On a Tuesday evening last month, just before Thanksgiving, artist Ted Hartley was at a dinner to celebrate his recently exhibition of new paintings at Keyes Gallery in Sag Harbor, New York. As the dozen oysters he’d ordered were laid out in front of him, he was prompted to explain the inspiration for his latest body of work.
“It’s about walls,” Hartley said. “When you run into a wall you either have to get over it, go under it, get around it, or break it down. Life is about dealing with walls. It’s about not letting fear get the better of you” he said. After a moment to himself, he picked an oyster, swallowed it down, and placed its shell upside down on the tray of crushed ice.
Apart from its zip code, an exhibition opening in Sag Harbor is not unlike one at a smaller gallery in Tribeca or Chelsea, or any in Brooklyn. The main difference, however, is the complete lack of pretense or cynicism, noticeable upon entering the gallery.
The atmosphere was quite nonchalant for one of the chicest enclaves on Long Island, and by proxy in all of New York State. About 20 people filled the room, for a night full of conversation, appreciation, and very good wine served out of thin plastic flutes.
Ted Hartley, Woods, 2021.
On view in the exhibition, which runs until December 5, was Hartley’s “Ukraine Series,” a collection of three punchy abstract works in blue, red, black, and yellow that bring together the influences of Post-Impressionism and Abstract Expressionism.