Block IV:Coupons, Pimpand Banana Girls - 2000
cardboard mounted on plywood
12 x 16 inches (30.48 x 40.64 cm)
Gregory Perkel Never before in art history has an artist transformed supermarket cartons into a creative medium the way Gregory Perkel has – disassembling the design elements of cardboard boxes, creating new patterns, new relationships, new meanings – transforming them into unique works of art. Experiencing his creations can be like traveling through time. Move very close to them and all you can see are the bits and pieces of today’s marketplace economy in which our lives are embedded. Step back for a broader perspective: it is as if you are viewing our society from a future vantage point, a thousand years from now, studying the serene, exquisite relics of our vanished civilization. Gregory Perkel, 2002
Little Debbie - 2002
acrylic on wood
6.5 x 16 x .75 inches (16.51 x 40.64 x 1.9 cm)
In my work, I meticulously re-create common objects, wrappers, packages and boxes I find on the street. I find them noteworthy in that they represent a small, but unvarnished truth; they are the polar opposites of the images hammered into all of us by mass advertising and carefully calculated point-of-purchase displays. Time, chance and the elements have affected and altered these objects, overlaid them with a patina of reality. Edges are softened; geometry is bent and twisted into organic creases and folds. No longer are they the squeaky-clean, mechanically identical images we’ve seen thousands of times. They have become, in effect, individualized. The objects themselves carry a visual record of this transformation to individualization; each tire mark, lipstick print and water stain depicts a part of the process. They are representations of a sometimes-harsh reality and a subtle reminder of the transitory nature of all things.
Thomas Pfannerstill, 2002
Midnight Sun - 1999
supergloss type R print
16 x 24 inches (40.64 x 60.96 cm)
George Ciardi Shooting time exposures at night with no manipulation of subject or light, photographer George Ciardi captures the bleak beauty, surprising colors and implied human presence found in urban and rural industrial settings. Allowing daylight balanced film to react to the color temperatures of various lighting sources, he draws upon his factory background, appreciation of structural geometry, and love of night and shadow to create compositions that raise more questions than they answer.
George Ciardi, 1999
Under The Tree - 2004
oil on canvas
46 x 66 inches (116.84 x 167.64 cm)
Leonard Koscianski symbolically alludes to the dark emotional turmoil of suburbia.
This painting shows a tangle of predatory animals in a suburban neighborhood, surrounded by a cage-like network of branches. For many critics of the postmodern world, the individual is isolated from the product of his labor, and imprisoned in suburban sprawl. He is tantalized, and inevitably frustrated in his quest for consumer products. He is shorn of religion, ethics, and metaphysics. Even long standing customs are suspect.
Leonard Koscianski, 2003
Bananas in Plastic - 2001
oil on panel
17.5 x 23.5 in.
Tjalf Sparnaay's paintings of simple objects from daily life rendered in a Hyper-Realistic manner are distinct, clear, and joyous. The artist gives reality an added push. His realism is penetrating, presenting us with the recognizable, almost boring reality of everyday life in a way we cannot avoid on a large confrontational scale. His work leads us to the surprising discovery that the visual harmony of things is dictated not as the consumer society would have us believe, by their perfection, but by their imperfection, their whimsicality and unpredictability. He kneads reality, letting it run through his fingers, giving it form, injecting in it the subjective and the unpredictable.
Sparnaay works in oil in the most refined tradition of hyper-realistic painting, combined with the unique viewpoint of the classic17th century Dutch painters. The objects he portrays are painted in an almost idealized, surreal environment. Ethereal light suffuses scene. The object itself, often of the most mundane sort takes on an iconic meaning. He paints in the tradition of the Dutch Golden Age, re-written in contemporary story lines.
Tjalf Sparnaay, 2003
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