Jeff Madeen is, in some opinions, a brilliant artist. Likewise are Elizabeth Somers and Bradley Kachnowicz. So why is their work so rarely seen in their hometown of Durango?

We’ll remove Kachnowicz from the discussion for the moment, because his huge, bold and colorful paintings don’t really fall into the same category as Madeen’s and Somers’ work. Their art can educate, offend, frighten and infuriate, depending on the audience, which might explain why Madeen and Somers haven’t ever found representation from a Main Avenue gallery.

“Durango is so traditional, and ours is art you have to think about – it can be ugly art,” Somers said.

Getting their work seen no longer is a problem for the artistic trio. In December, they opened Gallery 145 on College Drive for what was supposed to be a two-week fling. Madeen is friends with one of the building’s owners and received permission to set up shop temporarily, but through a fortuitous business arrangement, it’s now a permanent and welcome addition to the downtown art scene. The artists will host an opening reception tonight to celebrate the new venture.

Gallery 145 is a showcase of the prolific artists’ work. Madeen expresses his political and social views through his art, which he assembles at his home studio. He recycles computer parts, miscellaneous junk and found objects of all ilk to make some heavy statements.

“I have a boneyard of stuff, and when I get a concept, I just start laying it out and putting things together,” Madeen said. “I’m all about changing mindsets, and I like to wake people up.”

His pieces usually require some explanation, but that’s part of the learning experience. Pieces such as “It’s All Good! Because?” which pinpoints 104 nuclear reactors on a map of the U.S. made from metal shavings, is layered with subtext that requires more time and effort by the viewer than a passing glance. Ditto for “New World Order,” a globe in the grasp of two turkey feet (from a bird Madeen shot himself) and “Donkey Prison,” which he made from a bark beetle-infested log on his property. “Fear Room” is a separate space full of politically charged artwork.

Somers’ work is equally puzzling and intriguing, but her inspiration isn’t born of the same distrust of all things governmental as Madeen. She described it as sarcastic, ironic and decidedly anti-religious.

“Mine’s kind of what I would call city art, and I feel it’s connected to art history. I think not enough artists pay attention to art history,” Somers said.

Like Madeen’s work, Somers’ sculptural pieces also incorporate recycled items and found objects. They’re quirky, with incongruously placed knickknacks and creative techniques such as entombing a pair of pumps or an electrical cord in steel wool. There’s a message in there somewhere, but with Somers, it’s never explicit.

Kachnowicz adds vibrant color to the gallery, and his paintings have been sought after for years. He’s sold several already; they’re usually big (with some exceptions) and he lays the oil and acrylic on thick. The layering effect leads to the creation of new and sometimes unintended colors that aren’t often seen because few put as much effort into creating such a look. As a primarily abstract artist, Kachnowicz’s pieces are among the most instantly recognizable among Durango artists. He’s been shown and represented in several galleries over the years, but Gallery 145 is the first time he’s had such a permanent presence.

Future plans for Gallery 145 include adding a liquor license to create a community art gathering place. Such a space would be a perfect fit for the artists, who are more concerned with the process of art and its use as a tool for social discourse as they are with any commercial success.

“We now have a home,” Madeen said.

ted@durangoherald.com