016, Pound Ridge, New York: The Lionheart Gallery is pleased to announce two exhibitions opening in July. Chrysalis is a collection of works by Alabama-based photographer Mary West Quin, whose dreamlike platinum/palladium prints reflect a wide range in tonality, casting creamy light on scenes of innocence and inner reflection. Imaginary Mindscapes showcases new abstract paintings by French artist Philippe Halaburda that resemble colorful maps of fantastical cityscapes. Tri-state area residents and visitors are invited to see these two shows at the Lionheart Gallery at 27 Westchester Avenue in Pound Ridge, New York, from July 8 through September 1, 2016. The exhibitions will open with a reception on July 10 from 2–6 PM.

Coinciding with these exhibitions, the Lionheart Gallery will display works from its flat files by Jennifer Schlesinger. Based out of Santa Fe, Schlesinger’s striking black and white photography is influenced by historical processes to create dreamy enigmatic narratives, alternating between sensual, whimsical, and surreal. The gallery will feature selections of the artist’s albumen prints and also has her gelatin silver prints available.


Mary West Quin, Precipitation, 2015, 8” x 10”, Platinum Palladium on Arches Platine

Mary West Quin: Chrysalis
Mary Quin’s work explores the paradox of photography, which makes ethereal moments into permanent images. Referencing anthropology and philosophy—she has degrees in both and reads these subjects extensively—Quin explores the distance between camera and subject that mirrors the distance between people. Her photographs of internal and external landscapes are grounded in the historical roots and questions of permanence, concerns of objectivity, and the nature of human existence, relationships, and the complex subtleties of living. In the artist’s own words, “I live in constant examination of my place and space.”

Raised in Mississippi, Quin grew up at fishing camps and on boats around barrier islands in the Gulf. She calls her upbringing a hybrid, a balance influenced by a family who rejected many stereotypical social mores and roles considered synonymous with the deep South. “I have been blessed (and at times cursed) with the comfort of being an outsider, a constant observer,” she writes. “When I’m printing, it keeps me present.” The artist now lives and works in Mobile, Alabama, where she works with an 8×10 view camera and uses the platinum/palladium printing process, incorporating techniques that were first attempted in the early nineteenth century. The results are nearly three-dimensional images that shimmer with a rich luminosity and emanate an otherworldly glow.

Chrysalis is the perfect exhibition for long summer days and evenings. There are black and white negatives of butterflies, lacy white against a deep black backdrop, and shadows of playing children, their small hands forming shapes and playing games or reaching to catch raindrops. Viewers can almost feel the heat and vapor radiating forth. Quin captures elusive moments and prints them under a mysterious platinum haze that creates pure emotion, quiet reflection, and a bit of nostalgia.


Mary West Quin, Transition, 2015, 8” x 10”, Platinum Palladium on Arches Platine

“I met Mary in New Orleans six years ago at a Documentary Photography workshop,” says Lionheart Gallery Director Susan Grissom. “Right from the start I was so taken with her carrying around an 8×10 camera in the French Quarter. I was struck by the strong Southern voice in her photography as well as the fact that she works in film and alternative processes such as platinum palladium, cyanotype, and tintype. Her photographs remind me of my Southern childhood—she captures the rawness and sultry romantic aspects of the South as well as the beautiful simplicity and innocence of being a child.”

In Quin’s own words, “I would like viewers to see a way inward, toward themselves. We live in a time of external overstimulation. It can be too much…we become alienated from our own ways of knowing, and we cease to examine what we see and feel. I hope this work invites the viewer to a place of internal examination.”

Philippe Halaburda: Imaginary Mindscapes
French artist Philippe Halaburda hails from Aix-en-Provence, and the playful vibrant colors in his paintings echo the bright primary hues and sunlight of this region. Recently he has been creating work in New York City, which he credits with lending more minimalism and deeper tones to his palette. His art can be found in collections, homes, and offices throughout Europe, North America, Canada, and Australia.

Although abstract, Halaburda’s paintings explore the universal themes of love, personal crisis, beauty, and death, playing out in sprawling and imaginary urban maps and landscapes. The artist sees his canvases as springboards for building mental architecture. Exploring interactions between shapes and lines, he forms “art topographies” that explore social tensions and relationships instead of addresses and landmarks.


Philippe Halaburda, Hatch Cherokee, 2013, 83” x 79”, acrylic, colored felt tip, and pencil on canvas

Using acrylic paints, Halaburda makes patterns that look like cities seen from high above—in fact, his process is to paint on canvasses that lie flat on the floor. The geographies he constructs are intricate and meticulous, yet emotionally charged, and become maps of passions, ideas, and dreams. The artist professes a spontaneity and expressiveness that is evident in the marks he makes: lines that might be partial letters or numbers, large washes of paint, smaller shapes spiraling out that seem like fragments of earth or machinery. To achieve this range, Halaburda has experimented with unusual studio tools, including replacing paintbrushes with rubber spatulas to create clean shapes and smooth, even applications of pigment.

“My style is a graphic game of lines, strokes, colors, repetitions…it oscillates between binary opposites: imagination and observation, lucidity and frenzy,” writes Halaburda. “It blurs the boundaries between painting, drawing, and writing, while preserving a high degree of love for the colors.” And the colors jubilantly shine in each composition, especially given Halaburda’s skillful manipulation of acrylic paint to make it appear translucent one moment, opaque the next.


Philippe Halaburda, Sohn Botany is Mine, 2013, 79” x 79”, acrylic, colored felt tip, and pencil on canvas

As Lionheart Gallery Director Susan Grissom notes, “Philippe’s paintings are like imaginative aerial views that have a strong sense of place…he creates wonderful new worlds on a monumental scale.”

On View and Related Programming
There will be an opening reception for Chrysalis and Imaginary Mindscapes at the Lionheart Gallery on July 10, 2016, from 3–6 PM. Fine art photography by Jennifer Schlesinger will also be on view. In addition, as a compliment to Imaginary Mindscapes, the gallery is offering a selection of works on paper depicting the images of Halaburda’s paintings. Both exhibitions run through September 1, 2016.

Here nor there 9

Jennifer Schlesinger, Here nor There 9, 2012, 8” x 4”, albumen print

General Information
The Lionheart Gallery is open Wednesdays through Saturdays, from 11 AM to 5 PM, and Sundays from 12 noon to 5 PM. For more information and directions to the gallery at 27 Westchester Avenue in Pound Ridge, New York, visit or call 914.764.8689.



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