This page is a temporary page to give collectors a preview of the upcoming exhibit.
Tricia Zimic
Anthropocene
- /ˈanTHrəpəˌsēn/ adjective - relating to or denoting the current geological age, viewed as the period during which human activity has been the dominant influence on climate and the environment.
Preview (collector's advance viewing)
This preview gives you the opportunity to view and purchase the pieces in the exhibit before it opens to the public.
Purchases are on a first contact basis, so consider a back up option if your first option is no longer available.
Purchases are on a first contact basis, so consider a back up option if your first option is no longer available.
Opening Reception May 21st, 2022 4pm-6pm
Exhibit runs from -
May 21st, 2022 - June 25th, 2022
This preview highlights all of the pieces that will be on display in the exhibit as well as reserve pieces that will replace sold pieces as those paintings go home with collectors. As a member of our Collector's Preview list, you have the unique opportunity to see all of these pieces and have a first opportunity to purchase.
Additional images, or a video, to see the work from alternate angles are available upon request.
To see the work in person, contact the gallery to schedule a visit, or stop by during gallery hours.
Wednesdays 10am-2pm
Fridays 2pm-6pm
To see the work in person, contact the gallery to schedule a visit, or stop by during gallery hours.
Wednesdays 10am-2pm
Fridays 2pm-6pm
Call or email to make a purchase or schedule a visit to the gallery.
A reminder, purchases are on a first contact basis, so consider a back up option if your first option is no longer available.
Thumbnails below might be cropped to fit a square shaped preview. Click image for a full view.
A reminder, purchases are on a first contact basis, so consider a back up option if your first option is no longer available.
Thumbnails below might be cropped to fit a square shaped preview. Click image for a full view.
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Acceleration
7”x10.75” (frame 16”x20”), 2021, Signed black ink etchings $250 |
Amur Leopard
18.75”x13.25” (frame 22”x16.5”), 2022, Oil on masonite, 24k gold leaf $2,200 |
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Decent
7.5”x9.75” (frame 31.5”x18.75”), 2013, Signed hand colored ink etchings $450 |
Night Dance
10”x7.75” (frame 16”x20”), 2021, Signed black ink etchings $150 |
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Coyote
7.75”x9.75” (frame 16”x20”), 2021, Signed black ink etchings $350 |
Acceleration
7”x10.75”, 2021, Signed black ink etchings $250 |
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Night Magic
14.25”x9.25” (frame 28”x15”), 2020, Oil on masonite, 24k gold leaf $1,250 |
Nocturnal Encounter
8.5”x12” (frame 17.75”x21.5”), 2014, Signed black ink etchings $200 |
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Patience
7.5”x9.75” (frame 14.5”x17.5”), 2021, Signed black ink etchings $250 |
Praying Mantis
10”x7.75” (frame 16”x20”), 2017, Signed black ink etchings $200 |
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Restoration
16.75”x13.75” (frame 20.25”x17.5”), 2022, Oil on masonite, 24k gold leaf $2,200 |
Self Heal
11.75”x7.75” (frame 15”x10.75”), 2022, Oil on masonite, 24k gold leaf $1,500 |
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Vailed Indifference
17.75”x12.25”?(frame 20.25”x17.5”), 2019, Oil on masonite $1,200 |
Hanging Pangolin
20.5”x10”, 2021, Porcelain, 24karat gold leaf, nylon wire $3,000 |
African Wild Dog Puppy
13.25”x13.25”, 2022, Porcelain, 24karat gold leaf, oil paint, 3/4 view left side
$3,300
13.25”x13.25”, 2022, Porcelain, 24karat gold leaf, oil paint, 3/4 view left side
$3,300
Pangolin Restored
9.5 x 9 x 18", 2021, Porcelain, 24karat gold leaf, Side
$3,000
9.5 x 9 x 18", 2021, Porcelain, 24karat gold leaf, Side
$3,000
Artist - Tricia Zimic
Statement
My art is a narrative statement of human impact on wild animals and their adaption to urban areas and weather pattern changes. Through global warming, urban sprawl and excess human consumption, indigenous animals have persevered and even evolved to fit in to our world. I have worked many years as a re-forester and have seen the devastation that can happen when things go awry with nature. I have seen animals trying to survive in the most unlikely places; birds nesting in high tension towers, salamanders making homes in beer cans, bears, coyote and bobcat roaming urban territory.
After researching the endangered status of each animal and becoming familiar with their stresses, I sketch my thoughts on paper and decide whether I will sculpt, etch or paint my subject.
I paint or etch what I cannot create in clay. Coming from an illustration background, I use this opportunity to tell a story or set a mood more deeply. Showing fight scenes among native and non-native birds, the rush of a pack of wolves running through city streets or a bobcat roaming through an abandoned building -- all have an impact that go beyond the boundaries of sculpture.
My etchings have a way of freeing my hand that sculpture and painting can’t really achieve. There are always happy “accidents” and the pleasure I feel when I pull the damp paper off the plate that I will never tire of.
