Artist Profiles

WHAP! - 2008
cut and welded found metal
80 x 115 x 4 inches ( 203  x 292 x10 cm)

David Buckingham - David  Buckingham roams the windblown alleys, abandoned factories, gritty industrial areas, dodgy neighborhoods, and low deserts of Southern California in search of the cast away, the discarded, the forgotten: old 55-gallon barrels, wheelbarrows, tool boxes, road signs, tractor parts, car doors, gas cans. These battered relics are then muscled into works of art with an array of power tools and of will. All colors are original as found.

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Mermaid 9 - 2008
85 x 64 inches  (216 x 162.5 cm)

Keith Long - Keith Long constructs bas-relief wall sculpture from the discard pile of both nature and civilization. He chooses these materials because their own history is recorded in their physicality – an archaeological or anthropomorphic approach. These materials are then reassembled and the juxtaposition causes a surrealistic frisson of association. Rough and direct, Long’s work nevertheless displays humor, grace, and a certain implicit transience which enlivens the spirit.

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Shadows and Stream - 2008
acrylic on linen 
36 x 48 inches (91 x 122 cm)

Daniel Chard - With descriptive precision, pictorial drama and expressive organization, the recent Daniel Chard paintings present natural landscapes with a holistic presence, interconnected and interdependent, in the illusion of volume and the articulation of the painting space.

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Dutch Sketchbook - 2005
oil on canvas 36 x 30 inches (91 x 76 cm)

Zarko Stefancic - In this series of paintings, Zarko Stefancic is rendering the traditional artist’s motifs - portrait, landscape, nudes and urban landscape – using the technique of  trompe l’oeil. The paintings are an homage to past and present artists, art in general, and are intimate reflections on the ways that art enhances our perception.

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Treesong 5 - 2007-08
oil on card stock
4 x 6 inches  - framed 11 x 14 
(10 x 15 cm) (framed 28 x 36 cm)

Burleigh Kronquist - Treesong is a series of small (4 x 6 inch) oil paintings. The underlying image is a close-up section of tree bark, largely or completely obscured in the paintings by a kind of lyrical flow of paint inspired by musical composition. This romantic approach harks back to ideas of the sublime in the natural world. The paintings themselves are quiet and understated, rather than large and grandiose.

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