Artist Profiles

Ben Matthews
Untitled (Evil Detecting Glove) - 2000
acrylic on canvas
56 x 40 inches (142.24 x 101.6 cm

		Ben Matthews
		There is nothing complicated about my work. Basically, I try to create exciting images that lead to the use of 
		one's imagination. I like to think of my paintings as being short movies that the viewer directs in their own head.
		Working in a poster format, I try to give the impression that my paintings have already served their purpose. 
		They are documentation's of people, places, events, products, and moments in time that did, did not, or will 

		For my characters, I use antique photographs collected at flea markets. These people who have been sold 
		for a few bucks are recreated in my work. They are given new names and meaning.

		The final step to completing a work is to age it. By doing so, I try to give them a sense of reality. They exist 
		as used objects with mysterious pasts. They may have been in someone's basement collecting dust, found 
		at an abandoned museum, or bought at a pawnshop for $2.00.

		In the end, the piece should have a power that overshadows the fact that it is just a painting by an artist.

		Ben Matthews, November 2000

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Bill Fisher
Untitled - 2000
oil, wax on wood
48 x 48 inches (121.92 x 121.92 cm)

		Bill Fisher
		I paint in a reductivist manner relying on surface and spatial tensions to convey the content. The imagery in 
		my work is based on childhood memory, appropriated diagrams and reflections of the visual realities of 
		urban decay. My work expresses a continuing dynamic of time, experience, and personal perception.

		Bill Fisher, September 2000

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Mary Mazziotti
Helen - 1997
acrylic on wood panel
48 x 32 inches (122 x 81.28 cm)

		Mary Mazziotti
		In the series "Goddess Goes West" I've translated the myths of ancient goddesses to images of cowgirls. 
		Like their legendary sisters, America's Western icons are also an amalgam of myth, history, fantasy and 
		reality. Whether the women pictured come from the rodeo, the reservation or the back lot of a B-movie set 
		they have in common the strong values and ornery peculiarities for which goddesses are worshipped. 
		Painted in a style of enhanced realism, the cowgirls float against a brilliant blue sky, a pantheon worthy to 
		be adored.

		Mary Mazziotti, September 2000   

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Phil Goldstein
Railroad Light - 2000
oil on canvas, welded frame
33 x 29 inches (84 x 73.66 cm)

		Phil Goldstein
		The unusual forms and distinct personalities of old tools and other objects inspired this series of paintings, 
		framed in cut out rusted steel. The realistic rendering of these objects contrasts with the looser technique 
		applied to the background. The worn down second hand state of the objects plays off of the weathered 
		character of the welded frames, which become an integral part of the work.

		I am interested in the "aura" of these old devices, their ingenuity and compelling aesthetic character. The 
		way light plays across them forms interesting shadows and highlights giving them a captivating intangible 

		Phil Goldstein, September 2000

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Dana Salvo
color coupler print

		Dana Salvo
		Dana Salvo, is fascinated with how people throughout the world share the most intimate practices of 
		domestic devotion. Links between art, culture and religion distinguish his vision which offers an unusual 
		sense of integration and connectedness to the lives of people.

		The Gloucester photographs presented in this exhibition are part of Salvo's global search for images which 
		show how men and women evoke sacredness in their everyday environments, how they create devotional 
		altars and household arrangements which sanctify and personalize the places in which they live.

		Dana Salvo

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Daniel Fiorda
Every Day… A Diamond - 2006
steel, bronze, led
15 x 15 x 1 inches (38 x 38 x 2.5 cm)

		Daniel Fiorda
		Square Series - This collection of metal sculptures is based on the   artist’s intention to study 
the form and geometrics of squares. In visual arts as in architecture, geometrical forms are used
in relation to space and how that space relates to human consciousness. Using the square as a
springboard, the artist elaborates on the way the basic geometric principles manifest as proportions,
shapes and symmetries. Daniel Fiorda, September 2000
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