My current direction is to continue to push forward into the world of ceramics, etching and painting, creating work that focuses on climate change. I will continue to show how the animals are adapting to new weather patterns; mudslides, superstorms and wildfires and how we might help them survive.
Recently, I have been exploring the Kintsugi method of repair. This centuries old Japanese art is used to restore what was once broken and make even more beautiful using gold leaf. This is a very tricky process that takes skill and patience. I mend and then use the gold leaf to ‘heal’ an animal back into existence. I have used this gold metaphor with both my porcelain sculptures and painting.
After researching the endangered status of each animal and becoming familiar with their stresses, I sketch my thoughts on paper and decide whether I will sculpt, etch or paint my subject.
I paint or etch what I cannot create in clay. Coming from an illustration background, I use this opportunity to tell a story or set a mood more deeply. Showing fight scenes among native and non-native birds, the rush of a pack of wolves running through city streets or a bobcat roaming through an abandoned building -- all have an impact that go beyond the boundaries of sculpture.
My etchings have a way of freeing my hand that sculpture and painting can’t really achieve. There are always happy “accidents” and the pleasure I feel when I pull the damp paper off the plate that I will never tire of.
My current direction is to continue to push forward into the world of ceramics, etching and painting, creating work that focuses on climate change. I will continue to show how the animals are adapting to new weather patterns; mudslides, superstorms and wildfires and how we might help them survive.
Recently, I have been exploring the Kintsugi method of repair. This centuries old Japanese art is used to restore what was once broken and make even more beautiful using gold leaf. This is a very tricky process that takes skill and patience. I mend and then use the gold leaf to ‘heal’ an animal back into existence. I have used this gold metaphor with both my porcelain sculptures and painting.
Biography
Website - https://www.triciazimic.com/Artist.asp?ArtistID=36403&Akey=XPRY2J6X Facebook - https://www.facebook.com/tricia.zimic Instagram - https://www.instagram.com/triciazimic/ |
Tricia Zimic was raised on Long Island, New York in the 1960’s. As a youth, she spent many hours drawing with her mother at the kitchen table. She would draw popular cartoons from the 40’s & 50’s and would draw made-up plants and animals. Her dad finally built an art studio for her in the basement which allowed her to explore the world of art undisturbed, without being obligated to clean up the creative mess! She used anything she could get her hands on – house paints, India ink, self- hardening clay or found objects to create her own oeuvre. She had a passion for storytelling through art and would spend days thumbing through artbooks and going to museums. Tricia's earliest influences were Maurice Sendak, Amedeo Modigliani and Pablo Picasso. She went to art camps and took printmaking classes at C.W. Post College. She knew that the only choice for her was to be an artist like her mother and grandmother before her. She decided to go to Parsons School of Design for illustration to expand her skills and while there, had the opportunity to study with Maurice Sendak.
After graduating, she made a living as a children’s book illustrator. Tricia worked with several major book publishers for many years, including Scholastic, Simon & Schuster, and Viking-Penguin. Some of the books she illustrated became quite popular, such as the Nancy Drew Files, and she also enjoyed painting many cult-classic movie posters for Troma Inc., including the infamous Surf Nazis Must Die, as well as one of the classic posters for Toxic Avenger. She gave up illustrating to tell her own stories, and her love for the outdoors became a strong theme. She volunteered as a native plant reforester in a 2000-acre reservation in Essex County, New Jersey and founded The Wildflower Sculpture Park and Preserve there. It is now a thriving sculpture park with many well-known and emerging artists. Her passion for animals finally had a medium that could tell story story – ceramics. To show how animals persevered, despite living right on top of us in an urban environment. This series culminated in many exhibitions, including a solo show of paintings and sculptures at both the New Jersey Historical Society and New Jersey State Museum. Tricia transitioned from creating with ceramic to porcelain. While porcelain is beautiful, strong and transparent, it is also persnickety and sometimes an unforgiving medium. After traveling to Germany and discovering the famous Meissen porcelain collection, she decided to sculpt the classic Sins and Virtues in her own contemporary narrative, using the baboons inspired by early 18th-century artists. According to Thomas Michie, senior curator of decorative arts at Boston Museum of Fine arts “this has never been done before”. She uses Chacma baboons because of their important Meissen heritage, their human-like expressive faces, and, of course, their opposable thumbs that are good for holding stemware! Sculpture similar to these were originally created in the 18th century for the dining table to stimulate provocative discussion. Tricia has been invited to show three of her Sins & Virtues sculptures this summer (2022) at the Mecca for porcelain at the Meissen Gallery in Germany. Her recent sculptures and paintings are inspired by the century’s old art of Kintsugi. This concept embraces damage and emphasizes imperfections with gold leaf to mend a crack, usually in pottery. She is using this method as a metaphor to ‘heal’ animals that are endangered or ‘of concern’ by mending them with gold. |