Each of us had a unique reaction to the months we spent in lockdown, and this is as true of artists as of everyone. Body, psyche and soul, our experiences have been as individual as we are — and painter Yvette Gellis is no exception. Where some artists grew quiet and personal in their ideas and practices, Gellis contemplated the entire web of nature. Where some became reserved or pared down in their materials, she lavished pigment in rich impasto almost to the point of decadence. Where some took up shadowy, nuanced palettes speaking to loss, melancholy or pensiveness, she expanded into an exuberant technicolor rainbow spectrum singing the song of nature’s material and spiritual grandeur.
For some, the pandemic was a time for reflection. With the directive to stay at home, many people confronted isolation and had to redefine their connections to the outside world. Those living in Los Angeles were lucky. With good weather and ample sunshine year-round, nature was always within reach. Watching the moon or sun rise and set, the palm fronds blowing in the wind brought a constant joie de vivre. Painter Yvette Gellis, motivated and inspired by the beauty in nature, channeled these feelings to create the mural Sacred Spaces, which was installed outside along the 450-foot long fence that surrounds the Annenberg Community Beach House in Santa Monica.
Pepperdine adjunct Art professor Yvette Gellis’ latest exhibition is Verdure, on display at the LA Louver art gallery in Venice, Calif. It consists of a collection of whimsical and eccentric paintings, representing the emergence from isolation and a deeper awareness of herself as an artist.
Adjunct Art Professor Yvette Gellis always knew she was going to be an artist.
Today, her notable art exhibitions and residencies can be found all over the world in Taiwan, France and Austria, as well as locally at the 18th Street Arts Center in Santa Monica. She has been teaching at Pepperdine since Summer 2014 with classes in printmaking, art fundamentals, painting and observational drawing as well as a first-year seminar.
As part of the Beach+Culture Out of the Blue program, Yvette Gellis has painted a 450-foot long mural in front of the Annenberg Community Beach House. Out of the Blue is designed to offer the general public chance encounters with art and art-making at the Beach House.
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The Annenberg Community Beach House commissioned abstract artist Yvette Gellis to install a captivating 450 foot mural along their ocean-facing fence. It’s part of their “Beach=Culture” Out of the Blue series which provides cultural programming throughout the year to beachgoers in Santa Monica. As part of Arts Month 2021, the program intends to bring a sense of rejuvenation and hope to residents and visitors.
by Lorraine Heitzman
The Vista: Twenty Views into the City
Organized by Max Presneill and Wade Schuster
Durden and Ray, Los Angeles
through March 1
by David S. Rubin
One of the most thoughtful exhibitions of 2018 was “The Feminine Sublime,” a small group show featuring mostly paintings by five women artists. Organized by Constance Mallinson for the recently closed Pasadena Museum of California Art, the exhibition included works by Merion Estes, Yvette Gellis, Virginia Katz, Marie Thiebault and Mallinson.
by Sharon Mizota
Los Angeles Times “The Feminine Sublime”.
By Molly Enholm
The Romantic notion of the sublime continues to haunt our consciousness, often accompanied by a healthy dose of critique. The concept, most famously articulated in the influential writings of Edmund Burke and Immanuel Kant, posits, in a simplified version, that a form might either delight the eye (the beautiful) or overwhelm the viewer through scale, power and grandeur (the sublime). In The Feminine Sublime, currently on view at the Pasadena Museum of California Art, five Los Angeles-based painters further explore this legacy in response to contemporary conditions. That these artists happen to be female, dealing with notions typically ascribed to their male counterparts, offers another layer to excavate.
By Genie Davis
Perfectly paired, artists Ty Pownall and Yvette Gellis offer large- scale, abstract mixed media works that seem to have slipped from the walls and onto the loor on their own. Gellis has created stunning wall work in oil, acrylic, graphite, and original photo-transfers. These large pieces are paired with the polyurethane foam, oil, and acrylic sculpture, of “3-Dimensional Liminal Space,” a work of sliced foam that seems to have been taken from the heart of a volcano. “Liminal” refers to a position on both sides of, or approaching, a boundary or threshold, and Gellis evokes the feeling of entering a portal with her art.
By Genie Davis
Liminal: occupying a position at, or on both sides of, a boundary or threshold. “Liminal Spaces” at Jason Vass gallery, which opened Saturday night, occupies a position of cool, whether the boundary is mixed-media wall art, free-standing sculpture, or something in between.
Perfectly paired artists Ty Pownall and Yvette Gellis drew lively, engaged crowds to their two solo shows, featuring works that were large scale, abstract, and the ultimate in mind-blowing visuals.
By Jody Zellen
What is a liminal space? Liminal refers to something transitional, as if at a boundary or threshold. In their exhibition, aptly titled Liminal Spaces, Yvette Gellis and Ty Pownall have filled both the walls and floor of the gallery. Works by these seemingly unrelated artists are interspersed in the space to create a conversation about crossing over— be it because they push at the boundaries of abstraction or because of their use of hybrid materials. While Pownall’s works appear more minimal, Gellis’ are complexly packed.
By Lorraine Heitzman
Constance Mallinson has assembled a first rate group of women painters to address the concept of the sublime in art from a feminist standpoint. Each of the five artists in “The Feminine Sublime” at The Pasadena Museum of California Art explores their relationship to the landscape in a shift from the traditional male perspective towards a new paradigm. The concept may be oblique to the casual viewer but the paintings are inspired by any measure.
Pasadena Museum of California Art exhibit offers more boldly immersive feminine perspectives on nature and the environment
By Bliss Bowen
“Has there ever been a better time to discuss women and the environment?”
So asks artist Constance Mallinson in conversation about “The Feminine Sublime,” an exhibit she curated that opens at the Pasadena Museum of California Art this weekend. Addressing themes of feminine perspective, environmental degradation and the artistic concept of the sublime, “The Feminine Sublime” upends preconceived notions of what constitutes landscape painting with bold, large-scale pieces by Mallinson and four other women artists based in Los Angeles: Merion Estes, Yvette Gellis, Virginia Katz and Marie Thibeault.
By Gary Brewer
“First of all, on the surface on which I am going to paint, I draw a rectangle of whatever size I want, which I regard as a window through which the subject to be painted is seen.” ~Leon Battista Alberti, De pictura, 1435
Yvette Gellis in the largest and most important newspaper in uper Austria.
Eröffnung: Freitag 29. Jänner 2016, 19.00 Uhr mit
Elisabeth Brunnhofer u. Paul Jaeg
Dauer der Ausstellung bis Samstag 5. März 2016
By DAVID M. ROTH
From Da Vinci to Picasso to Hockney, shifts in perspective have long reflected changes in how technology enables us to see. Non-Objective painting (and later Abstract Expressionism), with their focus on matters of the spirit, seem to have flown right past the immediate environs of their creators, thereby sidestepping any significant reimagining of urban and architectural space. LA painter Yvette Gellis seeks to alter that by using the outward trappings of Abstract Expressionism to forge new possibilities.
By Kenneth Baker
Art Critic SF Chronicle
Friday, March 13, 2015