Artist Profiles

Sea - Land - 2004
color photo
48 x 62 inches ed of 10 (121.92 x 157.48 cm ed of 10)

Tom Yglesias - The subject is the geometry of industrial
trucks and machinery. The purpose is to demonstrate the compelling
nature of these sculptural fabrications. The photographs have been
modified by removing background distractions and then isolating
them on a white field. The format is large to indicate the scale of the
subjects and to draw attention to small details such as chains, fittings,
dents, reflections, etc., and their relationship to the central image.
The photographs have been taken around the Bay area of San Francisco
at shipping docks, construction sites and industrial work areas.

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300 Wishes - 2003-04
mixed media on wood
86 x 87.5 x 17 inches (218.44 x 222.25 x 43.18 cm)

Sook Jin Jo - Anonymous, abandoned materials such as old doors,
scrap plywood panels and other detritus of daily life are the collected
mediums I use to create constructs of varying scale. The discarded
materials I choose to work with have a transcendent, almost somber
beauty. I sense people's traces, the motions of time and the eternal
cycle of life and death in them.

The art I make is not painting or sculpture. I allow myself the
freedom of not being confined to the limitations of dimension. Through
powerful, emblematic structures, I have attempted to defy all gender
and regional precepts rendered detectable in works of art. I also try
to create universe of forms and to explore various elements corroborated
to produce a harmonious result with a certain meditative quality.

I believe in the existence of a world beyond the "material". My hope is
this spiritual element is evident in my work. Influenced by my Korean
upbringing, I began with the Taoist philosophy of interconnectedness
with the whole of creation. This has evolved through my contact with
Christianity to add a new and focused dimension to my work.

My recent work furthers an understanding of the relationship
between being and non-being as they are essential to create and balance
one another. It is explored by heightened awareness of perceived form and
void, the catalysts of space making. This exploration plays upon the ability to
create meditation spaces of the mind or spirit as it provides opportunity to
understand beyond the material.

I hope the viewer is inspired to engage the nonbeing of intuition, the essence
of the materials, and seeking a spiritual experience. And I hope, also, that the
viewer sees, as I have, the order of the cosmos: the ultimate revelation
of why things exist

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Spring - 2004
acrylic on linen
60 x 61.62 inches (152.4 x 156.52 cm)

Annette Morriss - I begin with small drawings using a square and several
rectangles that are mathematically related.

The dimensions of the square determine the grid that acts as as aid for
measurement in locating the sides and diagonals of the rectangle as I am
drawing. While the grid provides numerical regularity, the aim is not a
geometrical proof; the grid is the means by which I align, contrast,
compare and remember the multiple possibilities that occur until a
satisfying image evolves.

The small drawing is then duplicated and reassembles to see what
occurs when the linear repetition is enlarges upon. Here is where flaws and
redundancies usually reveal themselves, however not always; frequently in
the final painting there are prankish and unexpected visual surprises.

The paintings in this show, all approximately 60 inches square, are
painted in black acrylic on gessoed linen. The weight of the line is consistent
in each painting, creating a unified surface that differs in color depending on
the scale or the frequency of the parallel elements

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Sparkle; 74th Street/Lexington Avenue, New York, NY - 1998
12 x 18 inches ed of 5 (30.48 x 45.72 cm ed of 5)

Silvia G. Fuster - For several years I have had an ongoing interest in
siamese connections, the exterior pipe inlets used by fire fighters to
supplement a building’s fire protection water supply. The photographs
explore the relationship between standardization, site-specificity, and
the natural evolution of objects in the cityscape. They are an ode to a
beautiful object and to a beautiful system.

Siamese connections are one visible point along a vast network of
underground and concealed pipes that transfer water from the countryside
to fire hoses, public fountains, and shower heads across the city. These cast
brass fixtures are one of the interfaces between that regional system and
the internal infrastructure of buildings.

Siamese connections are but one focus in the larger subject of how buildings
accommodate infrastructure, a theme that has been part of architecture
since the modern advent of plumbing in the nineteenth century. The pipes are
attached to a building through an exterior wall or through a hole in the
sidewalk. Oftentimes this union between architecture and infrastructure goes
unplanned beforehand and installers must perform makeshift surgeries in
order to mount the pipes properly. Alterations are made, too, by appendages
that are added to guard against use by the public, and by the weather and
use that abuse the pipes’ paint and polish over time.

These mass-produced, code-required pipes thus attain a specific vitality and
anthropomorphic character when forced to adapt to and then live with the
peculiarities of their urban sites and their host buildings

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Ming's Grocery - 2002
acrylic on paper
5.5 x 8 inches (13.97 x 20.32 cm)

Neil Mac Cormick - Photo-realist paintings, using acrylic on paper,
exploring the subtle effects of successive generations on the secondary
structures of habitation: the generic commercial and industrial buildings
found in North American cities

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