Artist Profiles

Dusk - 2004
oil on canvas
46 x 62 inches (116.84 x 157.48 cm)

		Leonard Koscianski
		In The Survival of the Fittest, artist Leonard Koscianski symbolically alludes to the dark emotional turmoil of 
		This painting shows a tangle of predatory animals in a suburban neighborhood, surrounded by a cage-like 
		network of branches. For many critics of the postmodern world, the individual is isolated from the product of 
		his labor, and imprisoned in suburban sprawl. He is tantalized, and inevitably frustrated in his quest for 
		consumer products. He is shorn of religion, ethics, and metaphysics. Even long standing customs are 
		Using a symbolic representation of postmodern man and his world, the artist suggests that angry, frustrated 
		postmodern individuals revert to Hobbsean primitives on an emotional level. The suggestion that the "Heart 
		of Darkness" is to be found in middle America, connects the artist to modernist social critics like Sinclair 
		Lewis and Sherwood Anderson, while his idiosyncraticsymbolism seems postmodern.
		Leonard Koscianski, 2004

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Untitled - 2003
mixed media on wood panels
60 x 54 inches (152.4 x 137.16 cm)

		Bill Fisher
		My paintings are created by adding and subtracting many layers of patterns, drawings, and colors. The 
		painting process affords me the opportunity to respond to various combinations of patterns, shapes, and 
		forms on a very intuitive gut level.
		My intention is to express, in abstract terms, the physical, psychological, and spiritual nature of the human 
		Bill Fisher, April 2004

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Remembering Fifties - 2002
oil on canvas
28 x 40 inches (71.12 x 101.6 cm)

		Zarko Stefancic
I feel that we all need some special mark to remind each of us of the perfect moments in life; those rare moments full of an exquisite mixture of peace and excitement. I am using a painted diary to preserve those moments. In creating this diary, my first challenge is to find the subject that represents these real or imaginary events. After that, I need to find the right "accessories" which will emphasize the main impression and the principal subject, and give unity and harmony to the whole painting. The impossibility of future changes to the initial composition force me to start with a very strong conception before the painting process begins.
		Once I start painting, I am rendering an impression of the subjects as seen in my mind, not exactly as they 
		are. This freedom of execution and the avoidance of too great an accuracy let me portray the subjects 
		with just enough realism to please the imagination of the beholder.
		Zarko Stefancic, April 2004

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Untitled - Banares, India - 1989
black and white photograph, edition #: 3/12
16 x 20 inches (40.64 x 50.8 cm)

		Joseph Lawton
Exhibited here are photographs made over a roughly twenty-year period. Sometimes while working on jobs, more often between teaching obligations and on my own dime. Regardless of how I got there the working method remained the same; get up early, spend as much time on the streets as possible and photograph that which piqued my interest.
		Joseph Lawton, April 2004

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White Wine - 2004
oil on wood
10 x 8 inches (25.4 x 20.32 cm)

		Cara Wood-Ginder
		The paintings on wood in this show look like small blackboards with miniature “chalk” drawings in the 
		corners.  In the centers of each panel is a tightly realistic oil painting of some object of everyday life.
		I believe that a realistic painting can communicate as much as an artist wants to convey and reflect that 
		artist’s position even though it may seem to be unemotional. I try to infuse my still-lifes with optimism, irony, 
		spiritualism, even sarcasm, but cloaked in artistic realism.
		The fact that the picture in the center is surrounded by strange drawings, which seemingly don’t have much 
		to do with the image, is intended to give it another dimension. I am trying to create an elegance of symmetry 
		and simplicity, but to speak to complexity and depth at the same time.
		The paintings might subconsciously suggest to the viewer a variety of ideas, such as “learning” and “study”. 
		Maybe there is a suggestion of appreciation, and a sense of slowing down to see life up close, in the way it 
		is painted.
		Most of all it is intended to be open-ended enough for each viewer to bring their own interpretations to the 
		paintings. Each one is different and reacts differently in combination with another of the paintings. What the 
		viewer brings to the painting is what completes the work.
		Cara Wood-Ginder, April 2004

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