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

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PAUL GREENBERG
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

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PAT MORAN
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