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TRICIA CLINE

Tricia Cline was born in California in 1956. She is self-taught and began sculpting at 27. She has been sculpting the female and animal form for over 20 years.

Saints and Exiles from Stories Never Written, is an ode to the Animal, its ability to perceive, and our return to that perception. Her small, highly detailed porcelain clay sculptures are complex metaphors describing our relationship to animals and to ourselves as…Animals. The language of animals is the language of images. An image is not an idea with a defined meaning, it is itself an animal. An image is a vortex of complex feelings and concepts that present themselves in an intuitive instant (a vertical movement of inward deepening).

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TOC FETCH

Kids of Lower Utopia Vol. 6 No3 Letters from the Front Lines

In this series of images, I am drawing a sequential 56 page story. Each page measures 30" x 50", and all are done primarily with a .3 mec-pencil on 200# paper.

In this, his eighth book, Toc is describing a life's experience through the lens of non-dualism as an allegorical dream in which the heroine, River Scout Finnagain, travels through a personal mythology of realizations to finally arrive at a place where her Gods wait. Her Gods are, for now, a Wolf and a Boy.

This story cannot be told better in another medium than the simple pencil; nothing holds the silent life of observation-in-light as a metaphor better. It is a form of minimalism that is conducive to trance work—my work. My images are "still-points," exacting places of realization where attention waits gathering silence carefully in vectors.


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MARC DENNIS

The potency of my paintings I believe lies in their lucid objectivity and technical proficiency. With a light-handed use of narrative and metaphor, I'd like to think my sense of realism results in a kind of nervous beauty.

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The Dream of Choices

CHRISTOPHER MCVINISH

 

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NEREIDA GARCIA FERRAZ

My work originates from open contact with materials as well as a continuous investigation into my own personal history as a Cuban-American

This recent body of work explores the reconnection of the many nuances of multiple voices and influences throughout my life as an artist; it offers a bare soul contacting the remembrance of geography, literature, family albums, Spanish cards, popular sayings and the many other  stimuli available throughout a period of time. My paintings take on the appropriation of gestures and open notes, and the marking of distances and direct meanings are reported within my work as a photographer.


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MORGAN CRAIG

Like the French author Marcel Proust, I too am in
search of lost time. From the taste of a Madeleine, to
the redolence of congealed air, trapped within a
factory's walls, the impetus for memory is everywhere.
My distortions/alterations to the interiors of these
portentous monoliths reflects how memory, an amalgam
of fact and fiction, becomes time regained. A mere
tatterdemalion at the threshold of the past,
apparitions,tangible and intangible, circumvent me,
whispering: "catch us if you can."




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JAMES AUSTIN MURRAY

My current body of work is about, both the subject and
material. Each point to the other to derive their
meaning. Several years ago I began painting thickets
and brambles. I focused on the patterns that are found
in them, that are also not exactly patterns. The
pattern of chaos. Images repeat (nearly). My focus has
been on the interaction of time and space, in the
visual form.




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SUSAN JAMISON

My egg tempera paintings incorporate naturalistic imagery from the world of plants and animals with feminine cultural symbols and everyday objects in order to explore archetypes from fairy tales. Plants, animals, objects, and colors are chosen for their symbolic meanings as well as for the way in which their forms will act as design elements within a picture plane. The images capture moments in time where these stories play out through metaphor: Women interact with birds, snakes, insects, and flowers in a style that can best be described as a magical realism. Here, close natural observation of a specific moment of human/nature contact combines with symbols to create a heightened sense of experience.




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ROBIN KOENIG

The Madeleine Series incorporates a variety of materials and working methods from painting and drawing to embroidery.  The images, which often have a subtly referenced human form, are created on the surfaces of used bed sheets.  The sheets provide a layered and visually dynamic working surface, printed with familiar patterns and marked by stains that suggest their former intimate use.
A lacuna is a gap or missing piece.  The Lacuna Series consists of magazine pages and books with the text carefully excised creating delicate paper lace.  The cut paper reflects the shape of the original text layout on the page and acts as a memory of the removed story.  This work is viewed with the removed text reversed and combines the removed text with the image printed on the opposite side of the page.
The Sky Series consists of systematically constructed images based on the sky and the shapes of constellations.  These abstract images are made through combined processes as varied as photography, embroidery, painting and drawing.  Each image is initially inspired by the light of the daytime sky or the constellations of the night sky and grows to include additional repeated shapes and marks.


