Artist Profiles

Chairs - 2000-2009
aproximately 200 chairs collected
from 2000-2009 in New York: dimensions vary

Over the past 20 years, Korean-born, New York -based artist Sook Jin Jo has produced drawings, collages, sculptural assemblages, and installations that reveal two abiding, interconnected thematic concerns. Formally, her works combine a minimalist sense of pure structure with an intensely sensual love of rough-hewn materials. Conceptually, they invite a meditative and physical interaction with asymmetrical balances and unexpected harmonies of color, texture and shape. Form, meaning, and effect are thus united by a single spiritual purpose: reclamation.

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Lift Bridge on the Arkansas River - 2009
oil on canvas
55 x 78.5 in. (
139.5 x 199 cm)

Considering the vigorous environment of the American Industrial Landscape, Randy Dudley depicts vistas that have often been abandoned as industry, the industrial site has moved, or has been discontinued. A fascinating juxtaposition of the natural and the purely utilitarian, these scenes are miracles of gritty melancholy and when reflected through their history and isolation they become unique and filled with visual vitality.

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Bride of Frankenstein - 2009
acrylic on masonite
20 x 24 in. (51 x 61 cm)

These spirited, living-color paintings of classic horror movie icons from an earlier black and white cinematic world are melodramatic works rendered in stark, painterly realism. Miller has captured these iconic creatures from the realm of horror films and transformed them, creating intimate, almost endearing portraits.

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Excavation Site, NYC - 2002
chromogenic (archival inkjet) prints
12 x 11 in.
(30.5 x 28 cm)

These are photographs of human habitations. The locales are ordinary rather than exotic. Most are urban, many are in color. But like the luminous monotones of the great landscape photographers, which present a natural history of earth’s upheavals and erosions, these images attempt to capture a moment when change pierces the timeless cycles to create unique harmonies, unexpected ironies, and beauty.

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Profile #8 - 2007
acrylic color and olive ash burl veneer on birch plywood
16.5 x 7 x 12 in. (42 x 18 x 30.5 cm

Architecture and functional objects inform the vocabulary of Richard Bottwin’s work. The planes of the birch plywood sculptures, folding inward, parallel to each other, or lying flat against the wall, change alignments and seem to move as one walks around them. The surfaces, laminated with wood veneers or painted with acrylic colors, are configured to reveal surprising shapes and patterns with shifts in the viewer’s perspective.  A sense of disorientation, implied weightlessness and the element of surprise is created by the reductive forms and subvert the modernist vocabulary of the simple constructions.

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