Window With Moss (Truidum Prisocalyx A Jaeger) - 2006
stone, concrete moss
34 x 28 x 12 inches (86 x 71 x 30.5 cm) aprox 200 lbs
Masao Gozu - Utilizing moss-covered, native stone from the area near his studio in Pond Eddy, New York, Masao Gozu has altered, reconstructed and re-imagined 19th and early 20th century building facades from urban environments in and around New York City. Each piece of sculpture is constructed with a special mortar that is free of any acidity that would burn the moss. There also is a circulating water system built into each sculpture that keeps the moss moist. In Japan, moss on stone is symbolic of eternity.
Transfiguration - 2008
archival ink jet print
37.5 x 49.5 inches (95 x 126 cm) ed 4/10
Daniel Lee - Using software to combine human portraits with animal features, Daniel Lee creates composite digital images that are startlingly lifelike. Though image editing tools make such overt manipulation possible, they also allow subtle yet powerful adjustments that are completely invisible to the viewer. The result is seductively unsettling and illuminates aspects of the human/animal condition that compels our observation of traits previously unnoticed or unseen.
Kill It, The Game of Extinction - 2006
acrylic on canvas
24 x 30 inches (61 x 76 cm)
Ben Matthews - Ben Matthews’ work is an exploration into a unique, fantastical and sometimes disturbing universe. The characters from this place exist at the edges of sideshows, of archaic advertisement or odd storybooks. Creatures may have adapted atypically or have been created for some malevolent purpose none of which have quite manifested themselves in our reality. Works on canvas and paper unveil a mysteriously disconcerting series of images and scenes from this not-quite time/place.
Hunting Season - 2004
glass slide/animal skeleton, lens
8.25 x 21.5 x 7.5 inches (21 x 55 x 19 cm)
Herb Stratford - This body of work, small sculptural box constructions, combines various elements including; found-object antique boxes, vintage photographs, lenses, wax and felt. The end result is a entirely new object that hints at mysterious purpose, history and message. Often the work seems like an artifact from an unknown past, yet it comments on present conditions. Sometimes autobiographical, these pieces speak to the viewer on several levels simultaneously.
Grip - 1999
acrylic on canvas
48 x 64 inches
Marlene Vine - Working with pen and liquid acrylic, Marlene Vine draws masses of repeated, stacked, tight lines that become abstract organic forms of color and tone that are layered with emotion. By accumulating hundreds of close fitting lines, with their infinite small imperfections, she creates endless networks of intricate relationships and imagery.
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