Ted Weller
		I begin with a seemingly inconsequential recording of landscape views on site, a system not unlike the taking 
		of snap shots. I then move indoor with the process, where the drawings are scaled up and painted in enamel 
		on aluminum. This cool and ironic procedural distance, oddly enough, still produces a romantic notion of 
		landscape. The paintings resulting from these drawings are spare but lush. They are deliberately constructed 
		from a quick gestural study which is purposefully turned into a pattern of graphic marks. As the drawings are 
		magnified or scaled up, the abstract relationship of the marks become more evident; the abstraction within 
		the representational becomes more important.

		Ted Weller, 2002

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MASAAKI SATO
Newstand No. 81 (The Spirit of NY) - 2001-2002
oil on canvas
60 x 80 inches (152 x 203 cm)

		Masaaki Sato
		In my more recent Newsstand paintings, I explore an entire range of expressive possibilities by constantly 
		recombining texts and images on the covers of the magazines, illusively exhibited upon newsstand racks. 
		The newsstand motif may thus serve as a metaphor for language, since language is likewise subjected to 
		continuous change. The English language, particularly as it is used in New York City by people of different 
		origins and varying cultural backgrounds, is probably the most fluid and constantly changing of all.

		Masaaki Sato, 2002

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Y. J. CHO
9802 - 1998
mixed media on linen
30.5 x 40 inches (77.47 x 101.6 cm)

		Y. J. Cho
		This group of small paintings, The Wall Diaries, is the artist’s depiction of different places she has passed 
		through in her travels to Tibet, Nepal, Bhutan and Taiwan: surface upon surface, wall upon wall of 
		records, like relics of one individual’s treasure hunt. Among them are hints of greenery climbing up old 
		walls as if suggesting spring; there are images of fleeting light and reflections that adhere, like giant claws, 
		to cracks on the wall; there is loneliness in the shadows of fallen city walls, and the hazy vastness of 
		historical events that seem to rise from their dappled patterns.

		Y. J. Cho, 2002

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MICHAEL PUTNAM
"Texas" - 1987
silver gelatin photograph
16 x 20 inches (40.64 x 50.8 cm)

		Michael Putnam
		American Movie Theaters
		This photographic project concerns the demise of the movie theater in America’s towns and cities. By the 
		1980’s, the movie theater was closed and abandoned in downtowns across the country. This exhibition is 
		of black and white photography, an archive of images, large in quantity and geographically diffuse, a 
		personal interpretation of a sociological and architectural transition that has altered the American townscape. 
		The theater becomes a fragile and endangered reality, progressively isolated, ultimately abandoned. This is 
		a chronicle of traces and memories.

		Michael Putnam, 2002

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KOHEI AYA
Residents, 13 - 2000
oil and resin on plaster and concrete
16.125 x 12.5 inches (40.95 x 31.75 cm)

		Kohei Aya
		Kohei Aya’s small wall sculptures are amalgamations of plaster, gold leaf, silver leaf and resin on concrete
		slabs. The slabs represent and duplicate imagined fragments of an anonymous sidewalk in a decidedly 
		urban setting. Each of these isolated chunks of metropolitan walkway are scattered with an array of standard, 
		urban refuse: cigarette butts, bottle caps, matchbooks all meticulously fashioned out of resin. Floating by 
		themselves, disconnected from any other context the sculptures become microcosms of the discarded. 
		The flotsam represent icons of our casual attitude towards what is useful and what is thrown away, each 
		piece floating in a pristine, oblivious, miniature sea of sidewalk.

		Kohei Aya, 2002

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