News : 2015
As of January 2015, I am now represented by Keny Galleries in Columbus, Ohio. http://kenygalleries.com
About the gallery:
In the field of Historic American paintings and works on paper, two of their specific areas of expertise are:
1) master watercolors by artists such as Charles E. Burchfield, Winslow Homer, Edward Hopper, George Luks, Georgia O'Keeffe, John Singer Sargent, Alice Schille, and Andrew Wyeth
2) outstanding paintings and works on paper by nationally-prominent artists from Ohio, such as George Bellows, Edward Potthast, William Sommer, and John H. Twachtman.
Within the field of 19th and 20th-century American Folk Art, they are well known for their expertise pertaining to the nationally recognized work of prominent artists, such as Elijah Pierce and William Hawkins.
Their Contemporary Artists are a fine group of national caliber artists from the region.
Keny Galleries is located in German Village, a 19th-century historic district located near downtown Columbus, Ohio. The district is comprised of renovated brick houses, cobbled streets, and courtyard gardens that remain true to the flavor of the original settlement.
Keny Galleries is a service-oriented fine art gallery. They carefully advise their clients about the best quality and value that can be attained, given the client's interests, from private sources and at auction throughout the United States and abroad. Their clients' needs are of the utmost importance.
They are also active in the community, providing curatorial services pertaining to exhibitions in a variety of venues throughout the United States. They pride themselves on excellent, long-standing relationships with private and museum clients, as well as with colleagues in other galleries.
Please contact Keny Galleries directly if you are interested in seeing my work in person, price inquiries and of course purchases.
Timothy Keny is a contributing writer for CityScene Magazine and co-owner of Keny Galleries in German Village. kenygalleries.com
Marcs fusion of technical excellence in his rendering of forms in nature, such as trees and grasses, is exemplary. Also, his nuanced command of tone to evoke atmosphere and space lends a meditative mood to his drawings, such as Out and Away, which move beyond draftsmanship to capture the poetry and mystery of nature, much like the fine British 19th century Romantic landscape artist Samuel Palmer (1805-1881). The artist occasionally includes figures in his drawings, which have attenuated, abstracted qualities, lending a modern surreal sensibility to his works that have affinities with Alberto Giacometti and Henry Moores drawings and sculpture of the mid-20th century.
His broad mark-making repertoire with graphite media is extraordinary. His utilization of graphite ranges from 19th century Ruskinian delight in natures delicate details to the enigmatic aura and spatial nuances akin to the painterly soot drawings of James Castle, the acclaimed mid-20th century Outsider artist. Marcs work Columbiana County Barn has this quality.
By Melissa Starker
For The Columbus Dispatch
Sunday, March 20, 2011
Exhibit Review > Sharon Weiss Gallery: Drawings in pencil, ink walk a fine line
After three years of presenting his ink-and-pencil drawings in the Sharon Weiss Gallery, central Ohio artist Marc Lincewicz has graduated to his first solo show - filling the space with an intimately rendered collection of landscapes, abstracts and depictions of religious texts, done largely in ink.
Lincewicz, according to his statement, focuses on "small moments, personal memories, forgotten or not-often-thought-of places."
His figures and places have minimal identifiable features, giving the works broader appeal.
A Place That Feels Familiar is a prime example. Lincewicz gives an isolated farmhouse (one that could be found almost anywhere along a rural Ohio road) a dreamy, vaguely familiar atmosphere.
Although the detail is light, his work is strongly evocative - offering a crafty, frequently dense use of line. Even with countless pen strokes in close proximity, delicacy is always present. His images - ink drawings on paper - have loose, fuzzy edges that suggest dreams and memories. His figures are innately graceful and surrealistically elongated.
In Pact With the Wolf of Gubbio, one of two pieces inspired by classic Christian stories of St. Francis, the landscape is thick with crosshatching. Clean, diagonal pen strokes create shadows on most of the figures. The only spots of pure white appear on the figure of the saint.
Beneficence isn't a St. Francis image, but a connection to him is easy to make in the golden-tinted scene of a person and a bird. A subtle sense of communication lies between the two in the ordered rows of short, vertical lines that form the base of the image, recalling the word balloons of Woodstock in Peanuts cartoons. The piece isn't overtly humorous or sentimental, but it sets a positive mood.
When the Night Is Quiet, one of the larger works in a show of mostly small studies, has a fairy-tale quality that brings to mind the art of Maurice Sendak. Spindly trees create a canopy of darkness over a curving path.
