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ANDREW
PIEDILATO
Untitled - 2004
oil on canvas
81.25 x 80 inches (206.38 x 203.2 cm)
Andrew Piedilato
- These paintings are from small ideas:
a clump of feathers, a general shape, a body part or a blind gesture.
The beginning idea is not terribly important but the accidents
stumbled upon during the process is key. I elaborate upon ideas
discovered in the process as to arrive indirectly at an image I am
trying to capture.
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FRANCA
GHITTI
Tondo 3 Medio - 2003-04
wood and nails
43 x 44 x 3 inches (109.22 x 111.76 x 7.62 cm)
Franca Ghitti - Ghitti’s work involves a sculptural
representation of layers and elements that define a non-metropolitan
civilization. The primary forms of the sculpture function as archetypes
of the organization of territorial space. The sculptures seek to transform
a geometrical object into a primitive object in which we may perceive
the construction of an alternative alphabet of historical memory.
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ROD
PENNER
Red Light/McGregor, TX - 2004
acrylic on illustration board
9 x 15 inches (22.86 x 38.1 cm)
Rod Penner
- Penner’s paintings begin with photos of
familiar sights - main streets to ordinary homes- in small
Texas towns. The images are then replicated on canvas or board
with acrylics, moving an occasional object, altering colors, and
adding detail. Penner is interested in the look of things and the quality
of being there, a moment that is completely frozen with all the
variety of textures: rust on poles, crumbling asphalt, light hitting
the grass. The finished paintings can evoke contrasting responses
of melancholy and warmth, desolation and serenity -
everything that small town America can be.
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JESSICA
HAFFORD
Barber Chair - 2000
c print
16 x 20 inches (40.64 x 50.8 cm)
Jessica Hafford
- Green Haven Correctional facility is a maximum-security
prison located in Stormville New York. It houses around 2,200 inmates
whose sentences range from 7 years to life. I visited the prison on a couple
of different occasions and grew a deep fascination with space and the relationship
people develop with their surroundings. This project is not about the people
inside
the prison as much as it is about the prison itself. I was infatuated by the
gushing beams of light being forced through tiny blocks of windows and spilling
into long hallways; by the uncanny serenity felt inside cement cell blocks;
and mostly, I was
intrigued by the isolation and solitude that was felt inside every corridor,
cell and
vacant room I happened upon yet rarely the feeling of loneliness.
Prison as an institution is not a beautiful place. It can be grotesque, ugly
and sad to any
outsider. My intrigue is in the transformation that takes place when physical
boundaries
force solitude upon people. I realize that I may have been projecting beauty
around
me for the sake of soothing my own nerves for being in such an ominous place,
but I also
realize that quite possibly the same projection might happen to many of the
inmates and
guards that spend extensive time there.
My father has worked in this prison for over 20 years and is what initiated
my interest
in this particular prison. I wanted to experience the environment that he
disappeared into
every day throughout most of my life. This particular project has had a great
impact on me
and will continue to impact my work in the future.
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ANN
LEDY
Untitled (#8) - 1999
graphite on vellum
12 x 12 inches (30.48 x 30.48 cm)
Ann Ledy
- Shape is poetically articulated between the walnut and ebony lines
of these ethereal works on vellum paper. Each line sustains the memory of
the one before it,
compressing time into a succinct gesture. The simple geometric grid underlying
each
work supports the juxtaposition between the lines, which is experienced as
shape.
Light, shadow and volume
are implied as the edge of each line folds into the space
around it. Chance plays its hand as the gesture of the line is drawn across
the surface
creating a simple harmony in response to the rhythm of each shape defined
between the lines.
Ledy’s work is
inspired by the Japanese architecture and traditional rock gardens.
She is interested in capturing the essence of form in its purest state. These
works on
vellum directly inform her steel floor and wall drawings. These works use
light and
shadow to create adjacent shapes and the illusion of space.
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