Artist Profiles

Pavel Opocensky
"Untitled" 1997
64 x 15 x 15 inches
(163 x 38 x 38 cm)

		Stone evokes many associations such as hardness, weight, massiveness, bulkiness, roughness etc. 
		The path to successful processing leads through the following characteristics: under certain 
		circumstances it can be very effective and successful to work with the very antithesis of the qualities of 
		stone. For example, I have juxtaposed the qualities of hardness and bulkiness to the creative process 
		resulting in transparency and fragility. Hollow spaces contrast with bulkiness and weight

		Over the past three years I have dealt primarily with negative, hollow spaces in connection with an 
		undefinable functionality. I have been inspired by many remnants of stone foundations of unknown 
		structures of ancient cultures as well as my collection of items of optics and precision tool manufacture. 
		The guiding principle for me is the more enigmatic the object, the more attractive it seems. I do not 
		specify the designation of these openings, ducts and funnels in my objects, I actually do not want to 
		know it myself.

		Pavel Opocensky, 1999

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Roberto Menchiari
"Caffe del Tasso" 1998
mixed media
17.5 x 20.5 x 3.5 inches
(44.5 x 52.5 x 9 cm)

		"A cogent work of art is as haut cuisine; a distillation of the artist's feelings and observations which may 
		serve as sustenance for the ravenous connoisseur. The exquisite, nourishing reliefs of Roberto 
		Menchiari are so profoundly evocative of the Florentine streetscape that they comfortably replace the 
		need to visit that teeming and congested metropolis."       

		Ivan Karp, 1999

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Ethel Poindexter
"Just Like Candy" 1999
mixed media
24 x 9 x 6 inches
(61 x 23 x 15.25 cm)

		Beginning a piece in my studio, I turn the thinking part of my brain off. I sit on the floor and let myself 

		I'm surrounded by my palette; things I have found that interest me. I don't care what they are or were 
		used for. They are shapes, lines or volumes I need to make a piece. When I get stuck, I know I don't 
		have the element in my studio. So I go out hunting for it. When I see it, I  know.

		I  initially compose a piece spontaneously using clips and clamps. Then I have to mechanically put it 
		together. This is when I do have to think and invent ways of joining opposing materials using hand tools, 
		bolts and screws.

		My process is as important as the final piece. After having sat with it and realizing what it means for 
		me, I am ready to let it stand on its own and speak its truth.

		Wheels, I use them, I don't know why, I like how they make me feel, what they mean, the shape. I 
		suppose I'll get over it some day.

		Ethel Poindexter, 1999

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Naoki Iwakawa
"Untitled" 1996
mixed media
96 x 120 inches
(244 x 305 cm)

		Once the background texture of the piece is formed, I seek the natural reaction between the canvas 
		and all the other elements that will eventually come to create the painting. Harmony is of central 
		importance to my work and I am always trying to strike the proper balance between Yin and Yang 
		(beauty and chaos). Using the canvas as the earth, I allow the textural reaction and images depict the 
		experiences of a human being. I am simply searching for the answer to the question "what is 

		Naoki Iwakawa, 1999

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David Miretsky
"Cabaret" 1999
oil on canvas
70 x 80 inches
(178 x 203.2 cm)

		My art is about people. I see them as being just as beautiful as everything in nature. The character of a 
		human being interests me greatly, especially the social aspect. I was born in a time of great upheavals: 
		wars, evacuations, and famine. I saw people standing in bread lines and parading before the elite. My 
		discovery is that, in a crowd, one loses individual character and absorbs the character of the group. I 
		find myself with an easel standing amidst this activity. I also can find myself in an apartment watching a 
		family. I may see them at the dining table, or maybe see only a woman with a child. I observe the quiet, 
		peaceful contemplation of the family and the congruity between the people in the setting.

		David Miretsky, 1999

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Dennis O'Kain
"Iron Workers #1" 1980-90
gelatin print, a/p ed of 10
30 x 30 inches
(76.2 x 76.2 cm)

		As a photographer I am always stuck somewhere between the literal-ness of documentary images and 
		the notion that what we see is not always what we get. Nonetheless this body of work focuses on the 
		Ironworkers that erect tall buildings. Not unlike Lewis Hine but with a more abstract interest in the 
		tension of forms in space. The circus performers work without a net as well, but these performers are 
		journeyman who perform their appointed task with much less fanfare but much more grace. It is grace 
		after all is said that allows us this endeavor.

		My approach is fairly literal in that the camera vision approximates the human vision. Of course the 
		camera is without a brain and therefore the camera operator must take into consideration the factors 
		that allow for the translation from one form into another. My experiences obviously play a role in my 
		subject matter but I would submit that I am a silent witness to events that have and will continue to play 
		themselves out on the human stage. 

		Apart from a literal translation I like to think that there is an abstract and removed feeling from the 
		circumstances at hand. Also, it is the notion implied rather than the vision revealed that interests me. 
		Of course the primary point of departure in this series is obvious but I would hope the viewer look 
		higher to gain some small additional insight. 

		Dennis O'Kain, 1999

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