KANSAS CITY, MO.- Madeline Gallucci and Brenda Zappitell, who have never met, share similarities in their studio pursuit and practice. Gallucci explores, dissects, and reinterprets her everyday environment through her vibrant drawings, whimsical paintings, and digital prints. At the same time, Zappitell is also influenced by her environment, choosing to rely on intuition over examination to translate her experience into a painting. For both artists, the evidence of these translations is a body of work that captures a bright, bold, and positive energy.

Madeline Gallucci received her BFA from the Kansas City Art Institute in 2012 where she acquired a passion for image making and working collaboratively. Gallucci has shown locally in Kansas City at Plug Projects, Paragraph Gallery and Kemper Museum of Contemporary Art as well as nationally at IDIO Gallery in Brooklyn, NY, Rebekah Templeton in Philadelphia, PA, Skylab Gallery in Columbus, OH and Terrault Contemporary in Baltimore, MD. She has been featured in local publications such as The Pitch and KC Magazine. Gallucci has been awarded local residencies through Charlotte Street Foundation and Hotel Phillips as well as national residencies in San Fransisco and Grinnell, IA.

Madeline Gallucci is a recipient of the 2016 Charlotte Street Foundation Visual Artist Award.

In addition to her studio practice, Madeline is Co-Director of Front/Space, an innovative project space located in Kansas City.

Brenda Zappitell, a Florida native, lives in Delray Beach, FL with her family. She creates abstract expressionist works not only born out of intuition but also serendipitously influenced by nature and life experiences. Dance being one of her main experiences that she now channels into a creative outlet in her studio. Although mostly self taught, she has attended classes and workshops in New Mexico, Mexico and Florida. Her work juxtaposes the balancing of counterintuitive ideas and combining movement and color. She is interested in beauty and imperfection, as well as the intersection of memory and being in the present moment. Through a primarily intuitive process these ideas are exemplified both intentionally and unintentionally in her work.

Zappitell’s work is in both private and public collections.