Artist Profiles

JOHN KIKI
Shadow of the Beast - 2000/2005
acrylic on canvas
51 x 48 inches ( 129.54 x 121.92 cm)

John Kiki - Kiki's subjects are painted in varied situations, sometimes awkward or surrealistic or mythological. Mr. Kiki's prime concern is the paint manipulation and a unique interpretation of the figure.

 

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BILL FISHER
In Grey - 2005
oil on wood panel
64 x 48 (162.56 X 121.92 cm)

Bill Fisher - Bill Fisher's paintings on wood panel are created by adding and subtracting many layers of pattern, drawing and color. This painting process affords him the opportunity to respond to various combinations of line, shape and form on a very intuitive level with the intention of expressing in abstract terms, the physical, psychological and spriritual nature of the human condition.

 

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JACK MENDENHALL
The Bellagio - 2006
oil on linen
30 x 41.5 in. (76.2 x 105.41 cm)

Jack Mendenhall - The seductive light and lush color of Caribbean and Pacific resorts are depicted in these hyper-realist paintings. In the last few years the artist's interest has turned to painting the allure of an exotic environment. He has traveled to the Caribbean and areas in the Pacific Rim searching for seductive light, lush color and gleam; all elements important to his painting style.


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MARK PERROTT
U.S. Air and Beach - 1982
archival silverprints ed. 2/25
20 x 24 inches ( 50.8 x 60.96 cm)

Mark Perrott - Perrott's photographs document the visual impact of billboards on the community, but also reveal their curious potential to be interpreted, and occasionally misinterpreted. "I'm attracted to the monumental scale of the billboard image, most often created from a painter's cartoon that began as a photograph", Perrott says "And I'm amazed at the sign painters craft. They work day in and day out, suspended on a scaffold, mostly isolated, and literally too close to see the big picture".


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SUZANNE ULRICH
No. 1312 - 2005
cut, torn, painted and pasted papers
11 1/8 x 10 inches (28.1 x 25.4 cm)

Suzanne Ulrich - These collage works of cut, torn, painted and pasted papers have an intimate scale. The rectangle both dominates and gives structure to the work with attention to the surface detail and layering. With a compositional ordering, avoiding any illusionistic references, each piece becomes a composed self-contained presence.

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