Artist Profiles

Strawberry Delight (Trifel) - 2003
oil on canvas
11 x 14 inches (27.94 x 35.56 cm)

		Beverly Shipko
		I paint in oil directly from the subject using a wet-on-wet technique, applying the oil paint to the canvas like 
		icing on a cake. The oil medium allows me to capture the luscious, tempting nature of desserts, with their 
		enticing textures, shapes, and colors that seduce me with promises of mouth-watering rewards.
		The serial images in this show portray moments of transitory pleasures, especially the ice cream paintings. 
		Since the ice cream melts as soon as I set up the lights and start to paint, I only have a few minutes to fix 
		the image in my mind. Sometimes I see a more exciting image take shape as the ice cream on-a-stick 
		melts and the chocolate shell breaks apart, and I quickly snap a Polaroid to capture the fleeting moment.
		Often, the subjects elicit childhood memories, when life was uncomplicated. They evoke a time in my life 
		when an ice cream sandwich or an Oreo cookie was the center of my universe.
		I believe that on some level all people are attracted to things they are not supposed to have. I am no 
		exception. My particular challenge is to paint the subject matter on one hand, while not devouring these 
		"forbidden fruits" with the other. It is particularly ironic that I'm obsessed with painting tempting desserts. 
		I have a constant battle with hunger, a history of diabetes while I was pregnant, and a father who is a dentist. 
		And so the name of this body of work, "Great Temptations ", appropriately reflects the tension and conflict 
		that I feel while painting irresistible desserts.
		Beverly Shipko - July 12, 2001

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Tina – 1999
hand stitching, layered silk , net, felt
24 x 18 inches (60.96 x 45.72 cm)

		MaryEllen Sinclair
		For many years I have been fascinated with thread, experimenting with its nature. The thread defines the 
		rules. It does what it will, and will not, do. And I become obsessed learning more and more of how to push 
		and pull, which is how my processes progress. I define fabric as woven threads; a thread simply a 
		three-dimensional spun line of any fiber; silk, hemp, cotton, even dust or dryer lint. However, my work is not 
		about fabric, even though it is made of it.
		My emotions are just as interwoven into the pieces as the thread. The objects are personal components of 
		my life experiences; they become visual evidence of human nature and life's ironies.
		MaryEllen Sinclair - September, 2001

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Odyssey – 2000
oil and acrylic on canvas
20 x 20 inches (50.8 x 50.8 cm)

		Cora H. Roth
		Two lines from Alexander Pope's Essay on Man crystallized the artistic process for me and ignited the 
		germinal idea for this new work: 
		"The spider's touch, how exquisitely fine!
		Feels at each thread, and lives along the line" 

		New York of the 40's and 50's, its' frenetic, pulsating energy, art deco glamour, and ubiquitous jazz, 
		provided an ongoing underpinning for my aesthetic and artistic development. Years of classical music 
		training have combined with those early visual and auditory influences to continually inform my work, 
		especially the musician's vocabulary - rhythm, harmony, melodic line, balance, and tonality are major 
		elements in my painting. 

		Small brushes are used to methodically develop the textural fields of oil paint that cover the surfaces, 
		stopping short of obliterating their active acrylic underpaintings. Works in this show range in mood from 
		somber to serene to exuberantly playful.
		Hopefully, the viewer will be enticed from afar to engage with the painting, and then to embark upon a 
		meditative journey of closer scrutiny between and along the lines.
		Cora H. Roth - August 2001

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Untitled - 1996 – 98
mixed media
17.5 x 16.5 x 16.5 inches (44.45 x 41.91 x 41.91 cm)

		Hiroyuki Hamada
		Some of my pieces emphasize the making process. The material itself speaks loudly in some pieces. My 
		nature weighs heavily in others. I like to feel that all of these interlock on different levels and create a certain 
		presence. I like this point, where the material becomes more than the material.
		Hiroyuki Hamada - September, 2001

3 Studies w/Measured Limb – 2000
painted wood
70 x 72 x 26 inches (177.8 x 182.9 x 66 cm)

		Darryl DelVecchio
		These sculptures are not really figurative. I can see however if someone mistakes them or interprets them as 
		figurative. To me they speak more about the absence of a presence, or at the very least a filtered or distorted 
		one (like something left behind). They are certainly related to a human presence in some way, just as a stop 
		sign, for instance, is related to a figure even though it does not depict or represent one. It is figurative 
		because of its associations.
		The limited color of the sculptures was not planned. They were the only colors that appeared right, so they 
		were used. The only requirements I made regarding this work beforehand were that the forms be open and 
		that they reflect a stillness. Though my forms are still, I wanted there to be a hidden vibrancy in them, just as 
		there can be movement in a stagnant photograph or life in a dead language.
		The drawings started out as blueprints or ideas for sculpture, but quickly turned into something separate and 
		altogether different. I knew early on that I would not be making them as sculpture. They are in book form 
		because I wanted them to be seen one at a tine but still together. Also, although they are linked to the 
		sculptures, I did not want them juxtaposed.
		Hundreds of drawings were done and these were chosen because of their solidity and directness. My goal 
		with the drawings, and the sculpture, was the same: to isolate and then to probe solid, still forms and present 
		them in a clear, straightforward way while adding to them an ambiguous, figurative, symbol-like quality.
		I would consider the collage pieces "open" compositions basically because of their relationship to the 
		sculptures. That relationship is their main function and purpose. They also serve as an extension of the 
		sculptures, so they take on the same open characteristics. They are considerably easier to do because so 
		much more is accepted and allowed (on my part) when doing collage.
		Darryl DelVecchio - September, 2001

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