Adel Gorgy's exhibition at Long Island Museum, NY 2017

 "Red Moon Rises" on show

Adel Gorgy's exhibition
 The Long Island Museum
1200 Route 25 A, Stony Brook, New York, 11790
Nov 2 to the 14, 2017



Albrecht Dürer's irrepressible curiosity comes through in this two-sided drawing, "Self-portrait, Study of a Hand and a Pillow (recto); Six Studies of Pillows (verso)," 1493. Photo: Adel Gorgy

Adel Gorgy's exhibition at Able Fine Art Gallery, NY  2016

Marsha Solomon's exhibition at Able Fine Art Gallery, NY 2016

Adel Gorgy's exhibition at Baffa Gallery, Sayville, NY 2013

The book "Immagine & Poesia" on show at Baffa Gallery
The book "Immagine & Poesia" on show at Baffa Gallery
Art linked to Poems (Immagine & Poesia project), Baffa Gallery
Art linked to Poems (Immagine & Poesia project), Baffa Gallery

Adel Gorgy's "Deception - Traces of Pollock" selected as the highlight of the week's art exhibition listings - New York Times, Sunday October  13 2013



Adel Gorgy

Abstracting Abstraction – Traces of Pollock, de Kooning and Warhol

BAFFA Gallery, Oct. 12- 27, 2013 

Review by Mary Gregory



There are artists who seek truth, not flinching from what they see, artists who seek beauty, looking only where they find it, and rare individuals and artists who see beauty in everything.  Adel Gorgy is one of them, as evinced by the many diverse bodies of work which all display a profound outlook on the world around him.


Whether the subject of his art is nature, humanity, history, spirituality, or as it often is, art, itself, Gorgy both finds and offers new ways of seeing. 


As seen in previous exhibitions, over the past few years, Gorgy has developed a large body of photographic work in which he revisits and reinterprets the work of renowned artists like Picasso, Monet, Van Gogh, Rembrandt and others.  Through a complex process, he extracts the brushstrokes of these artists, and uses them to create completely new abstract compositions.  While the individual brushstrokes and sometimes the colors of the earlier work may be perceived, the composition and the context have been altered and remade.  The new composition is a collaboration—both the hand of the earlier artist and Gorgy's own hand combine to form a new work of art.


In his recent series, Abstracting Abstraction - Traces of Pollock, de Kooning and Warhol,

Gorgy has turned his eye to masterworks of Abstract Art.  While in the earlier work, Seeing Art Anew, the original works were largely realistic or impressionistic, in this group, Gorgy decided to push the limits of his own vision.  Abstracting realism stripped from portraits, still-lifes and landscapes their inherent associations.  What could he achieve by abstracting abstraction? 


The origin of the series was a trip the Pollock-Krasner House on Long Island.  There, he encountered vestiges of drips and gestural sweeps of paint on the floor of Pollock's studio.  Pollock had left them, and Gorgy chose to reclaim them.  In the first pieces of Abstracting Abstraction, he recomposed and recontextualized these traces of Pollock into new, original compositions.   


It’s a style of work that has strong precedents in Modern Art.  Over the past century, artists like Duchamp, Picasso and Magritte have used found objects in their work—sometimes altering them, as in Picasso's bicycle seat/handlebar sculpture, Bull's Head, sometimes, just re-envisioning them, as in Rauschenberg's combines.  Andy Warhol and later appropriation artists simply restated existing works, thereby applying new meanings.  


And yet, no matter what the message, the delivery must have merit.  Art is still the synthesis of what is being said and how it is being said—content and intent, image and meaning.


Adel Gorgy's work is beautiful, complex, and meticulous.  In Abstracting Abstraction, he takes up to 80 or more images, creating underlays, shades, traces and sometimes not more than a whisper of earlier works, to arrive at a new composition that harmonizes or contrasts with its inspiration, but speaks in a voice wholly that of Adel Gorgy. 


