Artist Profiles

Angles 03-13 - 2003
wood, paint
15.5 x 22.5 x 1.5 inches (39.37 x 57.15 x 3.81 cm)

		Akiko Mashima
		For the artwork in this show, I’ve mainly tried to make figures created by surfaces and lines. Utilizing 4x4, 
		1x6, 2x6, 2x4 construction wood, I have sought to express the characteristics and attractiveness of wood, 
		and I’ve also added color. I would like to elicit through these artworks the feeling of a fresh pleasant 
		For some parts of the work, I’ve used bar shaped sticks which I made out of wood. I made these sticks by 
		sawing 1x6’s into many pieces and gluing them one on top of the other. I arranged the sawed pieces in a 
		way so that each stick they form has lines with different angles of their own. These different lines help bring 
		out the attractiveness of the artwork. The shapes that use these lines, currently give me a pleasant feeling. 
		With one surface and line, I’ve experienced and enjoyed many possibilities. The sticks with the diagonal 
		lines and the flat surfaces of the artwork harmonize and respond with each other, creating movement in 
		space. They also in a sense sort of surround the space.
		I’ve used different polishing methods according to the artwork. There are works which I’ve used sandpapers 
		up to No. 1000, up to No. 600, and works which I’ve used only a file. The different polishing procedures bring 
		out the delicacy, softness, and toughness of wood. The contrast between the softness and toughness 
		stimulates the viewer’s eyes as it makes the artwork more attractive.
		When I was making my works for this show, I tried to express the quiet, natural, pleasant atmosphere and 
		space. I would be satisfied if the observer were to feel and enjoy the atmosphere and space that is created.
		Akiko Mashima, 2004

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Myself - 2002
steel and shadow
30 x 39 x 14 inches

		Larry Kagan
		My work represents an ongoing exploration into the use of shadows as a primary visual medium. I am 
		particularly interested in the kind of complex object-shadow relationships that integrate both elements into 
		distinctly new kinds of visual experiences, drawing much of their expressive power from reversing the 
		dominant/dependant roles of the objects and the shadows they cast. While the steel constructions in these 
		works still create the shadows, it is the shadows that are made to carry the major narrative burden. 
		Moreover, the counter intuitive object-shadow relationships in these sculptures give rise to strong cognitive 
		tensions that stimulate a high level of interaction with the viewers and keep them engaged with the work.
		Larry Kagan, 2004

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Untitled (National Academy of Science) - 2004
oil and mixed media on board
90 x 56.25 x 6 inches

		Robert Van Vranken
"These paintings are a synthesized collage of mistakes. That is, there was never a master plan and if there was no one ever took it seriously...these paintings are simply a record, and perhaps even a synthesis, of billions of infinite small moments; moments of sleepiness and moments of wide-awakeness; moments of clarity and of confusion; moments of hoping for something and moments of fearing everything; moments with music and moments without music; moments of abandon and moments of control -- but all moments identical in dimension to the moment in which you now stand, your shoes pushed down hard against the floor." Robert Van Vranken 1999 These paintings are made in much the same way a plaster wall is constructed. First, 3/4" plywood panels are covered with wire mesh and then painted with a covering of latex liquid bonding agent (Weld-O-Bond) - this helps to bond the subsequent layers of plaster to the board. Nest the first coat, or 'scratch coat' of plaster is applied with a notched trowel. For this first coat a perilited gypsum plaster called "Gypsolite" is used -this creates a good rough surface for the nest coat and is also light in weight After this coat dries the surface is again coated with latex liquid bonding agent and then given a second coat of plaster - this time a standard plaster made with 50% gauging plaster and 50% slaked time. The surface is troweled to a desired finish. After the plaster dries, usually a couple of days, oil paint can then be applied. In some areas additional layers of plaster are added, or previous layers are sometimes removed with a chisel. The painting becomes a slow cumulative process of the addition and subtraction of plaster, paint and collage materials. The intent of the process is never clearly known "Inside these paintings, one has the feeling that time has passed, that lives have been lived here, that ideas and events have come and gone, that things have changed. What remains is a kind of tracery of the passage of time, and the enormous sound of its silence. After the storm of time, what remains are not the specifics of each intention, each thought, or each act, but rather some kind of pure distillation of the energy of change itself - a distillation which renders this small piece of plywood whole, complete, beyond the need to measure." - Anonymous There is nothing extra that you need to know. Trust your own experience - it is exactly right.
		Robert Van Vranken, 1999

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Des Moines, Iowa - 2002
gelatin silver print 1/25
9 x 13.5 inches (22.86 x 34.29 cm)

		John Lucas
		In the past decade there has been much discussion about what it means to be American. Traveling to 
		different parts of the country I was fascinated to see how this question could be answered, in all its 
		complexity, within a single visual moment.  An image can bring together strange ironies -- for example, the 
		marriage of guns and family values, or patriotism and consumerism.  Greed, violence and fanaticism play a 
		role in our day-to-day existence that is both amusing and devastating.  These photographs capture the 
		forces that pull taut the complex web of daily American life -- the guns, the guts, the gods -- in a glance.
		John Lucas, 2004

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The Stolen Dream - 2004
mixed media construction
2 x 6 x 2 inches (5.08 x 15.24 x 5.08 cm)

		Rick Araluce
		I love to make things. I have always loved to make things. As a kid I made plastic models of World War II 
		tanks and airplanes. I made imaginary spacecraft from scratch for homemade Super 8 movies. Later I 
		made props, weird contraptions and miniature scenarios for animated music videos. Now I make scenery 
		for the Seattle Opera. In a way, I guess my artwork is tiny scenery. I make virtually everything you see in 
		these pieces. This includes the boxes and trim, which I saw, mill, and assemble. I manufacture the doors, 
		windows, chairs, tables, moulding and flooring—-all of it. I use plastic, paper, wood, carving foam, all 
		manner of found materials, whatever is necessary to complete the illusion. I’ve devised special methods to 
		create a tiny table leg, chair seat, lightbulb, nail, book, and anything else you might find. It can be awesomely 
		tedious and immensely fun. As to how I do it, well, I like to keep some secrets. You understand. Eyestrain 
		is a hazard of the profession, obsessiveness a job requirement.
		Enjoy the riddle.
		Rick Araluce, 2004

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