29 x 23 x 5.5 inches (73.66 x 58.42 x 13.97 cm)
Steven Montgomery "My interest in industrial imagery is completely aesthetic as I have almost no practical experience in any of the technical fields from which my work is derived. It has been through my understanding of the ceramic medium and its inherent limitlessness that I have been able to invent my own technology to suit my sculptural needs. My current work is a synthesis of conventional clay processes such as press-molding, hand-building, and wheel-throwing, fired at low temperature and painted to suggest the passage of time." Steven Montgomery, 1999
Black Ice X, Float - 2000
concrete, fiber optics
73 x 38 x 11 inches (185.42 x 96.52 x 27.94 cm)
Clyde Lynds Black Ice This series of works began several Decembers ago with a winter walk on a frozen lake. For some time I had been looking for a way to explore a deepening interest in natural light phenomena through the medium of fiber optics and concrete but had been unable to conceive of satisfactory forms to carve the concrete. That December, after several days of cold, the temperature dipped below zero and the lake froze solid overnight. The quick freeze created a black ice condition with crystal-like planes tilting in every direction within the ice. They sparkled the full spectrum in the next days sunshine and here and there, frozen in like fossils, were leaves and flowers left from a previous windstorm.
Change and movement are inherent in nature. Though the work in this show depends on technology, using it with the transitory suggestions of nature to explore perceptions of light in time seems entirely natural. These works mix their own color as they slowly develop their displays on the surface of the stone over several hours.
Clyde Lynds - April, 2001
Portal III 1999-2000
casein, gouache, plaster on canvas on wood
96 x 138.5 inches (in 3 sections)
243.84 x 351.79 cm (in 3 sections)
Peter Saari These small but varied group of paintings reflect my continuing interest in the ancient wall painting I have come to know from my visits to the south of Italy.
A couple of the large representational works depict fictive doorways flanked by columns. The surfaces of the casein on plaster paintings appear cracked and worn. These paintings are my re-imagined vision of the ancient past; a reminder of time and natures inexorable affect on our creations.
Peter Saari, April 2001
Woman Carrying a Bicycle III - 1997
acrylic on canvas on board
13.75 x 9 inches (34.92 x 22.86 cm)
Johannes Müller-Franken In his search for an artistic expression of his experience of reality, Johannes Müller-Franken has for some time worked with the medium of film. However, in spite of an affinity to certain stylistic elements of this medium, at some point it becomes clear that the particular moments which trigger his experience of reality, cannot be expressed on film. The lack of contemplative potential in moving pictures, which are bound to a course of action, guides him to painting. The direct visual experience of reality in its essence, i.e. the situation freed of ends and uses, the pure gaze is to be mediated by painting only.
Armin Schreiber, April 2001
12 x 18 inches (30.48 x 45.72 cm)
(edition of 20)
Richard Miller Myths of Masculinity is a series of black and white photographs that explores the stereotypical and archetypal iconography of the American male. What does it mean to be born male? What are societys role models for masculinity? What is at the root of machismo? This series brings fresh awareness and hopefully new answers to those old, touchy questions about gender.
In conducting this inquiry, I made several key stylistic choices. The iconography in these photographs hearkens back to an earlier era when masculinity was more clearly differentiated. (Identifying guy stuff after about 1975 became very tricky.) Spatial relationships were deliberately contorted and surreal elements added to emphasize the mythological rather than the literal, political meanings. To allow for a more light-hearted approach to this exploration, I tried to be humorous as well as hard hitting.
In my technique, I used a blend of the traditional and the radical; of good old-fashioned photography and cutting-edge digital technology. Vintage objects and clothing were assembled, lit and photographed in the studio. The resulting negatives were scanned and computer enhanced with Photoshop®. Utilizing highly specialized software, these images were then printed with an inkjet printer onto watercolor paper using archival quadtone inks. Along with the increased freedom of expression that digital technology allows, this new process results in greater shadow/highlight detail and a broader tonal range than traditional photography alone.
My unique creative vision is partly the result of my unique physical vision. I was born with a rare, genetic atrophy of the optic nerve that has left me legally blind for most of my life. Living with the paradox of being a blind photographer is quite challenging, but it suits me nonetheless, As a thinker, an artist, a technician and an individual, I thrive on challenging the limits we all place on what is possible. Richard Miller, April 2001
Bruce Price These three dimensional acrylic on canvas box paintings emerge at the intersection of opposing processes. Minimalist forms meet expressionistic surface and color, systematic ordering meets arbitrary intent, thinking meets feeling.
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