HAVOC Gallery


27 Sears Lane

VT 05401 Burlington

United States

Phone : 800-639-1868

Fax :

Mobile Ph. : 802-863-9553

URL : HAVOCGallery.com

Burlington

United States

Phone :

Fax :

Mobile Ph. :

URL :

MacDonald Bruce R.   ()

Vogelsang-Card Sarah   ()

About

HAVOC Gallery with its eighteen foot ceilings and massive doors for natural light exhibits fine art by Joël Urruty, Mandy Daniels, George Peterson, Gordon Auchincloss, John Rose, Sam Stark, Susan Madacsi and Bruce R. MacDonald; Large, Precise and Multidimensional.

HAVOC Gallery came from Gallery 180 (opened in 2007), the creation of artist Bruce R. MacDonald, to exhibit visionary mid-career artists who create works that exemplify their well honed technique and ascetic of minimalist beauty. When Gallery 180 moved to a more visible location in the heart of Burlington's South End Arts district along Lake Champlain in 2012, Havoc Gallery was born. This unique space allows patrons to be exposed to artwork from very divergent sources curated by experienced professionals.

Wind and Waves - Bruce R.  MacDonald

Bruce R. MacDonald Wind and Waves

The Compass - Bruce R.  MacDonald

Bruce R. MacDonald The Compass

Hex - Bruce R.  MacDonald

Bruce R. MacDonald Hex

Fugue - Bruce R.  MacDonald

Bruce R. MacDonald Fugue

Exhibiting Artists

  • Bruce R. MacDonald  (+)

    Biography : On the outside Bruce R. MacDonald’s work seems like frozen video displays lifted from the walls of some 22nd Century environment; while on the inside they have the detailing and complexity of sun sparkles on the ocean, the diversity of the forest floor, maps of some celestial event or pure abstractions of a particular moment of organic consciousness. Twenty five years of daily metalwork and fifty three years of overactive eyes have led to this continuum. He graduated with a degree in English from Haverford College in 1981 and decided to look for a job where he could make physical objects. “After college I was tired of only having sheets of paper to show for long days of work. With metal, after forty hours, I had something tangible, something that would survive, and something that might be here forever.” Over the next nine years, Bruce took a variety of jobs working with metal including restoring brass and copper antiques, fabricating custom lighting and architectural elements, working with jewelers, and doing large scale iron and steel work. Projects ranged from 300-year-old clock works to a five-story helical stairway. These different jobs helped Bruce refine his aesthetics and build his skills. “Jewelry was too small a scale for me. I didn’t like squinting and large-scale work was too reliant on a crew, so I settled on tabletop work and furniture,” he says. For most of Bruce’s career so far, his focus has been on producing multiples including a helix shaped CD rack, tabletop spacecraft designs, and futuristic-looking champagne and martini glasses. Ever responsive to the customer, he made red and white wine glasses when the martinis sold well and sugar bowls and creamers when the teapot was a hit. As business thrived, worldwide appreciation for Bruce’s work grew. The Museum of Science and Industry in London featured his helix CD rack on the cover of their catalog. His teaship (a teapot that looks like a spaceship) ha

    Detailed Description : These panels are part of an ongoing exploration of the optical properties of abraded metal. I have been doing metalwork for over thirty eight-years and along the way recognized that some tools leave a surface that seems to recede from the viewer, some simply flatten or create no dimensionality, and some seem to lift off the surface into the space above the metal. By combining these techniques on a surface, dramatic effects of depth and space within a two-dimensional object are possible. I have worked for years to develop a vocabulary of brushwork, tool choices and hand motions to create spatial relationships between objects in the artwork. These high-grade alloy stainless steel panels are a pure expression of my vision utilizing this ever expanding vocabulary. They are a celebration of the possibilities inherent in this distinctive medium. The creation of “space” is a magical pursuit. If one looks at a painting from different vantage points in a room the same painting is always there. If one walks around a sculpture, there is a continuously varying perception of the object; and this is precisely how one experiences my light sculptures. They change as one’s point of view changes with elements disappearing and reappearing from other places in the room. They also display true parallax with objects in the surface relating to others in consistent relationships, one reason our eyes and brain read these surfaces as having depth. The art on the wall is not the piece of metal but that sense one has that some piece of the pattern you see is in front of another. The art is the way your eyes read the space created by the light reflecting off the surface. These panels have effects that are dramatic and immediately apparent and another level of perception that is only apparent with prolonged study. Letting one’s eyes relax and genuinely staring will yield bits of reflected light that curve away and behind other objects, swirls and shimmering lines that lift into