In Song of the Heart and Sonnet for Love, complex sweeping lines, washes of color and tonal fields that may have originated from Pollock or de Kooning are recomposed and remade by Gorgy into a rich and luxurious field that fills the eye and transports the viewer.  Gorgy makes no attempt at pictorial reference, but includes all its separate elements—depth, line, and color—joined into a formlessness, and timelessness reminiscent of the uncontrolled nature of the universe, itself. 


If it is the statement, more than the method, that matters, then Gorgy's work is all the more important, for he is making one of the simplest, most relevant, and obvious statements about art, and that is, "Look."  In these pieces, which are the evolution of earlier works, he shows that art is never static.  His response to these traces of Pollock, de Kooning and Warhol may have little to do with their vision.  The viewer's response to these pieces will be his or her own, and may have little to do with the Gorgy's intent.  And he welcomes that. 


Art belongs to the realm of the spirit.  It voices that which is beyond words.  Adel Gorgy, in the photographs in Abstracting Abstraction – Traces of Pollock, de Kooning and Warhol, expresses both a moment and a journey.  There is an initial moment of recognition, followed by a journey of discovery and creativity.  The resulting images are compelling, revelatory, original, and above all, beautiful.




Mary Gregory is an art historian, novelist and arts writer for Long Island Pulse Magazine.


By the Numbers - Adel Gorgy's exhibition at Arts Guild, NJ

(image copyright Adel Gorgy)
(image copyright Adel Gorgy)

Arts Guild NJ, USA

1670 IRVING STREET RAHWAY, NJ. (732) 381-7511.


Adel Gorgy in a group exhibition:


By the Numbers: (More or Less)


Curator: Donna Gustafson


October 13 - November 7, 2013



Arts Guild NJ: Abstract Lives - Adel Gorgy in a group exhibition

Arts Guild NJ, USA

1670 IRVING STREET RAHWAY, NJ. (732) 381-7511.



Adel Gorgy in a group exhibition:


Abstract Lives, curated by Dr. Virginia Fabbri Butera


- September 8 - October 3,  2013


Marsha Solomon at Atrium Gallery, Morristown, NJ

Marsha Solomon
Marsha Solomon

Marsha Solomon

From Still Life to Abstraction

Atrium Gallery, Morristown, New Jersey Oct. 25, 2013 – Jan. 7th, 2014


Review by Mary Gregory



Through the paintings of Marsha Solomon, the viewer enters an alternate space where emotions are evoked by color and line, which join in joyful dance or contemplative quietude. Her paintings offer portraits of time and states of mind more than objects.

Her still-life series, Tapestries, greets visitors with a profusion of bold pattern and color, derived from Solomon's collection of unique fabrics and objects collected from around the world. Kimonos and serapes join with shells, plants, antiques and colored glass in her inventive compositions. They are all arranged in a flattened, abstracted space, reminding the viewer that, while recognizable, this is not realism. It is more the magical realism of Borges or Garcia Marquez where impossible things can happen, if they are beautiful enough. The quality of Solomon's technique is visible in every area of the work. Textures are faithfully described. Her lines are lyrical and free, yet confident and strong. Shades can be as subtle as a whisper, or as bold as the artist feels will suit the composition. The completed work bears echoes of sources from as far back as Japanese woodblock prints and as near as Matisse, but the voice is Solomon's own.

A new series of pen and ink works on paper is entitled All and Everything. In these small, luminous works, intense color and fluid lines are composed into joyful, often playful abstract works that may bring to mind gardens or animals but whose exact origins are never fully revealed. Theirs is a mystery better left intact. To decipher the objects woven into these complex compositions is to lose some of their delight. They are brightly colored, intimately scaled works reminiscent of manuscript illuminations and the paintings of Kandinsky.

