art palm springs

trevor allen huber at house of wren

In Collaboration with Cassera Arts Premier

House of Wren co-curates a booth capturing the aboriginal aesthetic and spirit in contemporary times with long-time dealer and African antique expert, Dave Cassera. Featuring more than 20 historic treasures form 19th century Liberia, Angola, Australia, Papau New Guinea and an incredible Olmac, jade mask from Mexico, House of Wren artists will be amongst some of the most inspired and sought after artifacts presenting their own modern day creations. Trevor Allen Huber will show selected works from his hand-made glass Synapse Vessel while Kaye Freeman debuts paintings from her Joshua Tree series.

Art Palm Springs returns to the Palm Springs Convention Center February 16-19, 2017 for a sixth year with an expanded program of panels, artist receptions, book signings, and VIP access events.

The weekend kicks off with the Opening Night Reception and awards presentation. 2017 honorees include Art Patron of the Year to Donna MacMillan and Artist of the Year to Lita Albuquerque. Each year this reception draws a capacity crowd of collectors, curators, artists and tastemakers as they celebrate the curated collection of works presented by the exhibiting galleries from around the globe. 2017 will have a record number of galleries representing over 300 artists from galleries traveling from Europe, Asia, South America and the United States.

A number of VIP events are available throughout the weekend including a Modernism Home Tour, Desert X preview, guided tours of Art Palm Springs, tours of private home collections and a party at the O’Donnell House. Each VIP event requires pre-registration and has limited capacity.



It is known that the synapse plays a role in the formation of memory. This imprint of communication is represented in this body of work whereby each form is seen as an individual’s captured mind. The synapse vessel series shows how every human being is different. The forms inside these objects are completely unique, not one could ever be created in the same way. Just as humans do, these vessels take on masculine, feminine and asexual cues. Within humanity lies a great deal of uncontrollable variations. The artist captures these characteristics, raising human consciousness to evoke new perspectives and light from within one’s own mind.


Kaye Freeman paints to convey. Her canvases are conduits for the transfusion of emotions, ideas, states of being. They are the bone and gristle of what it is to be one among billions on earth. Each brush stroke and field of color is a direct expression of the artist’s self, and when we gaze at her arrangements of tone and form we see the artist, and ourselves, and the countless more with whom we live.

Freeman’s devastating 2012 “Floating Worlds” exhibition in Melbourne revealed an artist caught in a universe of unbearable clarity described in monotone save for a few silken whispers of color washing over but never softening her graphite and lead white drawings of grief, loss and darkness.

Fast forward to early 2016. Freeman visits the Joshua Tree National monument with her sketch book and a handful of crayons. Weeks later, in a tempest of creative activity she conceived “The Joshua Series," an ensemble of large canvases that can barely contain Freeman’s tumultuous cosmos of layered shapes, unabashed color, and her unwavering quest for perfect composition. In these works the desolate landscape, limitless light, and monolithic formations of Joshua Tree are plunged into the crucible of Freeman’s razor eye and unerring technique. There they are reduced, cleansed and abstracted into pure forms, lines and colors. They become the intuitive symbols and totems describing the artist’s personal journey from darkness to light, despair to joy, indifference to unbridled passion.

“Joshua” is the artist’s deepest dive into abstraction. Yet, despite the mystical code of color and light that Freeman has etched, stroked and teased into each canvas, our human appetite for narrative is still satisfied, though not by looking left to right or up and down. Two dimensions are not enough for Freeman. That is why, in order to read the visual poems that are the Joshua Series, one must look deeper, past the surface to the layers beneath, and eventually to the human substrate, upon which we are all painted.

exhibition details

February 15, 2017 through February 19, 2017

Palm Springs Convention Center
277 N Avenida Caballeros, Palm Springs, CA 92262