ArtUp: Works on Paper

Unframed and Unfiltered: Art Up’s Work on Paper Exhibition Reveals
the Creative Process

by Robert Brune

        The first day of spring in Margaretville carried more than the promise of warmer weather
this year. It marked the opening of a refreshing and thoughtfully curated exhibition at Art Up
gallery titled Work on Paper, a show that invites visitors to look more closely at the foundation
of artistic creation. By presenting unframed works hung directly on the walls, the gallery’s four
owner-operators collective has created an environment that feels both intimate and revealing,
allowing viewers to encounter art in its most immediate and authentic form.
This new approach to displaying unframed artwork highlights the process of making art
rather than the formality of presentation. Without glass or elaborate frames, each piece feels
accessible and alive, as if still in conversation with the artist who created it. The decision to keep
the works unframed also lends the exhibition a sense of openness that perfectly complements the
renewal associated with early spring.
          As co-owner Jerry Gallo explained during a recent interview, the intention behind the
exhibition was to emphasize the independent value of work created on paper. “Artists often work
on paper for studies in preparation for work done in other mediums,” Gallo said. “But just as
often, artists work on paper with intention to play off paper’s unique qualities. The paper’s
weight, texture, and color are more than sufficient on their own. Work on paper can stand on its
own.”
            That philosophy resonates throughout the gallery space. From charcoal drawings and
watercolor landscapes to inventive mixed media and prints, the exhibition demonstrates how
paper can serve as both foundation and final destination.
          One of the most captivating collaborations in the show comes from abstract painter Kevin
Larmon and graphic artist Rodrigo Pedrolli. Their shared work, titled Girassois, combines
Pedrolli’s intricate graphic imagery with Larmon’s expressive painterly gestures. The result is a
delightful composition of impressionist flowers bursting with color and movement. Shades of
purple, green, red, and soft orange seem to vibrate across the surface, echoing the natural energy
of the season. Pedrolli has described his artistic motivation as a desire to reveal details that often
go unnoticed in nature. He has said that he takes close-up photographs of flowers because he
wants people to see the small details most have never thought to look at. That attention to texture
and color is clearly evident in the collaborative piece, which feels both joyful and contemplative.
It is an ideal visual welcome to spring and an example of how two creative voices can merge into
a single expressive statement.
Equally compelling are the watercolor landscapes by Maria Mottola, whose work
demonstrates a remarkable sensitivity to color and atmosphere. In her painting Ashokan, the sun
retreats behind a mountain ridge, leaving a corner of the composition bathed in cool blue shadow
while warm golden light stretches across the middle of the scene. A line of bright green trees
punctuates the horizon, creating a sense of depth and quiet movement. Standing before the piece,
one feels the familiar sensation of pausing at the Reservoir Road bridge and watching the day
slowly fade into evening.
             Another standout work by Mottola, Windham Trail, continues her exploration of
landscape through carefully balanced tones. Her signature blues dominate the composition, while
touches of lavender soften the edges of the scene. The painting feels both serene and dynamic,
capturing the subtle interplay between light and shadow that defines the Catskills environment.
The exhibition also includes works that challenge viewers to consider the role of art in
responding to social and political realities. One print in particular, created by Stephen Lewis,
presents controversial imagery in a satirical context. The piece uses irony to provoke reflection
rather than endorsement, reminding visitors that art can serve as a powerful tool for dialogue.
Gallo acknowledged the importance of allowing artists the freedom to address difficult
subjects. “An artist is going to make their statement,” he said. “That is something no one can buy
or control. If it creates dialogue, then let’s have an open conversation about it.”
That spirit of openness extends to the gallery’s overall presentation. By removing the
barrier of frames and glass, the exhibition encourages viewers to engage directly with the work
itself. The pricing of the pieces reflects this accessibility as well, since the absence of framing
costs allows many works to be offered at more affordable levels. The result is a show that feels
welcoming to both seasoned collectors and first-time buyers.
Co-owner Patrice Lorenz emphasized that the informal presentation was intentional, “We
just wanted something to be more casual and accessible,” she said. “You do not get to see this
kind of work often. It is usually kept in a file somewhere until it is framed. We wanted it to stand
on its own in this space.”
         Lorenz is also represented in the exhibition with a series of crow images created through
a combination of drawing and printmaking techniques. She began with charcoal drawings and
later experimented with a printing method known as a jelly plate process. The resulting works
retain the immediacy of the original drawings while adding texture and durability. Some of the
prints eventually evolved into paintings, but many remain compelling pieces in their own right.
Another artist whose work captures attention is Steve Burnett, known locally for his dual
life as a farmer and artist. His drawings reveal a mastery of tonal values and movement, often
blending humor with moments of quiet reflection. During the winter months, when farming
slows, he dedicates time to drawing, and that seasonal rhythm is evident in the thoughtful pacing
of his compositions.
           One cannot help but notice the diversity of techniques and perspectives represented in the
exhibition. Some artists focus on traditional methods, while others experiment with
unconventional materials. Paper becomes not just a surface but a medium capable of endless
transformation. In this way, the exhibition reflects the broader creative energy that continues to
define the Catskills arts community.

           Walking through the gallery, there is a sense that the works are still breathing, still
evolving. The absence of frames allows edges to remain visible and textures to feel tangible. It is
a reminder that art does not begin or end with presentation. Instead, it exists within the ongoing
process of exploration and discovery.
Work on Paper succeeds not only as a collection of individual artworks but also as a
statement about the value of artistic experimentation. By focusing on the fundamental
relationship between artist and material, Art Up has created a show that feels both timely and
timeless. As spring unfolds across the region, this exhibition stands as a fitting symbol of
renewal, creativity, and the enduring power of simple materials