Tim O'Kane

Three Dreams,

Tim O'Kane
Three Dreams, 2010
Oil on wood block
8 3/4 x 7 inches

One Week of Dreams / Triptych,

Tim O'Kane
One Week of Dreams / Triptych, 2014
Oil on three wood blocks
8 3/4 x 7 inches each

Lines From Alcantara,

Tim O'Kane
Lines From Alcantara, 2012
Oil on woodblock
8 3/4 x 7 inches

Orange on Glass,

Tim O'Kane
Orange on Glass, 2014
Oil on panel
10 x 3/4 x 11 1/2 inches

Oranges & Cobalt Glass,

Tim O'Kane
Oranges & Cobalt Glass, 2014
Oil on panel
15 1/2 x 11 3/4 inches

Lemons & Cerulean Bottle,

Tim O'Kane
Lemons & Cerulean Bottle, 2014
Oil on panel
15 1/4 x 11 3/4 inches

Tomatoes & Yellow Box,

Tim O'Kane
Tomatoes & Yellow Box, 2014
Oil on panel
17 1/4 x 17 1/4 inches

Summer Tomatoes,

Tim O'Kane
Summer Tomatoes, 2013
Oil on panel
17 3/4 x 19 inches

Melon & Sugar Box,

Tim O'Kane
Melon & Sugar Box, 2014
Oil on panel
19 x 15 3/4 inches

Vanilla,

Tim O'Kane
Vanilla, 2014
Oil on panel
11 3/4 x 13 1/2 inches

Half Pear,

Tim O'Kane
Half Pear, 2014
Oil on wood block
8 3/4 x 7 inches

Night Yields,

Tim O'Kane
Night Yields, 2010-11
Oil on linen
43 x 43 inches

Poem #2,

Tim O'Kane
Poem #2, 2011
Oil on panel
27 x 23 inches

Poem,

Tim O'Kane
Poem, 2014
Oil on panel
27 x 25 1/4 inches

Naxos #1,

Tim O'Kane
Naxos #1, 2008
Watercolor & graphite on paper
30 1/2 x 24 inches

Naxos #2,

Tim O'Kane
Naxos #2, 2008
Watercolor & graphite on paper
30 1/2 x 24 inches

Naxos #3,

Tim O'Kane
Naxos #3, 2008
Watercolor & graphite on paper
30 1/2 x 24 inches

Naxos #4,

Tim O'Kane
Naxos #4, 2008
Watercolor & graphite on paper
30 1/2 x 24 inches

River Inn #10,

Tim O'Kane
River Inn #10, 2013
Oil on 1 inch wood panel
11 x 14 1/2 inches

River Inn #5,

Tim O'Kane
River Inn #5, 2013
Oil on 1 inch wood panel
7 x 8 3/4 inches

Mid-Summer Still Life / Watermelons,

Tim O'Kane
Mid-Summer Still Life / Watermelons, 2009
Oil on panel
30 1/2 x 34 1/2 inches

Arrangement Of Satsumi,

Tim O'Kane
Arrangement Of Satsumi, 2012
Oil on panel
18 3/4 x 13 inches

Figs / Open Box,

Tim O'Kane
Figs / Open Box, 2012
Oil on panel
9 x 13 3/4 inches

Still Life With a White Orchid,

Tim O'Kane
Still Life With a White Orchid, 2012
Oil on panel
19 x 16 inches

Homage to Degas #1,

Tim O'Kane
Homage to Degas #1, 2009
Oil on panel
16 1/2 x 16 inches

Red & White/ Six Peppers,

Tim O'Kane
Red & White/ Six Peppers, 2012
Oil on panel
25 x 25 inches

Box #20/ Evidence,

Tim O'Kane
Box #20/ Evidence, 2012
Oil on 1-inch wood block
8 3/4 x 7 inches

Box #12/ 3 Dreams,

Tim O'Kane
Box #12/ 3 Dreams, 2010
Oil on 1-inch wood block
8 3/4 x 7 inches

Box #21/ Your Dream, My Dream,

Tim O'Kane
Box #21/ Your Dream, My Dream, 2011
Oil on 1 inch wood block
7 x 7 inches

Box #2 / In the Desert of Pure Feeling,

Tim O'Kane
Box #2 / In the Desert of Pure Feeling, 2009
Oil on 1-inch wood block
8 3/4 x 7 inches

