Artist Profiles

The Plastic Menagerie #3 - 2011
22 x 30 x 23 in. (56 x 76 x 58 cm)

Sasha Meret’s recent work has evolved in the space of sculptural constructions using polystyrene cutlery as modules to reconstruct familiar objects, and later to create intriguing and thought provoking new shapes that defy any familiar category. He takes refuge in “The Plastic Menagerie” that he has created seeking at the same time harmony and surprise. A quote from Schopenhauer sums up his intentions in this series of works: “…here we contemplate perfection of form without any kind of worldly agenda, and thus any intrusion of utility or politics would ruin the point of beauty”.

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Pinky Leaves the Golden State - 2011
aluminum, enamel and varnish
30 x 119 x 5 in. (76 x 302 x 13 cm)

Richard Taylor’s painted aluminum wall compositions and pillars are intersections of painting and sculpture. They are at once manifestations of his own persistent memories, an homage to those who have influenced his life and work, and crystallized expressions of unconscious emotion constructed into solid form.

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Arena VI - 2007
oil on panel
11.5 x 10.75 x 2 in. (29 x 27 x 5 cm)

Connie Goldman utilizes the language of reductive art to visually articulate her intellectual and emotional responses to the world. Her work reflects her interest in music, architecture, language and science, and mirrors the most basic of natural phenomena; the contradictory forces of stasis and flux, constancy and change.

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Parking Garage #33 - 2008
inkjet print
14 x 21 in. (35.5 x 53 cm)

Willson Cummer explores the rooftops of parking garages with a camera, and has found unexpected visual joy in the light and open spaces. Here it is the absence of things that provides the grandeur, and it is the stark, strictly utilitarian space that provides the kind of elemental purity one would normally expect to find in the wilderness.

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Untitled (#7723) - 2010-2011
mixed media on paper
19 x 23 in. (48 x 58 cm)

Moses Hoskins’ work focuses upon line, edge, and the tactical properties of the material itself. He considers color and special relationships, balance/imbalance and all the other myriad factors, components and considerations that are engaged or enacted during the process of his visual composition. The drawings aren’t about anything other than the act of drawing, and there is no intent other than to create a work of art. In this way, anything and everything evoked within the viewer is the result of that viewer’s own perception.

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