a group exhibition
  • Tayloe Piggott Gallery is pleased to present Cakes and Shapes, a group exhibition featuring works by artists Vicki Sher, Gary Komarin, Jacqueline Utley, Lance Letscher and Eleanor Moreton.




     A master of post-painterly abstraction, Gary Komarin’s stalwart images have an epic quality that grip the viewer with the idea that he or she is looking at a contemporary description of something timeless. His style, a merger of painting and drawing, pays tribute to his mentor, Philip Guston. Komarin’s Cakes break the picture plane of his rich and elegantly composed color fields. 
    Sometime in his mid-forties, he began to experiment with paintings on paper bags from the market. “I had long been intrigued by the way the bags are designed and the way they fold back into such a beautifully flat object after being so volumetric in their ‘open’ stance.” Painting on six paper bags in one synchronistic sweep, he starts with the top layer and works his way to the bottom, immediately hanging the final product on the wall for viewing. “The cake might drip, and often would in surprising ways uncontrolled by me… It occurred to me that the drips related both to cake making and to painting. 
    Untitled, Collage 1, 2021, Collage, 78 x 82 inches



    Vicki Sher creates a reductive language from abstract, colorful lines and shapes on varying media. Over the past three decades, she has honed her aesthetic to capture the pertinent qualities of fluid geometric shapes. Presenting circles, oddly shaped squares, and half-moons that dance across translucent drafting film, Sher’s artwork aims to elevate an individual’s spirits. 
    Born in Washington D.C. in 1966, Vicki Sher received her BFA from Cornell University, Ithaca, NY, and her MFA from the University of Iowa. Her work has been exhibited at public institutions, including the Moore College of Art, Philadelphia, PA, and The Phillips Museum at Franklin and Marshall College, Lancaster, PA. She is the recipient of a MacDowell Colony Fellowship award and a VCCA Fellowship award. She has participated in numerous art fairs, including VOLTA Basel, NADA, and PULSE.  Sher is represented by Frosch & Portmann Gallery in New York, NY; George Gallery, Charleston, SC, and Red Arrow Gallery in Nashville, TN. 
    Nightingale Work Lives Wings, 2018, Oil on linen, 16 1/8 x 24 3/8 inches


    Sourced from biological and archival material, workers’ information, art historical sources, magazines and journals, Jacqueline Utley’s dreamlike paintings are populated with quietly self-contained women. They relax on furniture, engage in contemplation, play musical instruments, and tend to children. The palette is both undeniably surrealist and gendered. It’s as though a feminist voice is reappropriating the dreamscape from the male-dominated voices of the Surrealist tradition.
    Jacqueline Utley lives and works in London. Utley received her B.A. (Hons) in Painting from Chelsea School of Art and a M.A. in Drawing from the Camberwell School of Art, London. Recent solo exhibitions include Nancy’s Rooms, St Marylebone, London (2015). Selected group exhibitions include Stardust Boogie Woogie, Monika Bobinska, London (2010), Prognostic Bridewell, APT Gallery, London (2010), BLANK PROMISCUITY, part of Deptford X, London (2012), and Real Lives, Painted Pictures, an exhibition traveling to The Crypt Gallery, London (2016) and The Cut Gallery, Halesworth (2017). She was an exhibition finalist in the Fringe:mk Painting Prize, Milton Keynes (2009). Recent projects include Suppose an Eyes, a project devised in collaboration with Lady Lucy and Flora Whiteley, touring to Alpha Nova- Galerie Futura, Berlin; Transition Gallery, London; and Vane, Newcastle-upon-Tyne (2013), Obscure Secure, in collaboration with Hayley Field and Claudia Boese, Wolsey Gallery, Christchurch Mansion, Ipswich (2014).


    Unsettling and dreamlike, Eleanor Moreton builds fantastic fairy worlds peppered with fabled drama. With the richness of an old world tapestry, her world comes alive on canvas-- weasels bound, ravens lurk, children wander. There is an unmistakeable childlike wonder to her brush, underscored by a deeply intellectual longing for something that goes beyond the literal into the literary. "My characters precariously inhabit a world on the edge of the woods, on the edge of their own animal, wild selves and on the edge of the more unruly aspects of their minds," she says.
    Eleanor Moreton studied painting at Exeter and Chelsea Colleges of Art, and Art History and Theory at UCE (University of Central England). Solo exhibitions include Wadewose, Arusha Gallery, Edinburgh (2019), A Cold Wind From The Mountains, Exeter Phoenix, Exeter, (2017), Monro Room, The House of St Barnabas, London (2016), California Dreaming, Canal, London (2015), Tales of Love and Darkness (2014) and I See the Bones in the River (2012) at Ceri Hand Gallery, Liverpool and London, the Ladies of Shallott, Jack Hanley Gallery, New York (2012), and Im Wartezimmer, Ceri Hand Gallery, London (2010). Her work has been reviewed in Art Monthly, Art in America, and The Guardian. Her work can be seen in The Anomie Review of Contemporary British Painting by Matt Price, (Anomie, 2018) and Picturing People by Charlotte Mullins, (Thames and Hudson, 2015). She has participated in art fairs including Frieze Art Fair, London, Art Rotterdam, NADA Miami, The Armory Show, New York, VOLTA, Basel and Manchester Contemporary.
    First Woman on the Moon, 2020, Collage on board, 40 x 52 inches


    Lance Letscher’s collages are accumulations of tiny bits of paper taken from a myriad of sources. His compositions, driven by a piecemeal aesthetic with a meticulously obsessive sensitivity to color and content, evoke both the expansiveness of the cosmos and the complex detail of microcellular life forms. Crafted with a rich and vibrant vocabulary eliciting discovery by his viewers, Letscher’s works engage us with their poetry and intricacy.
    Lance Letscher attended the University of Texas where he received both his Bachelor of Fine Arts and his Master of Fine Arts.  He later apprenticed for Amado Peña, an artist known for his Southwestern-style prints.  He currently lives and works in Austin, Texas.  His work is held in public and private collections around the country and has been reviewed in Art in America, The New York Observer, and Harper’s Magazine, among other publications.  A full-length monograph of his work, Lance Letscher: Collage, was published in 2009.