Requiem 7 - 2001-03
acrylic on linen
37 x 45.25 inches (93.98 x 114.93 cm)
Keung Szeto Keung Szeto’s latest group of paintings are meditations on surface and perception. Simultaneously pure abstraction and trompe l’oeil confection, the work examines the interplay between aggravated expanses of rough, spontaneous surface juxtaposed with controlled, elegant and apparently dimensional forms. Keung Szeto, 2003
D.J.’s Head Spikes - 2003
acrylic on wood
24 x 48 inches (60.96 x 121.92 cm)
Ben Matthews continues his exploration into a unique, fantastical and sometimes unsettling universe. The characters from this place exist at the edges of sideshows, of archaic advertisement and of storybooks none of which ever quite manifested themselves in our reality. Works on canvas and on folding, triptych panels unveil a mysteriously disconcerting series of images and scenes from this not-quite time/place.
Ben Matthews, 2003
Crescent Diner, Long Island City, NY, 1971 - 2003
watercolor on paper
13 x 19 inches (33 x 18 cm)
John Baeder The seventies were a pivotal time for me. I went through a rebirth early on making the transition from an ad agency art director to becoming a painter, full time. Everyone said it was courageous. For me is was something I had to do, it was my calling.
I would scour the city, and its environs taking many photographs, mostly storefronts, handmade signs, and diners, many diners. I came from diner denial being a transplant from Atlanta, Georgia where there were none. My vision then was that diners were more than an eating establishment, they appeared as temples from lost civilizations. I focused on those as visual phenomena.
Through the years, and a multiplicity of diner images later, many seventies images began to haunt me, travelling back to my metamorphosis and transformation. Historically they are compelling, there was a purity and innocence that I found appealing. For instance a few images in this show go back to when I was still an art director when my consciousness was more about documentation and preservation. This show pays homage to those formative years, and how my environment, and need for visual nurturing shined my soul.
John Baeder, 2003
Buy Mad 25¢ Cheap - 2003
11 x 12 x 8 inches (27.94 x 30.48 x 20.32 cm)
As subject matter, I choose such familiar containers as old boxes and baskets and fill them with contents that both convey information and stir the mind: old papers, documents, letters, music scrolls, even crossword puzzles - all made of clay. Using porcelain and stoneware, I seek to capture not only the appearance of things but also their essential nature, giving equal weight to meaning and to visual impact.
Many of the tools with which I work and the materials I use are the same as those used by clay workers since ancient times. However, some of my tools, such as my electric slab roller, are fairly recent inventions. All of my work is high fired to about the same temperature as the ancient Chinese porcelains and the Japanese and Korean stonewares. The printing on the clay is achieved by either the silk-screen method or with rubber stamps. Although I rarely use glaze for my current work, most of the colors I use are potter’s underglaze colors or metallic oxides. These are fired onto the clay. Sometimes I use acrylic paints to achieve special effects after the firing and occasionally I use epoxy putty. All the various parts of my sculptures are fired individually, then assembled and epoxied together to form the finished work.
Sylvia Hyman, 2003
Splash - 2002
acrylic paint on and pinned over canvas
12.5 x 12.5 inches (31.75 x 31.75 cm)
Margi Weir makes paintings in 3 Dimensions. These constructions of acrylic paint, paint that is both on and pinned over canvas, treat paint as object, brushstroke as sculpture, and explore the "push/pull" of color in both real and pictorial space. These small abstract compositions weave texture, color, space, and line into lyrical impressions of moments or ideas. They are multidimensional color fields that pull the viewer in and around and beyond.
Margi Weir, 2003
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