Bridge Construction-Morris, IL - 2003
oil on canvas
35 x 52 inches (88.9 x 132.08 cm)
Randy Dudley The pictures for which this statement is written, are panoramic realist views of the industrial landscape. These areas are often isolated and tend to have a long history of industry and manufacturing of one kind or another. This type of landscape, taking into account regional differences, can easily be seen in any number of places across the central and northeast states, which has in the past been referred to as the rust belt.
This landscape suggests, through its layering and overlapping of debris, structures, and accumulated rubble, a visual record of the past and present. This synthesis of histories is what gives the landscape its vitality. Gone are the stockyards, tanneries, steel mills, and gas works replaced by numerous smaller concerns, all of which leave behind their trace to the historic mix.
The industrial landscape, by virtue of its isolation, seems to resist change. This same isolation creates a menacing and alien landscape to some. But the inherent beauty of reflected light and local color combine with a stillness that permeates everything, creating a unique and inspired environment. Randy Dudley, 2003
Untitled - 2002
epoxy and cloth
Passive fabric becomes the defining form, revealing the intimate wonderment of absence. To quote Wallace Stevens, “The nothing that is.”
Muriel Castanis, 2003
The Needles #4 - 2002
mixed media on canvas
60 x 48 inches (152 x 122 cm)
Tino Zago Tino Zago's new series of oval paintings on canvas, "The Needles", is Nova Scotia revisited. "The Needles” refer to a small opening through islands to the open ocean. The oval format is suggestive of altarpieces without saints or madonnas. These works are abstract observations of sea, sky, and sunsets with a constant horizon being the common element in this series.
“My work is primarily about painting. The imageries of rocks, clouds and reflections are my inspiration to paint and water allows me the freedom to interweave abstract and figurative elements. These works are romantic odes to nature.”
Tino Zago, 2003
Triple Bill - 2002
silver gelatin print
16 x 20 inches (40.64 x 50.8 cm)
I began exploring the streets of Manhattan in the spring of 2000 and was immediately engaged by its erratic tempo. At times, this ever-changing grid of design and form gave rise to visual madness.
And to further intensify the complexity of this landscape there were media driven messages at the turn of every corner. As billboards imposed their presence upon our city I felt our visual gestalt being altered by their collision with our daily lives.
Billboards became my ultimate fascination. Icons of commercial culture elevated to god-like status. Giant Eyes looking down from above; faces and torsos of enormous proportion intercepting brick, glass and steel.
My eye approached these sites (sights) with the curiosity of an archeologist. I began to deconstruct the layers of billboard and building. Through the viewfinder the parts of each billboard became more important than the whole and much grander than their commercial counterpart. What emerged were unexpected juxtapositions; a remix of visuals that played with our perceptions.
My imagination was content with the new theatre that had been created.
Lilyan Aloma, 2003
Telephone I - 2002
resin / embedments
10.5 x 10.5 x 1 inch (26.67 x 26.67 x 2.54 cm)
I have always been interested in transformation of the common into the transcendent, the alchemy of finding meaning in the common and discarded.
Formally trained as an architect, I have always been interested in the exploration of space and form in order to express a non-verbal reality. My recent work involves the connecting of random elements into a cohesive geometrical framework, and in the juxtaposing of seemingly disparate artifacts found as the discards of the Industrial Age. My aim is to bring about a transformation of these discarded elements into a cohesive whole.
I am fascinated by junk yards and find much of my materials in these places. I place the discarded and broken objects I use into molds, and encapsulate them into clear resin objects. The pieces are then sanded and polished to bring out the metallic surfaces and create luminosity.
Luis Perelman, 2003
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