Artist Profiles

Evidence 1B - 2008
powdered graphite on paper
40 x 48 in. (101.6 x 
122 cm)

Through the medium of graphite powder, these drawings depict three dimensional shadows; a sustained record of objects that are no longer present.  The objects creating the shadow have been removed. What remains is the shadow alone, a visual forum for the discrepancy between perception and comprehension.

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Dance - 2000
steel and concrete
94h x 38 x 68 in. (238.75 x 96.5 x
172.75 cm)

Mike Baur uses industrial materials to make artifacts that have all the physical presence of forms shaped by natural forces.   His sculpture inhabits a world beyond formalistic concerns where the most common materials transcend their origins.   This is a selection of recent sculpture by a mature artist who fully understands the unique power of the three-dimensional object.

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New York - 2008
oil on board
59 x 59 in. (
150 x 150 cm

Subdued, textured cityscapes are this Spanish artist’s subjects for his masterworks of understatement. Atmospheric and melancholy, the astuteness of the observation is intensified by a roughshod, frenetic surface texture that obliterates any sense of polish and leads the viewer deeply into the agonized beauty of the urban universe. The execution of the paintings transcends any attempt to name or identify the specific locales depicted, and they are instead realized as prototypical, iconic megalopolitan vistas.

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Shew Hollow - 1998
silver gelatin print
11 x 14 in.

This series of black and white silver gelatin photographs are the result of a twenty year long exploration of the vernacular architecture and landscape in a remote county in upstate NY. The images are a narrative of a disappearing yet stoic way of life as shown in the timeworn, often abandoned buildings that are slowly dissolving back into the land.  The images transcend one particular place and time and speak of collective memories and mysteries.

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Pancakes - 2009
oil and acrylic on wood
10 x 8 in. (
25.4 x 20.32 cm)

These paintings appear as small blackboards with miniature "chalk" drawings in the corners.  In the center, Wood-Ginder paints a tightly realistic object from her everyday life, which when surrounded by drawings that apparently have no relation to the painting, create another dimension for the viewer.

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