Artist Profiles

Adirondack Soft Serve – 2012
oil on canvas
37 x 37 in. (94 x 94 cm)

The paintings in this exhibition are representative of the entire scope of Fox’s recent explorations in light and atmosphere. In terms of subject they are diverse; pure landscape to landscape with figures. In terms of location they dwell in upper New York State, especially the Hudson Highlands region where the artist frequently hikes on moonlit nights. In all cases, the paintings seek to speak of the stillness that can reside in a place, or in a person, or in the moment where the two meet.

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Mermaid 14 - 2012
wood, paint
60 x 114 in. (152 x 289.5 cm)

Keith Long’s bas-relief wall sculptures are constructed from cast-off materials, both natural and man-made. The materials are then incorporated, Phoenix-like, into another context in a way that engages them in a new image. The pieces are often figurative, with clear reference both to various periods of art history and to anatomical detail. Rough and direct, Long’s work nevertheless displays humor, grace, and a certain lightness of existence which enlivens the spirit.

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Sun White Setting, Concremiers, France - 2011
oil on wooden panel
8 x 12 in.(20.3 cm x 30.5 cm)

James Teschner paints outdoors near his home in remote farmlands of central France. The direct experience of being in the landscape, often standing in the same field for months on end, is crucial to his creative process. His work in recent years has focused primarily on the setting sun and those moments leading towards nightfall, whereby the landscape is either being obliterated, almost devoured by the sun’s all-consuming luminosity or being dissolved by the receding, diminishing light.

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Porch - 2009
C-Print, Diasec
20 x 24 in (51 cm x 61cm)

Jonas St. Michael’s Gore, Quebec represents a series of photographs that allude to a non-definitive narrative: a representation of an alternate space, so to speak, beyond narrative or documentary. The choice of the title is a dual reference to both an actual place and to one with fictitious and cinematic allusions to the horror genre. Gore, Quebec lies somewhere between these two worlds.

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San Rafael
oil and cold wax on canvas
60 x 36 in. (152 x 91 cm)

Kern’s body of work is indicative of landscapes conjured by memory that communicate residual emotions to viewers. The thick surfaces of Kern’s paintings are built up through her unique alteration of a technique which is similar to encaustic by using a combination of oil sticks, oil paint and cold wax to create a creamy, rich surface rifled with depth. Kern places importance on the mood of each work by highlighting the surface luminosity through her use of a high contrast color palette. The highly suggestive representation of each natural element Kern depicts is void of details that define a specific location and conveys the essence of form. For Kern, each painting represents the mood of a past moment and contains a certain freedom of motion which keeps the work from appearing static.

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Toys - 2011
16 x 27 x 8 in.

Tim Prythero creates miniature environments, rich and marvelous in their detail and decay. He meticulously recreates New York City facades of delicatessens, five & dimes, bodegas, barber shops, Chinese restaurants, all with the effects of time and abandonment taking their toll. Prythero fools the eye into seeing the patina of time. He creates the illusion of a lifetime of toil and a longing for vestiges of Americana that are fast disappearing.

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