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Marc Trujillo and Holly Lane

Opening Reception Friday, July 24th, 2026
Exhibition dates
July 25, 2026 - January 3, 2027
Location: Fresno Art Museum

artists

Exhibition artist
Trujillo, Marc
Quote
"Two hundred yards of polished concrete gives me a chill that makes me want to paint it. Inside a grocery store, a wash of daylight lifts cool notes of color from a linoleum floor already spotted with muffled highlights cast from fluorescent lights above. Strangers are pushing carts around, texting, choosing frozen goods from a reach-in. I occupy the middle ground—the purgatory of the shared spaces of the everyday world of steel and glass we’ve made for ourselves. "
Alan Magee has received numerous awards for his paintings and his work is in many public collections including the Fine Arts Museums of San Francisco (CA), The Art Institute of Chicago (IL), Portland Museum of Art and Farnsworth Art Museum (ME), Arkansas Museum of Fine Arts (Little Rock, AR), DeCordova Museum (Lincoln, MA), Huntington Museum of Art (WV), and Columbus Museum of Art (OH). Several television documentaries have been made about his work including the Maine PBS production, “Alan Magee: Visions of

Marc Trujillo

The locations in the paintings are non-destinations, particularly North American kinds of nowhere, at once ubiquitous and yet largely unseen. These places give me the slightly sinking feeling that I know I’m somewhere, but not really there, present in an absent sort of way. In the mix of shame and awe that I feel, I am inspired by the potential for painting what I’m experiencing in the moment.

For me, making is thinking. My paintings are built on drawings as opposed to being painted from photographs. In order to convey what I’m experiencing in these spaces, I need to draw. This stage of constructing the painting is vital—building the set, casting the characters, lighting the scene. It is where I test the potential for painting a given situation—clearing an aisle to keep the deep space open, changing the proportions of the space, and leaving in only the elements that demonstrate my interest in the space and the figures that occupy it. The paintings themselves are the acid test for all of the ideas I have going into them. It is an ongoing process of investigation and distillation.

Light is particularly important for me. It is how you sell the fiction of the painting as a real moment. The artificial light in the spaces I paint is very different from the light in the Old Master paintings I admire, but my interest in conveying it clearly is the same.

Philosophically, my paintings address how we empty the moment we’re in by thinking about what we’re going to do or what we’ve already done. Dostoyevsky said that looking forward we die too soon and looking backward we die too late. The places I paint are largely architectural instantiations of this state of being.

Lane-Holly Lane, portrait
Quote
"While an undergraduate in painting I began to think about frames. At that time, if a painting had a frame at all, it was a thin line, serving as protection for the art and as conceptual dividing line. The frame was a demarcation that indicated that all that was within was art – the frame itself, and all that was outside the frame was not art. A good frame was to be inconspicuous."
Holly Lane_Signature

Holly Lane

While pondering the nature of frames, I found some illuminated manuscripts in the University library, and saw how the borders visually commented on the text, sometimes even spoofing the text.  From this discovery I realized that a frame could be many things; it could be a commentary, an informing context, an environment, a fanfare, a shelter, it could extent movement, it could be a conceptual or formal elaboration, it could embody ancillary ideas, it could be like a body that houses and expresses the mind, and many other rich permutations.  From that point I began to create pieces that fused frame and painting, with some pieces having doors that open and close over paintings to suggest; contingency, potentiality, future, past, or cause and effect.

To experience the space of a painting we project our minds into the painting, consequently I see pictorial space as mind space.  The spatial qualities of sculpture exist in our own physical space; we walk around it, proportion our bodies to it - in part it is apprehended or 'seen' by the body.  By fusing sculptural frames with pictorial images I hope to address both modes of aesthetic perception. 

Some re-occurring themes are: interspecies compassion, philosophical proofs of animal cognition (e.g. the correction of errors, pretense, and awareness of other minds), veiled symbolism, re-presenting women from a woman artist's perspective, exploring the hidden implications, or the backstory of myths, eco-psychology and nature mysticism.

In addition to the frame/painting pieces, in recent years I have begun a series of purely sculptural pieces of gilded carved wood.  Each gold sculpture starts solely with the relationships of forms and shapes guided by a love of proportion.  Only when the sculpture is complete do I see the iconographical and philosophical sources that subconsciously fed my decisions and creative process.  Body-like the gilding layers a radiant skin onto the form.   

Visually, I am drawn to; architecture, light on water, ecclesiastical furniture, clouds, lace, freak vegetables, models of the internal organs of various species, the contours of soft serve ice cream, stalactites, stalagmites, fungi, crowded forms, sooty lines, diffused edges and evening light.