Artist Profiles

The Cyclone - 2011
oil on canvas
14 x 48 in. (35.5 x 122 cm)

Drawing from imagination, this Zimbabwe born painter gives voice to his experience of a life in America through images that are assembled and distilled into non-linear narratives. Alex Zwarenstein creates an atmosphere of surreal and timeless space, through an eccentric combination of chiaroscuro, perspective and caricature.

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Bristlecone 2 - 2008
oil on canvas
58 x 58 in. (147 x 147 cm)

Tony King’s series of new paintings pay homage to the sculpted forms of the bristlecone pines of the American West, the oldest trees in the world. King’s interest in the wild landscape, at increasing distance from the metropolitan contexts he once addressed, has induced an attempt not simply to depict these icons of survival, or even to emulate their wildness, but through rapt attention to explore modernist concerns -- hyper-realism, treatment of detail, attention to abstract zones -- within the traditional format of landscape painting. Each square canvas treats a central monumental subject (one or more of the ancient trees) not only as a portrait, but also in its context of rarified landscape.

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Twin Trees Pink - 2008
oil on wood
36 x 36 in. (91.5 x 91.5 cm)

Allen Harrison’s new works are mosaics painted with oil on panels of hardwood. Seemingly abstract blocks of color combine and coalesce to form vistas, landscapes and skyscapes that only resolve when the eye begins to unravel the myriad, discrete applications of color and the juxtaposition of visual ideas.

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Gunslinger Actors California, 1982 and Shriners, California - 1983
Archival print 18 x 12 in. on 16 x 20 in. paper
(Archival print 45.5 x 30.5 cm on 40.5 x 51 cm paper)

Photographer Mark Chester’s exhibition entitled “Twosomes” is composed of individually framed diptychs culled from 40 years of photographic observation. The images chosen in each diptych juxtapose in ways that are sometimes obvious and at other times obscure, and the viewer is invited to engage in a game of comparison as each individual sequence is examined.

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7 - 2011
acrylic on urethane plastic
11 x 9 in. (28 x 23 cm)

John Tallman’s process starts with the creation of a unique support cast in urethane plastic with the dimensions being about the same as a piece of paper. Each acrylic painting has a different and original starting point that denies a chronology. Letting intuition function within the language of abstract painting, subject matter that is overtly suggestive is avoided. Knowledge is acquired without the use of inference or reason and each painting ends when something new is discovered.

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