Artist Profiles

Echolalia – 2000
painted ceramic
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

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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 day’s 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
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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 nature’s inexorable affect on our creations.
		Peter Saari, April 2001
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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

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Aristocrat – 1997
photographic quadtone
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 society’s 
		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

Surface – 2001
acrylic on canvas
13 x 21 x 8 inches (33.02 x 53.34 x 20.32 cm)

		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.
		Bruce Price

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