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 Lane’s art often employs paper as a historical reference.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

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.

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.

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.