The Drift of Stars: Paintings and Works in Fused Glass by Liz Conces Spencer

December 17, 2018 - January 3, 2019
Recurring daily
2305 Dunlavy | Houston, TX 77006
Phone: (713) 522-2409
Times: Mon-Sat 10-6 Sun 1-5
Area of Town: Montrose

Opening Reception
DATE:           Saturday, December 1, 2018
TIME:            5 - 8 p.m.; with Artist Talk and Poetry Reading at 6:30 p.m.
LOCATION:  2305 Dunlavy, Houston, TX 77006
                     Complimentary Valet Parking
                     Light Refreshments, including bites generously provided by Kam's

Late Night Pie / Social Hour
DATE:           Saturday, December 15, 2018
TIME:            7 - 9 p.m.
MUSIC:         Fools on Stools


Spencer’s new body of work, The Drift of Stars, explores her visual thoughts on the passage and mystery of time.

Being present is key to the personal and intimate experience of making art, particularly drawing or painting the figure or working from the landscape plein aire, or directly onsite. At the point in time that the muse is translated by the artist to a substrate of canvas or paper or glass, the present moves with it, and a new reality is born, assuming its own life, qualities and personality. Inasmuch as the muse existed in a specific moment in time, the work of art is what has evolved, surviving as testament to that moment. As the work in its own new life morphs and changes, it too exists in consciousness only in the present, not in the future nor in the past. And, as philosopher Jacques Maritain postulated, the two-way communication that exists between art and viewer allows an ever-present, always changing charged experience with each successive encounter. The muse is further invoked by other art, including music and poetry. The title of the exhibition is based on a line from T.S. Eliot’s haunting Burnt Norton. Other pieces are inspired by the poetry of Diana Conces, an award-winning and published author who will read from her selected works during the opening reception.

Spencer’s landscape, figurative, and non-representational studies are often reworked extensively, creating new realities far removed from the moment of inception. The figurative works frequently superimpose human forms from several different sessions and models. Landscapes are abstracted to abide by a generous dollop of creative intuition in color placement and patterning. Some works are deceptively simple. The blending of timelines, subjects and materials is intentional, with threads of meaning suggested in titles that focus attention on our shared mortality, our memories of the past, and our hopeful yet flawed expectation of the future.