The largest body of work presented in the exhibition is Solomon's abstract series, From Rhythm to Form. In these powerful acrylic paintings on canvas, the artist exhibits both spontaneityand deliberation. Here, the artist gives more freedom to the material, allowing the paint to sometimes express its own esssence. Thinned pigment is poured onto unprimed canvas. The way the color is absorbed and spreads into the fiber yields unpredictable and often amazing results, creating deep swirling universes, or thin, ethereal clouds of color. Solomon then encircles these circular forms with thick, impasto strokes of contrasting color and texture, creating complex compositions which, somehow, escape the flatness of the canvas. The artist's technical control and vision is surprisingly strong whether the canvas is monumentally sized or small enough to fit in on the palm of hand.

Ultimately, though, these paintings, while exceptionally accomplished, are not about painting or technique. Marsha Solomon, in these deceptively simple, and at the same time complex works is hinting at states of mind and meditative awareness through the color, line and the language of the heart.

Marsha Solomon's From Still Life to Abstraction exhibition at the Atrium Gallery presents visitors with a chance to see three separate bodies of work by this accomplished artist. Careful viewing may yield surprising visions, not only of the breadth and consistency of Solomon's paintings, but also of those to be found in one's own reaction to these joyful paintings.


Mary Gregory is an art historian, novelist and arts writer.



Museo de Bellas Artes, La Paz-Entre Rios: Alejandra Miranda and Ramiro Gonzales

Alejandra Miranda, representative of Immagine & Poesia in Argentina, will exhibit her paintings with photographer Ramiro Gonzales: 

Museo de Bellas Artes - La Paz - Entre Ríos Argentina

 March 8 - April 2   2013  

Marsha Solomon at Baffa Gallery, NY


Tunnels in the Wood by Marsha Solomon
Tunnels in the Wood by Marsha Solomon

Marsha Solomon – Selected Works - April 2013


The BAFFA Gallery (Bay Area Friends of the Fine Arts) in Sayville presents a very special exhibition“Marsha Solomon - Selected Works” from April 6th through April 21st.  There will be an artist’s reception open to the public on Sunday, April 7th from 1 to 4 p.m.  Admission is free.

Marsha Solomon is an accomplished Long Island artist whose work has been widely exhibited in galleries in Chelsea, on 57th Street, in East Hampton, as well as in New Jersey, the Midwest, and in Washington, DC.  Her paintings have hung in museums in Long Island, Massachusetts and Rhode Island.  This solo exhibition at BAFFA Gallery will include several of her large acrylics on canvas, as well as a selection of watercolors and drawings. 

Marsha Solomon’s series of large abstract paintings titled From Rhythm to Form utilize bold colors, dynamic brushwork, and positive and negative spaces to create a powerful, lyrical image, about no less than the elements of art itself.  Inspired by Abstract Expressionism and building upon the force of Motherwell, the lyricism of Frankenthaler, the alternatingly delicate and bold interplay of tones of Morris Louis, Solomon’s work exhibits her own unique blend of spontaneity and deliberation. 

Her series of Still-Life paintings, entitled Tapestries, presents a distinctive vision.  For these, she uses intricately woven fabrics, objects collected from around the world, brightly colored glass, and antiques to create complex, patterned compositions reminiscent of Matisse, but inspired by sources as varied as Japanese woodblock prints, Dutch genre paintings and the still-life paintings of Cézanne.

Her painting, Timeless Rhythms, part of a series of Sumi Ink and Acrylic paintings of grapevines, displays her talent in weaving brushstrokes and tones to create an overall pattern both simple and complex, creating an image that is equal parts Zen painting and Jackson Pollock.

Marsha Solomon – Selected Works offers Long Island viewers a chance to see the work of this sophisticated artist in an intimate, local setting. 

The BAFFA Gallery is located at 47 Gillette Avenue, Sayville, NY  11782

Exhibition hours:  Tues. Thurs. Fri 10-1. Sat. and Sun 1-4. 

For more information, visit

For more information, check the website at


Marsha Solomon at Therese A. Maloney Gallery, Morristown - NJ




Marsha Solomon's Exhibition in Morristown, NJ

Therese A. Maloney Gallery


January 22 - April 14, 2013