Veteran Art Exhibit

The Third Annual Veteran’s Art Exhibit at Artspace Patchogue will take place Nov 5th to 24th, 2017, with an open Reception Nov 18th, 2017 from 3-6pm.

Art is an important part of many veterans recovery and treatment for PTSD and Trauma caused during their military carriers. Curator Dave Rogers who is a Gulf War and WTC Recovery Veteran and Artist himself started putting these exhibits together to give the veteran artists a voice in the community. “I feel it is important that veterans not only have an avenue to express their feelings of what they have gone through, but also a venue to share with the community.” Rogers started putting together the exhibits in Patchogue which is known not only for its support to the arts but also to veterans in the community.

This years exhibit will feature works from residents at the Long Island State Veterans Home in Stony Brook, the VA Northport Veterans Hospital Military Sexual Trauma Program as well as Veteran Artists:
Donnie Nicholson, Harold Gubnitsky, Neil Leinwohl, Janene Gentile (Veteran Parent), Marie Mia Salazar, Joseph Acierno, Sean Fitzthum, James Miller, Edward Gregg, Bill Richards, Ron Rorie, Jenny Pacanowski, Dave Rogers, Manuel Adolfo, Mike Babulak, Richard Gardiner. The exhibit comprised of veterans from The Vietnam War to OEF/OIF Veterans will include Paintings, Drawings, Photography, Sculpture, and Poetry. Including a slide show of photographs from Vietnam by Combat Photographer Ron Rorie. The reception will also include words from Veteran Leaders in the Community and Local Dignitaries.

This years event is sponsored by the Suffolk County Council of the VFW, VFW Jayne-Lattin Post 2913 in Patchogue, VFW Post 2913 Auxiliary, American Legion Post 269.

There will be light refreshments served during the opening reception.

For more information on the exhibit contact Dave Rogers at 631-838-8944.

Gallery Hours during the exhibit.
Friday 3-7
Sat 1-5
Sun 1-5

Published by daves-studio

I truely believe that "Even ordinary life can be immortilized through art". I have always been awed by the mystery of how people are connected and for most of my life as an artist I have looked for new ways to express what was inside of me, what I was feeling and how I wanted people to view and understand what I wanted to say. This caused me to restrict my art to forms that others could understand. I was speaking to the masses, but I was not using my own voice. Over time I realized that it was not so important weather people truly understood what I was saying but rather that I was speaking so I started to look for the way to think out loud and be heard and have found that voice in papercutting. My work is a mixture of Eastern and Western Art that I started after a visit to China in 2004. while there I discovered the ancient and demanding art of Chinese paper cutting and line drawing. On my return from China I began to make connections between the craft of paper cutting and my years as a soldier. The results of this unusual connection have been beautiful two and three dimentional metaphors of the importance of time and the fragility of life and democracy. Paper cutting itself can be found in many cultures and just like in China those cultures for the most part have thought of it as a decorative or folk art, few artists have explored the idea of using this form of art in a more substantive way. It is part of what has attracted me to papercutting in the first place. While the beauty of paper cutting was appealing, more appealing was the idea of using this fragile material to represent serious and even realistic ideas. The process that I use for my paper structures is the same as found in traditional Chinese paper cutting. What is different is the paper, the way it is displayed and the topics talked about in the art. It is these differences in the works that make them stand out from other forms of paper cutting and structures. Instead of using traditional types of paper for papercutting I have made the cuttings out of aluminum or mirror paper. The paper was chosen for its reflective properties, not just for making the art brighter but for the ability of the viewer to see reflections of themselves in the art, showing a connection between the viewers and the subjects in the work. While most paper cutting are laid flat on the board these works are placed between two pieces of glass in the front of the frame allowing the light to cast shadows on the background, making these papercutting sculptures of art. The other aspect of this work that is different from traditional paper cutting is that each piece is individually designed and not mass produced. This is an important aspect of my work as it is about keeping the appeal of POP art while reducing the images to singular forms. My hope for the future is to continue to explore ways to bridge the techniques and styles of paper cutting and western ideals of art. Not just as a way for me to produce my art but as a way to communicate western ideas in Asia and Asian ideas in the West. For art is the only true international language that all people no matter where they come from can appreciate, and it is through art that we can learn about other cultures beyond mere words.

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