- The Fabric of Nature Mixed media landscapes by Andrea Packard
- Home Away From Home
Works by Kay Healy and Ted Lott
- I Think I Can by Terrapin Theater of Australia
- Ready Made Dream - Sue Johnson / Her Slip Is Showing & Other Stories - Jennifer Levonian
- Portraits Of A Community: Hidden In Plain Sight - Sedrick Huckaby
- Translating Earth, Transforming Sea—Shawn Bitters, Joan Hall & Laura Moriarty
- Out of the Woodwork—Patrick Dougherty (Artopshere 2012)
- Divide Light: Operatic Performance Costumes of Lesley Dill
- Linking the Past To The Present: Recent Works by Anita Fields & Tony Tiger
- True Faith, True Light
- Arkansas Women to Watch
- The Herd and The Swarm by Tasha Lewis
- Tectonics: Work by Scott Carroll
- 20 Years, A Kathy Thompson Project
- My Folklore: The Art of Letitia Huckaby
- Structuring Nature
- Natural Connections
- Made in the USA—Jeannie Hulen
- Then and Now—Leon Niehues
- Garden as Muse (Artosphere 2011)
- Silent Poems—Anita Huffington
- Beyond Sublime/Changing Nature (Artosphere 2010)
- Karst - Massey Burke (Artosphere 2012)
- Spiral Wetland—Stacy Levy (Artosphere 2013)
- Our Fragile Home—Pat Musick
- Under The Stars—Maser
- At Walton Arts Center
495 W. Dickson St.
Fayetteville, AR 72701
Monday - Friday / 10am to 6pm
Saturday 12pm to 4pm
- One hour prior to showtime
- At Walmart Amp
5079 West Northgate Rd.
Rogers, AR 72758
Monday - Friday / 10am to 5pm
Saturday & Sunday / Open at noon on concert days only
- Phone: (479) 443.5600
- Fax: (479) 443.9024
Native, 2002, Danseuse Chinoise, 1997 by Anita Huffington
This long-term installation of artworks in Joy Pratt Markham Gallery brings together works by three artists —Eileen Neff, Andrea Packard, and Anita Huffington—for whom the study of nature is inseparable from the exploration of human experience. Like the music, theater, dance, and other performing art forms that we feature at Walton Arts Center, these art works inform our worldview and challenge our habits of seeing. Although varied in media, these photographs, collages, and sculptures share common expressive concerns. Rather than simply record or illustrate a particular place or form, each artist captures the interdependence of nature and human creativity. Through fusing multiple and sometimes contradictory viewpoints, these artists portray both nature and our imaginative response to it as endlessly dynamic and vital.
Huffington, Neff, and Packard portray a natural world full of mesmerizing contradictions. In Neff’s large-scale photograph, A Planet’s Encouragement, the deeply shadowed lower half of the picture sharply contrasts the upper half of the composition, which is alight with the radiance of late afternoon. The surreal contrast gives one the sensation of seeing the same place simultaneously through different lenses or at different times of day. What at first seems to be a pastoral image ultimately puzzles and proves to be as much a window on the imagination as on the natural world.
Huffington’s sculptures also spring from a fascination with the duality of nature and the human experience. In works such as Fertile, a figure appears to both emerge from and dissolve into the roughly textured bronze. Here, feminine voluptuousness and metamorphic capacity are inseparable from dissolution or decay. Huffington cast this figure from a found stone that suggested the fragment of a female nude. Like Neff and Packard, Huffington revels in discovering a fragment in nature that suggests both the particular and universal. As the artist writes “I always use what a stone gives me. In this case, a swelling belly, a deep navel, and beautiful encrustations on the back.”
Packard’s mixed media works also embrace paradoxes of nature, experience, and perception. Her relief-like collages incorporating varied papers, prints, and fabrics appear illusionistic at a distance, yet up close they give way to an abstract interplay of varied color, line and texture. Viewing works such as Refuge from a distance, the area of speckled white to the left of the shadowy house may suggest a luminous patch of sunlight. Viewed up close, such areas appear more opaque—physically thicker and more psychologically present than the house or trees in the foreground. Up close, one shifts from viewing the composition formally to exploring the associative resonance of the varied collage elements, from fragments of hand-woven wool, to swatches of designer upholstery, to denim. Such shifting identities and impressions within each composition reveal these landscapes to be journeys of perception—a fusion of interior and exterior worlds.
Whether viewing Huffington’s dynamic figures, Neff’s paradoxical landscapes, or Packard’s shifting perceptual realities, passing from the familiar to the unknown in nature unfolds over time and rewards close observation. All three artists portray worlds in which in we can better connect with ourselves by communing with nature.