2012 Baltimore Ave I Kansas City, MO 64108 I 816.474.1919 I Thurs-Sat, 11am-5pm

First Friday Opening
October 4, 2013

Left: Timid, oil and graphite on panel, 16" x 12"
Right: Wolf-Eye, graphite on paper, 18" x 24"
Bottom: Inkblot Series, monoprints, 8.5" x 10"
Alessandra Dzuba
October 4 - November 30, 3013
Back Gallery
Artist Statement

'Containment' is an exploration of the connection between humans and animals. This union has existed since the beginning of time, maintained over the years through oral tradition. In modern times science has replaced storytelling, causing a psychological change towards the animals we once feared and worshiped to a view of disassociation with the animal kingdom. It primarily focuses on the fact that as humans we repress our animalistic nature in order to elevate ourselves to a position above the other "animals," despite the fact that we still have animal instincts. This act of arrogance allows us to have a certain disregard for both nature and animals, disregarding how closely we are related. Our similarities in structure and instincts pull back the curtain on the fact that as humans we are, by nature, still unconsciously animals. This series is to rejoin humans to their animal past, while melding them together into a new being awaiting to escape.

Artist Bio
Alessandra Dzuba is a Kansas City based artists from Montr´┐Żal, Canada. As a Georgia Southern University graduate, she received her BFA in 2D Studio arts, emphasizing in Printmaking and Psychology. Currently she is continuing her professional carrier as a studio assistant and exhibiting work throughout Kansas City, Georgia, and New Mexico. The daughter of Ukrainian and Italian immigrants, Alessandra focuses her work on the human connection to animals, using these cultural influences of folktales and her study of psychology to create an altered world depicting our inner animal demons; ultimately questioning what it is to be human.













Left to Right, Top to Bottom: Amy EricksonSelf-Portrait, oil on canvas, summer 2013, 8" x 10" - Samantha Ludwig, Untitled, summer 2013, ink on paper - Jennifer Green, Maquette for Gods Installtion GOD 2, summer 2013, clay, 8' x 8" x 7" - Juliana LynnForence by Night Series, summer 2013, silver geletin prints, 8" x10" - Knaide RosenbergSelf-Portrait- Blue, summer 2013, black and white chalk on hand-toned paper, 12" x 20" - Brandon KintzerArchitectural Exploration 1, summer 2013, ink on hand-toned paper, 6" x 12"
Undergrads Underground
Site at Seen: KCAI in Florence, Italy
October 4 - October 26, 2013
Lower Level Gallery

Cassandra Allenjunior illustration

Luis Arias, junior painting

Blaze Christopher, junior painting

Abraham Diaz, senior painting

Amy Erickson, senior painting

Jennifer Green, sophomore sculpture

Brandon Kintzer, senior sculpture

Katerina Landwher, junior painting

Tess Lawson, senior painting

Samantha Ludwig, senior painting

Juliana Lynn, senior painting

Knaide Rosenberg, sophomore ceramics

Taylor Wallace, photography '13

Molly Kaderka, Program Assistant, painting '10

"The more influenced I am the more original I get" 
- Edwin Dickenson -


The title for this exhibition, Site as Seen, is taken from the teachings of Edwin Dickenson, considered by many the first Modern American painter and one of the greatest painting teachers of his time. Dickenson considered the 'site' to be nature, as well as the history of art, and was adamant that his students did not allow preconceived notions of what gave that 'site' authority to influence their work. Instead, he asked his students to consider the motif as it was experienced in a phenomenological sense while still allowing academic research to form the core of ones acuity as an artist.

This summer, 13 KCAI students traveled to Florence, Italy to live and work for 5-weeks in one of the most influential cities in the history of Western Art. The students were immersed in a city rich with masterworks of painting, sculpture, the decorative arts, and architecture. The students were asked to respond to the rhetorical qualities of the artwork in the city: to examine the uses perspective and landscape; to analyze sculptural form; and to recognize visual theory and referential devices. In one morning, walking from the fresco cycle that began the Renaissance to Mannerist masterpieces that marked it end, the students were able to see how generations of lineage and innovation developed and flourished with in the city walls. Somewhere between Masaccio and Pontormo, the students gained insight into influence in order to formulate a singular, yet informed response.

The work in this exhibition, ranging from long-term academic drawings of sculptural form and interior cathedral lighting, architectural plans for facades that were never completed, video performance and costuming responding to archetype, site-specific responses to uses of trompe'loeil and perspective, the generation of optical framing devices, photographic interpretation of the city, the serial analysis of narrative tropes and the collection, uses of surrealism and intuition to the selfportrait, all displays the diversity inherent in a complex source. Juliana Lynn, currently a senior in the painting department, was awarded a Benjamin H. Gilman Award for international travel in order to participate in this program.


Jessie Fisher, September 2013 

Associate Professor in Painting, Kansas City Art Institute
Program Head, KCAI at SACI: A 6-credit Collaborative Summer Program in Florence, Italy


Stretch Sept 2014 MG
Homage to the Mechanic, steel and cast glass, 36" x 20" x 26"





Mixed Thoughts and Daydreams


September 6 - October 26, 2013

Main Gallery   






Artist Bio Excerpts  (Full Bio: Click Here)


STRETCH's works have been on display in private and corporate collections throughout the world. The sculptures vary in scale from small approachable pieces to environmentally dominating. The choice of materials STRETCH uses in his pieces - glass & steel - work against each other, causing tension while maintaining a high level of dialogue.

