Artist Profiles

ROBERT ANDERSON
Motel Chief - 1999
acrylic on canvas on panel
45 x 44 inches (114.3 x 111.76 cm)

		Robert Anderson - website
		Pulp Western
		Robert Anderson's new series of paintings, draws inspiration from the classic pulp fiction images that 
		infiltrated post-war culture. Using the Wild West as his backdrop, Anderson playfully recreates the world 
		of pulp Americana, a unique eye grabbing collection of startling images that breathtakingly seduce and 
		excite.

		Robert Anderson, 2001

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SOOK-JIN JO
All Things Are Born of Being III - 1999
mixed media and wood
71 x 69 x 52 inches (180.34 x 175.26 x 132.08 cm)

		Sook-Jin  Jo
		Anonymous, abandoned materials such as old doors, scrap plywood panels and other detritus of daily life 
		are the collected media I use to create constructs of varying scale.  The discarded materials I choose to 
		work with have a transcendent, almost somber beauty.  I sense people's traces, the motions of time and the 
		eternal cycle of life and death in them.

		The resulting work represents a universe of forms, an exploration of various elements collaborating to 
		produce a harmonious result with a certain meditative quality.  The art I make is not painting or sculpture.  
		I allow myself the freedom of not being confined to the limitations of dimension.  

		I believe in the existence of a world beyond the "material".  My hope is this spiritual element is evident in my 
		work.  Influenced by my Korean upbringing, I begin with the Taoist philosophy of interconnectedness with the 
		whole of creation.  

		My recent work furthers an understanding of the relationship between being and non-being as they are 
		essential to create and balance one another.  This exploration turns upon the ability to create meditative 
		spaces for the mind and spirit.
  
		Sook-Jin  Jo, January 2001

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MARK ABRAHAMSON
Altered House, F.I.d.f. - 1990
cibachrome
19.5 x 12.75 inches (49.53 x 32.38 cm)

	
		Mark Abrahamson
		Watershed Investigations

		The images from this series are aerial landscape photographs of North American River watersheds which
		I have photographed since 1990. My focus is water and the impacts of landuse upon it. Included in the 
		exhibition are Cibachromes from rural and coastal watersheds in Washington State; the west side of 
		Vancouver Island; the Lowcountry of Savannah, Georgia; and urban watersheds in Seattle, Chicago, 
		Philadelphia and New York. At low altitude from helicopters and airplanes, I create enigmatic narrative 
		abstractions...documents of point and nonpoint factors that adversely impact our waters. From this 
		perspective one sees a landscape continuously redefined by development and the forces of nature. The 
		subversive formalism of the imagery underscores the deceptive beauty of the land, while the oblique 
		shooting angle adds to the ambiguity of the work. With close inspection, the world below is troubled and 
		complex.

		I've been involved in landuse and the watershed restoration process in Washington State as an 
		environmentalist, citizen activist and artist for more than 20 years. As an ardent recreational fisherman I 
		have observed the decimation of legendary runs of King salmon, Coho, steelhead and cutthroat trout in 
		Puget Sound. Sloppy logging practices have increased sedimentation and exacerbated flooding. Pollution 
		from industry, herbicide and pesticide misuse, fertilizers, household hazardous waster, dairy and equestrian 
		farms, and failing septic systems have fouled the rivers and marine waters of the Sound. Development has 
		increased runoff and destroyed wetlands as we've raced to pave over the countryside.

		Water quality in some urban watersheds has improved during the past 25 years. On the Hudson River, you 
		can now swim or catch 20 pound striped bass (though laced with PCBs). In Seattle's Duwamish River, 
		recreational fishermen catch salmon and steelhead. These improvements are due to Federal environmental 
		laws enacted in the early 1970s; to changes in industry and agriculture; to greater public environmental 
		awareness; and to the leadership of conservation and citizen groups that promote environmentalism and a 
		sense of identity of the local citizenry with their rivers. For example the Puget Sound Keeper Alliance 
		monitors the Duwamish and other regional rivers for industrial polluters and legally pursues violators to 
		compliance. The Hudson River is indelibly etched into the psyche of New Yorkers as a treasure through the 
		work of many such groups and because of the Hudson's long prominence in American history, literature, 
		and the arts.

		We have a long way to go to clean up our nation's marine waters and rivers, but in the long term, I'm 
		optimistic that we can do it. Regulations for industrial discharge of pollutants need to be tightened and 
		existing laws more strictly enforced. Washington State, frequently portrayed as a national leader for 
		environmental concerns, ranks first in the country for the dumping of carcinogenic chemicals into its waters. 
		In a recent New York Times poll, 80% of those Americans asked favored "spending whatever it takes to 
		protect our environment." The right to a safe, healthy environment has become a core American value.

		Mark Abrahamson, January 2001
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JO SANDMAN
Twice #10 - 1998
photomechanical transparencies on Arches watercolor paper
8.5 x 8.5 x 1.5 inches (20.32 x 20.32 cm)


		Jo Sandman
		I begin work by selecting a found object, usually one of stone, coral or shell which resembles a human or 
		animal face, or has the potential to become one.

		Working with drills, picks and sanders, I shape the object to greater definition, bringing into focus a cogent 
		face or mask with its own identity.

		Using a copier I "photograph" the resultant face onto watercolor paper and also onto a transparency. I layer 
		them into a framing system which provides depth and separation of the two images. These are skewed, 
		producing a shift between the two layers.

		The images create a frisson; they seem to vibrate out of a deep space, like phantoms or beings in the 
		process of mutation.

		Jo Sandman, January 2001

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DON CELENDER
Ignored or Neglected Artists Survey

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