    Artist's Objects:

    • Bruce R.  MacDonald - Fugue Fugue
    • Bruce R.  MacDonald - Hex Hex
    • Bruce R.  MacDonald - The Compass The Compass
    • Bruce R.  MacDonald - Wind and Waves Wind and Waves

    Also exhibited by:

    Also represented by:

Other Represented Artists

  • Richard Erdman  (+)

    Biography : Richard Erdman makes the impossible occur on a routine basis: From the seemingly grounded to the truly ethereal, his sculptures express a vitality which transcends their temporality. The inspirations for his creations are multi-faceted and varied. They do, however, have a common thread evolving from the artist's own reverence for nature, which was crystallized during his early years in Vermont. Erdman grew up in Dorset, Vermont at the foothills of the oldest marble quarries in the U.S., not surprisingly, these early experiences greatly influenced his life and work. He marveled at the cavernous shapes and formations of the quarries whose weather-beaten layers and textures unveiled the mystery of stone. He also engaged his passion of joyous physicality and risk-taking, leaping from high quarry walls to the water below, challenged by new heights and dreams. These two elements, a love of the medium and an intimate relationship with nature’s raw energy and beauty, inform his work today. Richard’s adaptability and his intimate understanding of the materials with which he sculpts have led to the creation of a prolific body of work which encompasses intimate maquettes to massive monumental works. Known for his forward-thinking, modern adaptations of marble and bronze sculptures in graceful, flowing designs, Richard Erdman’s massive marble sculptures weighing up to 50 tons defy gravity, bringing warmth and light to their resilient stone bodies. The artist’s work has been shown in more than 160 solo and group exhibitions throughout North America, Europe, and Asia. He has executed over 120 commissioned works for museums, public, and corporate collections. His work is held in collections in 52 countries worldwide for distinguished patrons such as The Minneapolis Institute of Art, Museum of Fine Art in Boston, Princeton University, The Rockefeller Collection in New York, Tel Aviv Museum of Art, Four Seasons Park in Singapore, King Faisal Foundation in Riyadh, Shang

    Exhibition : SOLO EXHIBITIONS 2016 "White" Melissa Morgan Fine Art. Palm Desert, CA. 2015 "Elements in Motion" Galerie d'Orsay. Boston, MA. 2012 "Marble Weeks 2012" Piazza Alberica. Carrara, Italy. 2011 "The Modern Tradition" West Branch Gallery. Stowe, VT. 2008 "Erdman & Lesstemaker" Galerie d'Orsay. Boston, MA. 2007 Gallery MODA. Santa Fe, NM. 2006 Modern Masters Fine Art. Palm Desert, CA. 2005 Modern Masters Fine Art. Palm Desert, CA. 2004 Cavalier Galleries. Greenwich, CT. 2003 Elizabeth Edwards Fine Art. Palm Desert, CA. 2002 Elizabeth Edwards Fine Art. Nantucket, MA. 2001 OTG Fine Art. Park City, UT. 2000 Old Town Gallery. Park City, UT. 1999 Old Town Gallery. Park City, UT. 1998 Notice Gallery. Singapore. 1997 The Landon Gallery. New York, NY. 1994 Notices Gallery. Singapore. 1993 Old Town Gallery. Park City, UT. 1992 Weintraub Gallery. New York, NY. 1990 Weintraub Gallery. New York, NY. 1989 Francis Colburn Gallery. Burlington, VT. 1988 Weintraub Gallery. New York, NY. 1987 Weintraub Gallery. New York, NY. 1986 Southern Vermont Art Center. Manchester, VT. 1985 Weintraub Gallery. New York, NY. 1984 Old Town Gallery. Park City, UT. 1982 Gallery Cortina. Aspen, CO. 1981 Limited Art Editions. New York, NY. 1980 Frank Wood Gallery. Houston, TX. 1979 Frank Wood Gallery. Houston, TX. 1977 Francis Colburn Gallery. Burlington, VT. Byck Gallery. Louisville, KY. Cavalier Galleries. New York, NY. Chaffee Art Center. Rutland, VT. "Erdman and Esbin, American Sculptors" Galerie am Lindenplatz. Lichenstein. First State Bank. Abilene, TX. Francis Colburn Gallery. Burlington, VT. Hartley Gallery. Carmel, CA. Hartley Hill Gallery. Carmel, CA. J.J. Brookings Gallery. San Fransisco, CA. Kristal Gallery. Warren, VT. "Richard Erdman, Stone and Bronze" Galerie ArtZwina. Vienna, Austria. Southern Vermont Art Center. Manchester, VT. "Three Decade of Sculpture" Madison Gallery. La Jolla, CA.

