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LARRY KAGAN
Young Mao - 2011
welded steel and shadow
46 x 33 x 16 in. (117 x 84 x 40.5 cm)
Umbra and Conundrum The steel reliefs may coincide with abstract sculpture but were conceived to serve as transmission devices that convey shadow-form images of people and common objects. Each of the enigmatic structures will disclose its dormant image when illuminated by a precisely positioned source of light. These conceptions may be taken as demonstrations of the principle that Realism in art is founded in abstraction, or as intriguing inducements to wonderment. |
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BILL FISHER
Peaches No Cream - 2012
oil and wax on panel
72 x 72 in. (183 x 183 cm)
Bill Fisher works within the tradition of modernist abstraction. That is, he relies on the form of the painting itself to convey it’s content. In these new works, the relationships of the visual elements such as shape, color, values, textures, and empty spaces all conspire to create a unified whole that is dense with emotional and elemental information. |
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GERRY KEON
Empress of Russia - 2009
paint, varnish, paper on wood
28 x 19 in. (71 x 48 cm)
Gerry Keon juxtaposes the simplest of elements, some made, some found, to realign the pieces in a constructed game of chance. For him, it is “The repetitive re-enactment of an every hopeful search for a serendipitous epiphany; the arrival of the unforeseen, the angel of art.” The result is a revelatory accomplishment of simple, pure, yet unexpected sculptural form. |
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TED LARSEN
Serial Killer #2 - 2011
Salvage Steel, Marine-grade Plywood, Silicone, Vulcanized Rubber, Hardware
3 x 12.5 x 4.5 in. (7.5 x 32 x 11 cm)
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KOHEI AYA
No Smoking!!!....., No. 10 - 2008
plaster, oil silver leaf, gold leaf, platinum leaf, pigment, resin and glass
17 x 16 in. (43 x 40.5 cm)
Kohei Aya creates plaster sculptures of the disposed-of remains of mundane consumer objects. Attached to a glass screen like a mirror, the objects float in a familiar, delineated limbo and transform into both formalized sculptural objects and commentary on the abundance, overuse and misuse of consumed and discarded resources. |
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MARILYNN GELFMAN
Untitled (018)
digital color print
8 x 6 in. (20 x 15 cm)
Rural Free Delivery The factors that comprise the hand delivery of mail by the postal carrier to a particular destination are more succinctly evident in the rural districts of America with its individual household mail receptacles. The boxes recorded in the book Rural Free Delivery were discovered on the back roads of Central New York State. Many include inventive mounting devices, oft-times adorned with humorous appendages as if imploring increased delivery of letters and parcels. Other boxes are simply battered and forlorn seemingly from lack of use. All may soon be gone and replaced by more cost effective postal services bereft of distinctions and the sense of human interchange. |
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