Featuring the art of Shannon Kaye and Margaret Timbrell

November 10th through December 3rd 2016

Artist Reception November 10th 6pm – 8pm

Influenced by family life and the daily ways we interact with our dwellings, Shannon Kaye makes art with typical building materials and tools from latex paint, plywood, and furniture wax, to sandpaper, paintbrushes and trowels. Some of the paintings are covered with journaling, the story of dreams or thoughts and the featured image inspired by talks and lessons with her Aunt Arti.



My work takes the form of still life, collage, pattern studies, landscape, and memoirs that evoke a nostalgic sense of places in time. My ideas are driven by rhythm, pattern, and color, and the writings represent those interactions between our decorated surroundings and the stories that unfold within those defined spaces. This latest memoire based body of work delves deeper into experiences and relationships that have shaped me, and how I’m processing them in my current relationships to create new environments, both physically and spiritually, and newer better stories. The moments I recount don’t necessarily dictate the patterns I choose to create but they do determine the mood, the colors, and the amount of surface my writing will cover. The landscapes are also reflective of our internal scenery and how we view our experiences, as they become passing vignettes of memory in our lives.

Shannon’s narratives are flashbacks of relationships and reflections that bring her uniquely layered patterns and decorative themes to life in a body of work that’s both refreshing and familiar. Painting on salvage plywood panels and used furniture as an extension of her focus on interior environments, Shannon prepares and works her art with common home improvement tools and mediums from latex paint and furniture wax to trowels and paint rollers. Her work appears balanced, colorful, even pretty, at first glance. But a closer look reveals rich contradictions with landscapes that mark time and text that seems to float through space. She layers dark color schemes and hopeful affirmations and wedges elegant lines and optimistic colors against rough edges, tattered patterns and tempered lettering all being pushed into the background. Her work is nostalgic but her vision is honest giving her work a deceptively decorative feel that reveals rich human truths that connect all of our experiences.

Original hand-cut stencil pattern, latex on panel.

Original hand-cut stencil pattern, latex on panel.



Margaret Timbrell’s Auto-Correct Fail series is relatable and funny. Margaret picks up vintage patterns from thrift stores and holds on to them until just the right auto-correct shows up from a friend or stranger through email and social media. These stories make us laugh as we consider the speed that we race through life and the technology that supports multi-tasking, even though as the auto corrects attest, one can only focus on one thing at a time.

I am an artist who moves between mediums. I graduated from NYU in 2001 with a degree in Studio Art. While there I studied painting with very talented artists like Lisa Yuskavage. In the end, I focused on photography. I loved working in the dark room. So I rented out dark rooms with regularity and made my art.

I especially enjoy the relationship almost everyone has to needlework- an Aunt or Mother or Grandmother who stitched- and the joy with which people share these memories. It’s an interesting, mostly female, history. But needlework also has some very current ties to technology. The binary code in computer programming was first developed for the punch cards used in knitting/weaving machines. Needlework and textiles occupies an odd world somewhere between craft and art, human and technology.

Margaret Timbrell, Bruce In The Car. Embroidered on fabric.

Margaret Timbrell, Bruce In The Car. Embroidered on fabric.



Margaret Timbrell, Colonists, embroidered on fabric.