In several abstract drawings, Lincewicz offers a surprising break from the organic fluidity of his landscapes and nature studies.
The "Fragile" series, a quartet of images with overlapping yet airy circles and boxy architectural forms, is a particular pleasure. Each piece boasts a fine balance in compositional density and pressure applied by his pen. With too much or too little of either, the works wouldn't be nearly as splendid.
By Jackie Mantey
Thursday, March 3, 2011
All Marc Lincewicz needs to create art is a pen and some paper.
"I've always favored the look," he said. "In college a lot of my professors were like, 'You need to branch out into other mediums.'"
Instead, he branched into advertising, working as a creative art director at Nationwide.
Lincewicz expressed himself creatively through his job and by playing in local alt-country bands, but about five years ago he was drawn back to that pen and paper.
"I realized art is where my love is and always has been," Lincewicz said.
About 20 of Lincewicz's pieces are the highlight of Sharon Weiss Gallery's March exhibit, "Take the Long Way Home."
The small works ask viewers to meditate on "things in our world that we just overlook and take for granted."
For example, Lincewicz likes using the image of a sparrow. "People don't care about the sparrow," he said. "They care about bright things and the perfect song. What about the stuff that's there and is a part of our world?"
The drawings play on memory. Their lack of detail make them relatable; their varying lines make them emotional.
Lincewicz plays with shape and direction of line to create mood. For an expressive work, he might have furious strokes of the pen at different lengths. In an emotionally buttoned-up moment, the line will be more meticulous, with strokes going in the same direction.
The product straddles realism and abstraction. "I like that range," Lincewicz said. "I don't want to limit myself to one particular image, and I hope that people can find their own interests in the stories that are there."
BY KAIZAAD KOTWAL
For The Columbus Dispatch
Did anyone notice the sparrow?
The pen-and-ink drawings of Marc Lincewicz are small and simple, evocative and enigmatic. The Cleveland native and 1992 graduate of the Columbus College of Art & Design is a creative art director for Nationwide Insurance.
His exhibit at the Sharon Weiss Gallery is a selection of small, intimate pieces all created with careful line work and meticulous crosshatching (a system of shading a drawing with sets of parallel lines that cross one another).
Depending on what the narrative requires, sometimes the "crosshatch is loose and sloppy, and at others it is much more meticulous," Lincewicz said. Sometimes his techniques resemble the layered line work found in etchings and printmaking -- if accidentally, the artist said.
He describes his pieces as "visual metaphors for personal experiences."
The notion of home figures frequently in his works -- Patience and Understanding, for example -- as do birds and human figures. Lincewicz reduces objects to their minimalist core, focusing on the essence of things rather than on representation.
The humans are particularly evocative -- abstract, elongated and kinetic in their line and rhythms, as withTango or The Dance on Red.
"Aesthetically, I like to exaggerate the form," Lincewicz said, "where style is the issue, not something literal."
He added that his "figures are heavily influenced by Alberto Giacometti, whose sculptures have a quietness about them."
Lincewicz's works, too, have that quiet quality, yet they are packed with moods and metaphors.
"Art sizzles at Sharon Weiss Gallery"
By Liz James
for Short North Gazette
Marc Lincewicz creates mysterious, somewhat peculiar, drawings in pen and ink. They're attractive, original and appealing, and fall somewhere between design and abstractionism. In a sense, they are line drawings, slightly fleshed out. Yet, Lincewicz's hallmark, his narraw sculptural stick figure people have not only been rendered in lines, but they consist of lines and marks and so do their backgrounds. The artist uses blacks, reds, browns and whites for his smallish works which are well-framed, decorative in the best sense of that word. Backgrounds have been created with a myriad of fine strokes. Lincewicz is not only talented, he is dedicated.
A piece with two sidelong figures conversing has been entitled "Kindness Can Be Tenuous". The two humans depicted are barely touching hands. (But they want to!) Their universe is a complex flurry of pen marks.
In another Lincewicz, "Roaming", a multitude of tiny line guys (10 or 15 of them) pose against a solid red background, like groupies. Again, their minute gestures suggest alienation yet the possibility of connection.
Lincewicz moved here from Cleveland 18 years ago to study at Columbus College of Art and Design (CCAD), where he says he had the good fortune to study with Lowell Tolstedt and Walter King, both of whom taught him to develop "a personal, independent voice."