Box #3/ Dream to Dream,

Tim O'Kane
Box #3/ Dream to Dream, 2009
Oil on 1-inch wood block
8 3/4 x 7 inches

Tea Towels,

Tim O'Kane
Tea Towels, 2005
Oil on panel
9 1/2 x 9 1/2 inches

Asparagus & Film Box,

Tim O'Kane
Asparagus & Film Box, 2009
Oil on panel
9 x 11 inches

Vanilla Gelato,

Tim O'Kane
Vanilla Gelato, 2009
Oil on panel
17 x 14 inches

Night Studio (Diptych),

Tim O'Kane
Night Studio (Diptych),
Graphite on paper
66 x 86 inches

Blenders,

Tim O'Kane
Blenders, 2005
Oil on panel
10 1/2 x 7 inches

Eggplants & Italian Plate,

Tim O'Kane
Eggplants & Italian Plate, 2009
Oil on panel
10 x 12 inches

Shell & Empty Jar At 6 PM,

Tim O'Kane
Shell & Empty Jar At 6 PM, 2009
Oil on board
17 x 12 inches

Peonies,

Tim O'Kane
Peonies, 2007
Oil on archival Strathmore board
8 x 10 1/2 inches

Portobella,

Tim O'Kane
Portobella, 2007
Oil on archival Strathmore board
8 1/4 x 8 inches

Born 1950 Richmond, VA

Education

1972 BFA Painting and Printmaking, Virginia Commonwealth University, Richmond VA

Selected Solo Exhibitions
2014
Naxos , Page Bond Gallery, Richmond, VA

2012
The Observed World or A Right Handed Painter, Page Bond Gallery, Richmond, VA

2011
State of the Arts in Virginia, Invitational Exhibition of the DC offices of Senator Mark Warner
NAXOS, Piedmont Virginia Community

2007
The Observed World of Right-Handed Painter
Time Enough (Angelo’s / C&O – Charlottesville venues)

2005
Italian Miniatures, McGuffey Arts Center, Charlottesville, VA

2000
The Hours Trilogy and Island Suite, McGuffey Arts Center, Charlottesville, VA

1998
Tim O’Kane/Time Enough, Second Street Gallery, Charlottesville, VA

1994
Tim O’Kane, Greenville County Museum of Art, Greenville, S.C

1989
Selected Drawings, Piedmont VA Community College, Charlottesville, VA
Time O’Kane Works on Paper Peninsula Fine Arts Center

Selected Group Exhibitions
2013
River Inn, Page Bond Gallery, Richmond, VA
2012
Who We Are, Present And Past, 50th Anniversary Exhibition, Peninsula Fine Arts Center, Newport New, VA
Haze, Page Bond Gallery, Richmond, VA

2011
State Of The Arts In Virginia, The Capitol Offices Of Senator Mark Warner, Washington, DC

2010
Summer Solstice, Page Bond Gallery, Richmond, VA

2009
UnPainting, Greenville County Musuem of Art, Greenville, SC
13th Annual Boston Fine Arts Show, Boston, MA (Fraser Gallery)
Summer Introduction Exhibition, Hidell Brooks Gallery, Charlotte, NC
Vitamin C, Page Bond Gallery, Richmond, VA
Affordable Art Fair, New York, NY
The Fraser Gallery, Bethesda, MD

2008
Bridge Art Fair, Miami / Basel, The Fraser Gallery, Miami, FL
The Fraser Gallery, Bethesda, MD
Warm Springs Gallery, Warm Springs, VA
Small Claims, Page Bond Gallery, Richmond, VA

2007
The Butler Institue of American Art National Juried Exhibition, Youngstown, Ohio
Gallery Henoch, New York
Page Bond Gallery, Richmond, VA

2006
Gallery Henoch, New York, NY

2005
Gallery Henoch, New York, NY
Art of the 20th Century, New York, NY

2003
30 Years Second Street Gallery, Charlottesville, VA

2002
Realism/Regional Les Yeux de Monde, Charlottesville, VA

2000
New American Paintings, Juror: Howard Fox, Open Studios Press, Boston, Ma, Catalog #27

1999
New American Paintings, Juror: Linda Norden, Open Studios Press, Catalog #21

1998
Artsites 98, Maryland Art Place, Baltimore, MD, Catalog: Washington
Commonwealth Collects, Contemporary Art Center of VA, Virginia Beach, VA