STRETCH is a graduate of the Kansas City Art Institute. He completed his masters at the Virginia Commonwealth University (VCU) in Richmond, VA. Both Dale Eldred and Jim Leedy mentored STRETCH into the growing Kansas City art scene. STRETCH has since worked with many renowned artists including Mark di Suvero and John Henry. STRETCH has worked with numerous artists on public commissions - for airports, college campuses, and city sculpture parks around the world. Presented with an Urban Hero Award, STRETCH plays a major role in the community. He served as vice president of KC's oldest non-profit artist coalition (KCAC), has been a board member for Review Magazine and the Crossroads Community Association and the Board of Directors for the Inter-national Sculpture Center and accepted a nomination to the TIF Commission of Kansas City.


In the last few years, STRETCH has completed a two-story computerized LED wall installation for Davis Brown Tower, Des Moines, IA, a large-scale sculpture commission for the H&R Block World Headquarters in Kansas City, as well as four sculptures for the Woodsweather Bridge. STRETCH has been building large-scale sculpture for more than twenty five years.


Artist Statement


Utilizing the same materials as the surrounding architecture and urban environment, I focus on facilitating the natural flow between the art and its environment, manipulating these same natural materials into a different form. The end result is an integral piece designed to fit a project, complimenting the space in a balanced equilibrium.

The choice of materials I use in my pieces - glass, wood and steel - work against each other, causing tension while maintaining a high level of dialogue. The juxtaposition of the materials serves to create a conversation, drawing the viewer in, inviting them to participate, engaging them both mentally and physically regardless of race, creed or color. This allows the viewer's own past experiences to play a significant role in the present moment. The resulting dialogue can be used to inform and educate, serving as a gathering ground for communication easing cross-cultural boundaries. Amidst this interaction derives thought-provoking insight and one hopes, a better understanding of the concepts and ideals the work embodies.

Crude yet detailed structures transcend time, boldly manifesting enduring concepts. They float in and out of many moments. They are always in motion as much as glass itself is always in flux. It is within this context the pieces, as the concepts they represent, continue to breathe life...

As an artist I feel it is my obligation/duty to build ideas which inspire thought. I have chosen to live my life working to help instill these principles - communication through visuals - into others. I have made Kansas City my home, coming from the East Coast, starting galleries and studios for artists, promoting the arts wherever possible. This, I believe, is a vital part of a city's fabric. The combination of love of people, and the challenge of projects like this, lends inspiration, facilitating the creation of my ideas and supplying the energy to bring them to fruition.

For additional videos, articles, photos & info, please visit



  Doug Russell Ebb & Flow 15
    Ebb & Flow #14, 2011, black Prismacolor            Ebb & Flow #15, 2011, black Prismacolor    
    pencil, graphite, and ink on mylar, 64" x 40"        pencil, graphite, and ink on mylar, 64" x 40"

Doug Russell
September 6 - October 26, 2013
Front Gallery


Artist Bio


Doug Russell is a visual artist who lives and works in Laramie, Wyoming. His work in drawing and painting explores two major creative directions: entangled natural forms and monumental architectural compositions. Both bodies of work ultimately are improvisational meditations upon structure/repetition/variation and germination/ growth/decay. He earned an MFA in Printmaking and Drawing from the University of Iowa, lived and taught in Turkey for two years and in Kansas City for six.  He currently holds the position of Associate Professor of Art at the University of Wyoming where is coordinator of the drawing program. 




...and after dismantling the city piece by piece,

he reconstructed it in other ways, substituting

components, shifting them, inverting them.


~ Invisible Cities, Italo Calvino







                                                                 ( Babylon )







                                                                   ( Babel )







                                                             ( Istanbul )








                                                               ( Rome )









                                                               ( Ruined )


-  Doug Russell, Leedy-Voulkos Art Center, 2013  -




David Slone Aug 2013 Opie
  Left: Visage, 2013, oil on panel, 24" x 18"
Top: Fragmentation, 2013, oil on panel, 6" x 8"
Bottom: Gaze, 2013, oil on panel, 12" x 12"



The Opie Collection

Featuring David Slone


August 2 - October 30, 2013

Opie Gallery


David Slone Bio


I was born in 1985 in Chicago, IL and raised in Lincolnton, NC. In 2007, I graduated with honors from Anderson University in Anderson, SC, with concentrations in painting and graphic design. Soon after graduating, I was accepted into the Art Bomb Studios artist collective in Greenville, SC, where I maintained a consistent studio practice and participated in numerous shows. During this period, I worked full-time as a graphic designer at Erwin-Penland, an ad agency in Greenville. In the summer of 2012, my wife was offered a position teaching as a full-time art professor at Sterling College in Sterling, Kansas. We currently live in Sterling and I now focus on my painting full time.


David Slone Statement


Simply put, my work is the result of a shifting and evolving dialogue between my love of paint and my fascination with portraiture-a conversation between realism, abstraction, faces and identity. I am interested in how a shift in color or a few distinct brush marks can change the content of a portrait. I enjoy looking at the smallest details of the face and finding interesting ways to make it my own. Large pores, dark circles under the eyes, and the the complexity of skin color within shadows are all exciting features open to interpretation. I am especially intrigued by ears that appear transparent and luminous due to a strong light source behind them. I want to paint skin that I can get lost in.