Exodus 2:1-3 - 2003
acrylic on canvas
36 x 48 inches (91.44 x 121.92 cm)
- Placed in the context of landscapes inspired
by the Hudson River School painters the idealized female is portrayed
at the juncture of myth and social realism. With references to mid
twentieth century imagery and advertising text the work courts irony and
the inner narratives are at once playful and confrontational. The paintings
in this series are acrylic on canvas.
Four Tokens II - Constant Series - 2004
oil, wax, and enamel on plastered panel
55 x 50 inches (139.7 x 127 cm)
Stephen Clark - Opus/Constant Paintings
The seeds for these paintings originate from two simple equations.
Both formulas have informed this body of work as both compositional and
metaphorical motifs. Clark reinterprets these simple equations as
vehicles for philosophical inquiry.
Appetites - 2002
oil, acrylic on paper on linen
28.5 x 28.5 inches (72.39 x 72.39 cm)
Brody-Lederman - Pilot Light
Brody-Lederman's paintings and works on paper explore familiar images
which initially appear naïve and direct. On closer observation, there is a
rigorous interplay of word and image, distilling complex psychological content.
Dogs, trees, rivers and lanterns inhabit these canvases. Paint is layered to
reveal process and textural variation. One senses a narrative inherent in
each work, inviting the viewer to become engaged with the art.
GreenYellow/AquaBlue - 2010
mixed media on canvas over panel
25 x 19 in. (63.5 x 48.25 cm)
"The reductive sensibility of minimalism has provided my initial
impulse for aesthetic exploration. My work focuses upon geometric forms,
grids, repetitive patterns, actual writing and solid panes of layered color.
My goal has been to create objects with presence: Paintings that can
be seen at their basic physical appearance and appreciated at face value."
I Can't Give You Anything But Love, Baby - 2004
collage and mixed media on paper
22 x 18 inches (55.88 x 45.72 cm)
Raab - The Street Series
Raab's mixed media collages are intimate little worlds with surreal
connections between past and present. There is a sense of history made
from fleeting images of graffiti juxtaposed with found objects, old photos,
rusted keys and faded maps. These normally incompatible artifacts and
souvenirs are set against figurative images, creating tensions in their
seemingly random contrasts, while attempting to create an overriding
harmony in their composition.
Jeremy Zilar, photographs
"The Actual Plane" is a series of photographs taken of car windshields
in moments when the aberrations on the surface of the glass become
the focus of attention. The photographs attempt to use the windshield
as a metaphor to capture the moment when your awareness shifts
from the world at large, to the actual plane of consciousness.
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