Art over the centuries has been engaged in exploring and producing beauty, but more recently has had a vexed relationship with that concept. In Daniel Blignaut's latest body of work: “A Conversation with Trees”, his work unabashedly aims to achieve aesthetic beauty by evoking a primal fascination with the allure of gold and the aesthetic pleasure of color, pattern and texture — as evident throughout human visual history. Blignaut's process involves making bold aesthetic statements only to soften them with a multitude of layers, which adds to the eventual complexity of the surface. This has the effect of indicating the passage of time on the canvas itself.

Now 84-years-old, Dial’s most recent art will be juxtaposed with principal earlier pieces (1989-1994), allowing viewers insight into the evolution of his artistic vocabulary. This titanic exhibition also includes important works by Dial family artists and others from his artistic community, all of whom influenced his life and his art. Dial’s new work retains its characteristic dense configuration of materials – largely collected from the detritus of our culture and nature – while depicting a transformation to elegantly subdued palettes that reflect themes more open to interpretation. This generation of work transcends the narratives of his powerful earlier work and universalizes Dial’s voice, further cementing his place in art history.

Bill Lowe Gallery lends its curatorial alchemy to the beautification of newly renovated, 3109 Piedmont Estate and Gardens, a.k.a. The Estate (formerly Anthony’s restaurant). The award-winning restoration of this three-acre landmark in the heart of Buckhead was ignited by Tony Conway of A Legendary Event, who envisioned it as a remarkable and incomparable place to house the most exquisite events in Atlanta. Tony gathered top tier collaborators: Mitchell Gold + Bob Williams, Ed Castro Landscape and Bill Lowe Gallery to transform this 200 year old antebellum home into a unique marriage of classic-Southern grace and elegance, coupled with contemporary elements that enliven the space with modern gravitas! The art work is on display throughout the entire facility. Hand-selected by Bill Lowe himself, the results have received widespread accolades as nothing short of extraordinary. If you have ever wondered what contemporary art might look and feel like in a traditional or historical setting, look no further than The Estate!

We have partnered with the spectacular new Mandarin Oriental Hotel in Atlanta, located in prestigious Buckhead only steps away from the shopping Mecca’s of Phipps Plaza and Lenox Square.  Bill Lowe has curated a special collection of contemporary art throughout this luxury hotel. While exploring our art exhibition, you can enjoy lunch or dinner at the Café & Bar or visit their world-class spa for an Asian inspired treatment. When the weather is warmer, cocktails in the English Garden is a delightful way to spend the afternoon. For the duration of our exhibition, the hotel will offer an Art Lovers Package for overnight guests.

Jared Martin's mixed media photo encaustic paintings are born from the seeds of a boyhood fascination with maps and dioramas that grew in later years to the use of photography (still images of actual life) and then film-making (images in process—life as it can be). They are delivery systems for layers of visual information enhanced by text and symbols to create a distinctive, still evolving style. While in China working on a film project, he began to record the events of his own life. In Bejing, he met and married Chinese classical dancer, Yu Wei. This marriage, as well as the “marriage” of East and West, film and fine art has come to define and form his artistry. Martin has had a long and successful career as an actor, appearing in Torchsong Triology with Harvey Firestein, and in Hamlet with Martin Sheen on Broadway. He is perhaps best known as Dusty Farlow in the pop culture TV phenomenon Dallas. He has also directed over thirty films.

The most compelling aspect of Kathleen Morris's paintings is the way they plumb the emotional depths, which is inseparable from their sensual beauty. The convergence of spirituality and sensuality-sensualized spirituality, spiritualized sensuality-that is the mystery Morris's paintings evoke. They do so in part through their surface-dense, heavily varnished, holding light in their enigmatic depths, in a manner worthy of the old masters-and in part through their rendering of the human self-image, as it has been called. Indeed, her faces suggest simultaneously the heights of consciousness to which the human spirit can rise and the depths of suffering to which it can sink. Her fantasies- dream pictures-convey the strangeness and horror of being human, particularly a woman.

Classified by the artist herself as, "holographic super graffiti,” Jacqueline Heer digitally creates abstract finger paintings which are then printed on Plexiglas and canvas. Heer strives to stay true to the extended process of traditional painting by adding and subtracting the physical marks her fingers create on an iPad screen with only the use of her hands rather than employing manipulation techniques, such as Photoshop. The iPad, which commonly functions as an extension of the user’s daily life and fleeting activities, is re-examined through Heer’s work as an artist’s tool. It allows Heer to "record a profuse and undulating flow of moves and marks until they crystallize into a whole artistic creation,” thus, rendering her final prints on canvas/Plexiglas permanent contemporary works of art. .

Alfredo Bovio di Giovanni’s life spanned almost the entirety of the 20th century. Born in Fontana Liri, Italy on June 11th, 1907 this extraordinary artistic impresario spent decades foraging through many of the dominant movements that defined the progression of art history. By the time of his death in 1995, Di Giovanni had elaborated a personal quest for modes of expression that would give to his visual language a unique flair – different from his predecessors and contemporaries. This exhibition is comprised of important pieces from his final body of work, coupled with selected works from earlier years. They form a pictorial tour de force mined from a piercing intellect and technical virtuosity.

Cha’s work has an earthy sensuality that only hints at the possibly deeper meaning. The surface is a technically masterful manipulation of material; layering delicate wood pieces and sanding them by hand, fusing and grinding wooden slivers, Cha meticulously fits together topographical contours that have no beginning or end. These monumental works call upon the ideas of creation, infinity, and eternity. The cone shape that is prevalent in her work references birth in nature; a pointed tip bursts through the earth’s surface and continues to reach upward as it grows. The surface landscape created by these forms is a metaphor for the human egoic experience of continually reaching to create more as we cement our place in the universe.