Artist Profiles

Untitled - 2007
paint, paper, wood
85 x 120 inches (216 x 304 cm)

Stephen Lane - Materiality is key to Stephen Lane’s paintings, not simply because as concepts and ideas art works are material objects, but because Lane’s open engagement with the context of his work will be incomplete without equal regard to the materials and the sense of time that they provide to them. Lane’s art often employs paper as a historical reference. His usage of newspapers, diaries and other printed material purchased from markets in Beijing, which often date from the 1950’s to current times works with the notion of intervention and removal through a process of painting over, creating a context where the echoes of a past time and contemporary issues become disconcertingly similar.

Excerpt from exhibition brochure: John Baldacchino, Columbia University, New York, August 2007

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Mosquito #1 - 2007
welded steel and shadow
48 x 44 x 16 inches (122 x 111.75 x 40.6 cm)

Larry Kagan - Larry Kagan’s work is both sculptural and graphic. Using abstract welded steel sculpture, he creates drawings in the thrown shadows. These “shadow drawings” are in fact “wrong” shadows; they are visually unrelated to the sculptural forms that create them. This “wrongness” makes the work both confounding and utterly compelling. The pieces convert chaotic observations of three-dimensional space into coherent two-dimensional representations.

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Fancy Junk
cibachrome print
32 x 40 inches (81.3 x 101 cm)

Dennis O'Kain - Dennis O'Kain works alone and travels extensively photographing signs, structures, and crossroads. Metaphorically we see that which is obvious but revealed through a most democratic medium, photography. The approach is straightforward - large format camera with transparency film enlarged x on cibachrome material. The notion that light reveals all is tantamount to this work.

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L'Heureux's Last Ride - 2007
acrylic on canvas
15.25 x 20.25 inches (38.7 x 51.4 cm)

Leonard Dufresne - These paintings appear to be purely narrative, but are fabrications originating in experience, observation, and imagination. Imagery from those sources is transposed from mental to graphic form through the daily practice of drawing. The pictures are intended to be vivid, light-filled, judiciously presented visual responses to the question, "What is it like to live a life?" Subtle and significant alterations are made when they seem likely to improve the chances of the picture's attainment of a condition combining lively pictorial fluency with precise formal clarity.

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Dusk Over Elevated - 2003
18 x 24 inches (45.7 x 61 cm)

Craig Barrack - Craig Barrack’s pastels are perceptions of the urban environment. These images reflect on notions of movement, space, inertia and vulnerability, as seen through the prism of  the American city. The works visual vocabulary derives from romanticism, Chinese landscape painting and American folk art.

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Blue Vibration - 2007
oil on canvas
48 x 36  inches (122 x 91.4 cm)

Romain - These paintings concern the notion of an animal which is traveling to an unidentified world. The soft light and the atmosphere (water, fog, tonalities) contribute to the mystery of the environment transforming what would otherwise be mundane farm animals into new creatures. The artist is concerned with light and the way it circulates through each painting. The intent is to avoid stereotypical patterns and to take the viewer on a voyage through emotion and sensation.

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