On View at The Galley at Mountain Shadows
text and photos courtesy of Reyes Contemporary Art

Reyes Contemporary Art is celebrating the season of solstice with the radiant new show Liner Notes. On view at The Gallery at Mountain Shadows, the exhibition is comprised of three unique surveys of individual artist’s work, with a specific focus on the element of line that runs throughout. 

Above: Vincent Chung, Things Don’t Happen on Their Own, 2018, Mixed media and neon sewed on canvas, 64 x 52”.

Spanning illustrative to sculptural and across several decades, this exhibition features the work of three artists: Brooke Grucella, Robert F. Clark for de Lillo and Vincent Chung.

Each artist knows how to provoke a sense of thought and wonderment with complex materials, multiple storytelling layers and an interesting background that differentiates them from the rest. From welded sculptures to politically infused pieces and neon-accented canvas, Liner Notes will challenge the way the spectator perceives the use of linear design.


Above left: Brooke Grucella, But…,2019. Acrylic on Panel, “8x8”. Right: Brooke Grucella, Instagram Noteworthy, 2019. Acrylic and spray paint on panel, 14’’ round.

Brooke Grucella received her M.F.A. at Arizona State University and has exhibited regionally and nationally, including a 20-foot long painting, her largest work to date, in the Push Comes to Shove exhibition at Scottsdale Museum of Contemporary Art. The artist’s work is informed deeply by her love of and personal connection to the California skate and surf subcultures. These influences find a visual prominence in her consistent use of illustrative, cartoon-like contours. Her newest work, featured in Liner Notes, includes small painted vignettes which have a remarkable use of negative space, interiors and vantage points – a first for Grucella, whose painted works were previously more crowded and layered compositions. The artist considers the way current sociopolitical themes are leaving a mark in her works thematically through a sense of contextual ambiguity and dark humor, but currently leaves this interpretation open-ended for the view to contemplate.  


Above left: Robert F. Clark for de Lillo, High Wire Bicycle, 1979. Brass wire, 14 x 14.5 x 4.5”. Right: Robert F. Clark for de Lillo, Abstract #7, 1979, Brass wire, iron and copper,17.5 x 21.5 x 3”.

The late Robert F. Clark (for de Lillo) was a prominent jewelry designer with William de Lillo, his lifelong partner and collaborator.  As a professional duo who called France home for a period in their lives, they worked for prestigious fashion houses including Chanel, Nina Ricci, Schiaparelli and Yves Saint Laurent. Liner Notes marks that some of these works will be offered to the public for the first time. Clark’s artistic creations, outside of his wearable art, are rare. The exhibition features several works from his Circus and Abstract Series, circa 1979.  Created in Paris, these wall sculptures are “drawn” with welded metal and fall in an abstract space between architecture and rough sketches. The influence of costume jewelry construction is certainly felt in these angular works which hover in a thematic space between contour line drawing and sculpture. The pair eventually retired in Paradise Valley for the remainder of their lives. 


Above: Vincent Chung, Stop Hitting the Brakes, 2019. Mixed media and neon on dyed sewn canvas and linen, 48 x 58”.

Having received his B.S. degree at Arizona State University just a few years ago, Vincent Chung is an emerging star in the local art scene. Originally from Chelsea in New York City, He got his start showing at small, yet prominent, galleries in the neighborhood. He has since increased his exposure by being featured in acclaimed indie publications like Snax Magazine and Studio Visit.  Chung takes a more impulsive and emotive approach to the construction of his paintings, and his use of “line” finds its most notable place in his use of neon tubing atop canvas mixed media works. Though the paintings have expressionistic, understated and texturally ambiguous areas, Chung slashes right across the canvas or highlights an otherwise unremarkable corner with a radiant contrast of neon light. In illustrative arcs, outline and diagonal accents, the neon harmonizes and accentuates any friction in his 2-D works in a way that brings both peace and frenzy simultaneously. Liner Notes at Mountain Shadows will be the debut of his latest works in Phoenix. 

Liner Notes

Through August 31

The Gallery at Mountain Shadows