Y. J. CHO
2001 - 2000
mixed media on linen
16 x 22 inches (40.64 x 55.88 cm)
Y. J. Cho SHADOWS OF THE SILK ROAD The paintings of shadows from the Silk Road are Y.J. Cho's poetic renditions of a quiescently self-contained universe. Inspired by her recent journey along the ancient trade route, the paintings avoid the typical tourist sites of the Gobi Desert and Dunhuang. Instead, they engage the viewer in fragments of ordinary wall shadows.
Roofs and shacks, hills and trees, branches and leaves and other sundry objects are the shadowy images projected against vestiges of the past represented in time-worn walls. The shadows, tinged by the interplay of the sun-parched desert air and vapors rising from oasis streams, seem only dimly discernable at one moment like mirages quivering over the desert sand, then emerging, clearly projected the next moment. Y. J. Cho's canvases pulsate with contrasts: black and white, light and dark, moist and arid, vague and concrete. She uses shadows to construct abstract tableaus of almost calligraphic, beguiling simplicity. Grouped together the paintings narrate a plotless story that reverberates with the rhythms of the Silk Road. Y. J. Cho
Stormy Ocean #6 - 1996
oil on paper
12.5 x 17.75 inches (31.75 x 45.08 cm)
Vladimir German What fascinates me most of all in art is the transformation of any material (dirty pigments when I paint or a piece of wood, metal or stone when I sculpt) into some kind of poetical image.
Vladimir German, 1998
Web - 2000
concrete, fiber optics, oak
6 feet x 24 inches x 13 inches (182.88 x 60.96 x 33.02 cm)
Clyde Lynds Light is an inherently and obviously beautiful material to work with. Yet, although it has been used by artists for more than fifty years, its great possibilities for expression are only beginning to be felt."
Dentist's Office, 1939 - 1995
mixed media diorama
10.75 x 15.75 x 13.75 inches (27.3 x 40 x 35 cm)
John Mackiewicz These three-dimensional dioramas function as sort of a stylized mega-reality or an expressionistic illusion of realism. Rather than being based on existing situations, they are composites of fleeting images and impressions distilled and compressed. I find this a more reliable way of capturing the mood of a "generic" slice of life as opposed to working from existing references.
The basic straight-on view of the piece has to be compositionally pleasing just as a two dimensional work of art. The added bonuses are the additional and perspectives a viewer has as he or she moves about the work and discovers his or her own angles and perceptions.
The works are made from a variety of materials (plastics, wood, metal, reworked commercial miniature items and found objects).
There's some stagecraft involved in making these pieces, hallways and alleys that lead off out of sight, buildings in forced perspective, selective compression and most importantly the use of lights to establish a mood. Miniature and full-size lights are used along with a variety of colored gels and diffusing materials.
All the painting is done to accommodate the lighting. Several types of paints and techniques are used, the overall effect, generally tends to be muted and grayed down which hopefully will draw the viewer into the piece and make him or her a part of it.
I think the appeal of these works is based on the childhood fascination with small things and imaginary worlds overlaid with the stark matter-of-fact realities of an adult's sensibilities.
John Mackiewicz, December 2000
Steel Drawing / Monica Sitting; One Leg on the Other - 1990
enamel on laser-cut steel
30 x 42 inches (76.2 x 106.68 cm)
Tom Wesselmann Wesselmann's original idea, that began the cut-out works, was to preserve the process and immediacy of his drawings from life, com-plete with the false lines and errors, and realize them in steel. At the same time, he pursued another idea - to make tiny, very fast doodles, which he would then enlarge in cut-out metal, preserving the feel and spontaneity of the tiny sketch.
After these cut-out drawings are painted by Wesselmann and nailed tight to a white wall, they have a very intense presence, impossible to anticipate without actually seeing them. In black or shades of gray they look like they have been drawn directly on the wall, but at the same time the thickness of the metal makes a vital contribution to the force and presence of the image. Wesselmann described his elation with the first examples, saying it was as if he could pick up a drawing by the lines, remove it from a piece of paper and hang it, unchanged, on the wall. He referred to these cut-outs as steel drawings.
The underlying subject matter of these paintings is generally those situations that have held Wesselmann's interest since the fifties - nudes, still lifes and landscapes. From the beginning, his primary interest has been in the form and presentation of the image, which has resulted in constant change and growth in his work.
The cut-out metal works have allowed Wesselmann to make a quantum leap in the contribution of form to the intensification of the image. S. Steelingworth Tom Wesselmann
23-25 W. 13TH ST. FRONT - 1996-97
190 x 230 x 64 inches (482.5 x 584 x 162.5 cm)
Masao Gozu The installation of 23-25 West 137th Street represents the deconstruction/reconstruction in time and space of the original objects. The gap between the larger and smaller objects provides the viewer with the illusion of perspective, both metaphorical and historical within a physical space.
The triangular shape refers to the strength and eternity symbolized by the concept of the pyramid. Within this structure, the lines emphasize the junction of two individual bodies in one particular moment.
Masao Gozu, 2001
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