Tugboat Gallery- Lincoln, NE

Tugboat Gallery Proudly Presents “Chimera” featuring and opening on First Friday September 2nd from 7:00-10:00 with DJ ol moanin – closing on October 1st. Sarah Jentsch , and Juan José Castaño-Márquez.

Using embroidery, watercolor, graphite and religious pendants “Chimera” has an otherworldly emotional intensity through exploring potent imagery such as – flies, dogs, dead deer and a beaded heart. Both artists are guided by what it feels like to walk through life as “Other”.

Juan José Castaño-Márquez

Juan José Castaño-Márquez is a Colombian-born queer artist, photographer, educator, and storyteller currently living in occupied Očhéthi Šakówiŋ, Pâri [Pawnee], and Jiwere lands, now also called Lincoln, Nebraska. Juan’s work explores contemporary issues on representation and personal identity through historiography and archivization. Some of his projects directly engage with ideas of representation of “the other”–this other being both Latinx and queer; historical erasure; and situations of victimization in his country of birth.

Sarah Jentsch

Sarah Jentsch is an American artist who primarily creates paintings and drawings. Her work uses elements of fantasy and myth to explore the expectations and experiences of women in society. In Chimera, a cast of dogs, deer, and tears unite to form an escapist world where the Self becomes Other and emotion becomes reality

Tugboat Gallery Proudly Presents “BETWEEN (Here & There)” featuring Patricia Davis, and Nick Krauter.

“BETWEEN (Here & There)” may seem like disparate 2-dimensional works on paper, Krauter’s work is graphic – black and white and Davis’ work organic and filled with color, but both artists share the love of pockets, organs, shadows, ooze, discomfort, patterns and ghosts.

Patricia Davis

Drawing inspiration from the human condition and the natural world, I explore notions of openings and exits, possibilities, choices, release, pockets, growing pressure, chaos, confusion, internal dialogue, confessions, echoes, shadows, reflections, partners, and patterns. I work with a variety of mediums including drawing, painting, printmaking, papermaking, and installation. I enjoy examining the alluring qualities of color and texture when combined with text and imagery of biomorphic shapes that loop and ooze and structures like grids, mazes, and spirals. Loaded with symbolic significance, these imagined spaces poke at what we know and we fear about ourselves: the unknown, the uncomfortable.

Nick Krauter

I’ve drawn all of my life, but only in the last five or so years have I begun to give it the attention that it deserves (mid-life crisis, is that still a thing?). I have decades worth of cultural sewage in my brain from a life of absorbing books, films, video games, anime, comics, TV, and music, and now it wants out of here. I draw things and people that intrigue me or just strike me as visually interesting, sometimes in straight forward portraits and drawings, sometimes in more abstract images that are only connected in my mind to the original inspiration.

Tugboat Gallery Proudly Presents “The Good, The Shiny, and the Subversive?” featuring South Dakota artists Klaire Lockheart, and Aaron Packard.

Klaire Lockheart is a bold realistic oil figure painter and Aaron Packard is an experimental photographer. Both share the use of punchy color, love of texture, the feeling of nostalgia and making the viewer scan every inch of the image not wanting to miss a detail.

Klaire Lockheart

Klaire Lockheart’s 6 to 7’ tall realistic oil on canvas portraits are from her Feminine Attempts series, where the woman looks like a combination of Bettie Page and Betty Crocker. The scale of the paintings allows the women to be seen as monumental and intimidating, but their outfits reveal Lockheart’s sense of humor. To highlight the contrasting roles women are expected to fulfill, such as chastity and sexiness, the women wear a combination of modest clothing and provocative footwear.

Klaire Lockheart

Aaron Packard

Aaron Packard created large archival inkjet prints on wood panel with resin for his Networks of Noise series. This body of work represents the transition of memory, from thought to thought, and investigates an abstraction of the image by deconstruction through addition: the hyper-photomontage. These glossy panels are composed of hundreds of layers of repeated images in vivid, primary colors. This artwork depicts how Packard frames his memory through an overlapping congestion of random visual moments and emotions.

Aaron Packard