Ener-G - 2001
acrylic and mixed media
48 x 48 inches (121.92 x 121.92 cm)
Peter Colen I try to forget that I know how to make a painting because I don't. Each new one forces me to reinvent painting for myself. What works in one painting doesn't generally work in the next one. This is always a jarring realization. It keeps the experience of painting alive for me. My process is not an intellectual exercise. It seems to me that my eyes create the work as they gaze. My way involves hours of sitting & looking. I search for clues, and direction from within the painting. The results of mistakes, and intended actions blur, and become equal in importance.
The paintings I have produced for this show are monolithic slabs. These paintings do not contain much color. In these works, I am more interested in density, light, surface, and what is beneath the surface. The colors that exist in my work are the tones of graphite, mica, rust, calcium carbonate, and other industrial materials. I use these materials as dry pigments, and acrylic as the vehicle.
There is desolation in my paintings, but I attempt to find or build something of beauty or meaning that is worthwhile enough to justify the painting's existence. In my work, I generally keep it abstract. I feel compelled to wipe out most figurative elements. I want the paintings to work on more than one level; As an abstract image, and in the world as a real object. My paintings are generally not very revealing on specific things about me. I do not try to infuse the works with ideas, though my thoughts, and decisions are contained within the paintings. These paintings are about what I see; what I find visually compelling. Hopefully, I am revealing something to somebody. "I think art is a form of communication. Nothing more, nothing less." Peter Colen - June 2001
Camel Man - 1993
gelatin silver photograph
A/P #2 (edition of 25)
16 x 26 inches (40.64 x 66.04 cm)
Paul Greenberg I take a very simple approach to making photographs. I document what I see. Nothing in my photography is planned or manipulated. I am not interested in inventing a new way of seeing and my work is far from being "cutting edge".
I have great respect and affection for the tradition of street photography and have always admired the practitioners of that genre, particularly Cartier-Bresson, Kertesz, Frank, Winogrand and Koudelka. My intent is not to mimic what they have done - although their influence is transparent - but to nurture and preserve this most important photographic exercise, the documentation of life on the street.
I believe in the classical approach to the process of making pictures. This involves a camera and the recording of a subject on film. I develop my film by hand, carefully controlling chemicals, time and temperature to produce a negative from which I make a print that best expresses my personal vision of the original subject. In 1990 I discovered that using the panorama camera could add another dimension to my images. The panorama format has been a part of the photographic vocabulary for over one hundred years, but was mainly a tool for landscape or architectural photographers. I use the Widelux panorama camera in much the same way as I use my Leica, as a hand-held, fast shooting tool for documenting the social landscape. When I am on the street I am constantly looking for "something" that I can translate into a photograph. That "something" might be a gesture, a face, the light or the place itself. I am constantly motivated to produce that one "great" photograph. I hope it never happens!
Paul Greenberg - April, 2001
Present Tense - 2001
reverse painting on glass in plaster
11 x 16 inches (27.94 x 40.64 cm)
Pat Moran I have always found landscapes to be a source of awe and inspiration in their beauty of design. In what can appear to be a haphazard display, there are balances of complexity and simplicity, delicacy and weight, purity and drama. Along with the play of light and shadows, the elements often combine to create moments of deep emotional beauty.
Serenity, mystery and perhaps impending chaos are the feelings I try to evoke in my images. A world where light has weight, clouds have souls and trees stand witness to unfolding moments that often only happen when our heads are turned elsewhere.
Pat Moran - April 2001
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