1996
Hollis Taggarat Galleries, New York, NY

1993
Art Museum of the Americas, Off the Mall: Inside Washington’s Foremost Art Galleries OAS, Washington D.C
Past and Present: The American Tradition of Still Life Painting, Adams Davidson Galleries, Washington, D.C

1991
Juried Exhibition, Peninsula Fine Arts Center, Juror: Tom Armstrong

1990
Intimate and Visionary: 200 Years of American Master Drawings 1790-1990 Adams Davidson Galleries
Drawing the Link, Fendrick Gallery, Washington, D.C

1989
Small Formatt Works (20th Anniversary Exhibition), Fendrick Gallery

1988
The Figure, Peninsula Fine Arts Center

1987
3 Realists from the Fredrick Anderson Gallery, Virginia Commonwealth University, Richmond, VA
Virginia Beach Fine Arts Center, VA Beach, VA
Juried Exhibition, Peninsula Fine Arts Center

Public Collections

Chrysler Museum of Art, Norfolk, VA.
Greenville County Museum of Art, Greenville, S.C.
Robert H. Smith International Center for Jefferson Studies,
Monticello, Charlottesville, VA.
ER Carpenter Co., Richmond, VA.
Crestar Bank, Richmond, VA.
Virginia Power, Richmond, VA.
Hirsh & Bedner, Santa Monica, California
Equitable Insurance Corporation, Columbus, Ohio
McGuire, Woods & Battle, Richmond, VA.

Grants, Fellowships, and Awards

2011
Virginia Commission for the Arts Individual Artist Fellowship for Works on Paper

2006-07
Virginia Museum of Fine Arts Professional Fellowship

1999-00
Virginia Museum of Fine Arts Professional Fellowship

1997-98
Virginia Commission for the Arts Individual Artist Grant

1992-93
Virginia Commission for the Arts Individual Artist Grant

1991
Peninsula Fine Arts Center, Newport News, Va
Drawing Award (Juror: Tom Armstrong)

1989-90
University of Virginia Center for the Liberal Arts, Study in Italy Grant
University of Virginia, Charlottesville, VA.

1987
Peninsula Fine Arts Center, Friends of the Center Award and
Drawing Award (Juror: Ned Rifkin)

1991-92
Museum of Fine Arts / VA Commission for the Arts Professional Fellowship

1980-81 Virginia Museum of Fine Arts Professional Fellowship

I painted my first still-life in 1990, twenty-five years into my career, setting up simple domestic objects on my kitchen table. From the start, I chose the minimalist approach and have stayed with it ever since. During the last decade, I have made a concerted effort to develop still-life into a major subject area for my work. I am currently exploring two distinct directions. One involves direct observation and the sensuality of objects. The second considers how referential and narrative themes can be suggested by the way in which objects are selected and arranged.

Over the years, I’ve orchestrated complex arrangements with my figurative work, not unlike a film director, yet setting them within the real world, the world of every day life. Still-life has always played some essential role in this work. It was not such a big leap to then focus solely on objects. Through my large, cinematic figurative pieces from the 80s and 90s, I had come to realize the potential of ordinary objects; the enigmatic qualities of existence contained in the mundane. This is what Cezanne and Morandi had grappled with; what brings such an air of dignity to their simple subjects and the largeness we feel in them.

The tradition of still-life is almost as old as the art of painting itself. The factors that artists manage in working within its precepts are the fundamental elements of painting; shape, texture, color, design, spatial reference, and the sensuality of surface. The object observed and closely scrutinized in the clarity of daylight becomes the painter’s attachment with the real world. It will always be considered a traditional approach to making art, but it can take place in respect of modernity. It does not have to be in opposition to it. Tradition can be retained while still speaking to our time, our current experience. I believe the art of still-life is still as viable as ever. It affords the artist a compelling balance between geometry and the illusion of representational painting and offers an endless world of possibilities for distilling a contemplative order from the noisy chaos of the world.

Within my definition of “Still-Life” is the quality of stabilizing that, which is ever moving and becoming my past. And so, the objects are collected and arranged, illuminated by the light of my studio window. The drawing is made, the colors gradually applied, tonalities adjusted toward warmth or coolness, details articulated, many seen only after extended observation. Days go by, weeks sometimes before it is done. In that time, it has become both an illusion and an actual thing, an object – both a recollection and an experience in the present.