    Detailed Description : I am drawn to the mystery of opposing energies in concept, material, and form. I find that within physics the diametrical forces of life are exposed at their most fundamental, interesting, and engaging levels. In the apparent chaos of a beehive, there is order, purpose, and meaning. Polarity is like the food of nature and our own human genome; opposites attract, and within the tumultuous storm of attraction, we find passion, expression, and beauty. I carve stone as I see life: from the inside out. I am always exploring, experimenting, pushing technical possibilities, and searching for more than meets the eye - it is my sense that life is 99% invisible; in the sublime beauty of stone, there are worlds of possibility and wonder. In the process of carving away 80 - 90% of marble from the original blocks, there exists what I call a 'released compression' a result of having been deep within the Earth for 300 million years. I intend for my sculptures to contain 'complimentary contrasts' in their asymmetry while maintaining an imperceptible balance of form and linear direction. Within these disparities - a beehive of activity - there exists a calm presence of mind. Because each of the sculptures are carved from a single, massive block of stone, a unity of opposites is intuited and felt by the viewer, first on a visceral level rather than an intellectual one; that is, we know instinctively that the connectivity within these diverse sculptures is as solid as the stone itself. Richard Erdman

  • Stephanie Revennaugh  (+)

    Biography : Stephanie Revennaugh is an award winning sculptor and painter.  She is an elected member of the National Sculpture Society who, in 2017, honored her work with the Marilyn Newmark Memorial Grant.  Revennaugh’s works have appeared in numerous art and equestrian publications, and can be found in museums and collections both nationally and abroad.  She migrates between Montana, Arizona and California.   When not in the studio Stephanie is either training with her Thoroughbred Eventer or hiking the mountains with her beloved whippets. 

    Detailed Description : Creating is a winding journey of self discovery.  It is a teacher that asks a question and the answer that pushes me farther still.  The practice of oil painting led me to explore sculpture in the manner of an impressionist painter.  The sensuous plasticity of oil clay illuminated a fascination with texture.  Patination of bronze sparked an interest in nuance of color.  From painting to sculpture and back again to painting I find joy in the discoveries of one medium that weave their way into the next.   Working in 2D with beeswax, damar resin and pigments is a natural extension of modeling clay.  The encaustic and cold wax medium can be moved and molded in a similar fashion. Its translucent character allows light to bounce through layer upon layer, applied intuitively with brayer, squeegee, and palette knife.  Powdered pigments folded into the wax bring subtlety  and contrast that create energy.   When facing a blank panel, my initial notions are vague and loose.  As the work unfolds I am guided and react to what occurs organically. Weeks or months may pass in the making of a painting.  Pushing then resting to listen to the work and to my intention.  In the resolution of a piece, I strive to evoke a feeling or emotion, occasionally of energy and excitement, but more often a meditation of peace and serenity.  

  • John Rose  (+)

    Detailed Description : John Rose creates grace and elegance within the contours of his abstract sculptures. He uses poplar wood to construct the forms that bear relation to his interest in visual scientific data. Poplar has great malleability and can be bent, molded and twisted into calligraphic like forms. John Rose moved from England to China in 1976 where he taught painting and drawing at the University of Hong Kong while absorbing the shapes, colors and flavors of Asia that inspire his work today. Residing in Los Angeles since 1983, he has exhibited in the US continuously and has achieved international recognition with many corporate commissions around the world including the installation of 16 large scale hanging sculptures in the entrance of The Westin Diplomat in Hollywood, FL.

  • Joël Urruty  (+)

    Detailed Description : As an artist I strive to create elegant sculptures that capture the true essence of the subject matter. Form, line and surface are used as the visual language. The figure is abstracted to a minimalist form, void of any superfluous information. The primary material, wood, is often masked by paint to allow the form to take precedence over the material. Monochromatic colors, such as, black or white are often used on the sculptures allowing light and shadow to play off the subtle shifting facets of the sculptures. This is what I do. Why I do it, I don’t really know. I do know that there is something deep inside that drives me to make these things. Things I don’t completely understand myself. But when a piece is finished and it feels right, I know I have done what it was I was suppose to do and move on to the next. Joël Urruty