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JON PETERS

I aim for an architectural dynamic in my paintings that reports experience and a sense of something made well with the appropriate materials.   For me, each painting is its own little utopian universe.   The goal of my work is to seduce the viewer and once seduced to entice the viewer to have a closer look. Color and surface are the vehicle for my images, and I immerse myself in detail.  My work is about process, the sanding and applying of layers whether it is lacquer, epoxy, encaustic or acrylic.  I enjoy the cadence of my work.  My ultimate goal is a one dimensional object that appears three dimensional-in color, surface and edge.


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LISA BERTNICK

Deeply rooted in the traditional rules of drawing and anatomy, Lisa Bertnick’s approach to self
portraiture presents her interpretations of beauty clichés inspired by the odd nature of fashion trends, lowbrow associations with pinup art and the rigid renderings of video game girls.

A false nature is implied in her environments: ribbons buzzing in the wind yet not a hair out of place, semisynthetic porcelain complexions, and lipstick applied to glossy paint job perfection. All the while, Bertnick’s process leaves a mystery to the medium, at times implying airbrush, watercolor, painting, photography or drawing.

Lisa develops her illustrations with imaging applications and produces limited edition prints on printmaking papers such as Rives BFK and Lenox 100.

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CAUI LOFGREN

Recognition, identification, alienation, aggression, and submission reflect some of the mental states experienced as we seek to find ourselves through each other.  In admiration of the supermodel or super athlete, the subject of my work twists and contorts so as to identify with the impenetrable ideal.

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R.E. SANCHEZ
Visual activism, construction, deconstruction, cynicism and satire are the five themes of primary focus in my most recent endeavors. The artworks that come from these themes primarily intend to mesmerize and engage the audience. 
My visual activism is the process of rearranging the myriad of images that bombard us on a daily basis through the media in order to make political statements.  This is especially visible in “Who Do You Love, Who Do You Hate Target Practice”, “Ultra Queer Who Do You Love, Who Do You Hate Target Practice” and “The Roulette Of The House Of Love And Hate”.  These artworks allow viewers at the exhibition venue to interact directly by using darts to strike the images they think are positive or negative.  Therein lie the construction and deconstruction themes.  I construct the artworks and the audience deconstructs them, forever changing their appearance and liberating me of their final look.
 

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SINISA KUKEC
Gathering memories of pleasure and obsession, I respond to my collection by creating sensually abstract sculptural forms, to be considered experientially with digital media. A visual poetry that is imbued with certain themes of immensity--the void - A personal language that resonates with awe and longing. Memories are to be explored and the myth to be revealed.

My aim is to create a rhythmic exchange between the viewer and sculpture that allows subjective emotion and objective perception. An intercourse that doesn ¹ t seem to always make sense. An attempt to create an infinite experience which one might question and play with An endeavor to embrace ourselves, to better comprehend our vacillating world in hopes of unraveling the myths of the human phenomenon of desire.


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VANESSA McKNIGHT

Given the complete freedom to paint in any type of style, using any method with any purpose, I choose to work in a way I refer to as "cinematic photo-realism". This is a style I stumbled upon through blending what I experience in my everyday physical life with what I experience in my mind -- in terms of memory, perception, and dream association.

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KIM ANDERSON

Inspired by light leaks, blurs, dust, burns and the overall decay of old super 8 film, my paintings explore spaces between resolution and disintegration. Luminous auras of light caused by damage or over exposure recall the plastic language of painting, as forms appear and dissolve into atmospheric fields of color. These painted inconsistencies serve as metaphors, delineating the brevity of temporal experience

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ERIC KUNDE

My primary goal in painting is to create a perceptual representation of my subjects based on both an intellectual and an emotional response to them. To communicate not only how a person or thing appears, but how it feels to look--what is involved in seeing something in a subjective, personal way. This also entails an effort to portray what is integral about each subject without distracting details. Consequently, my work tends to be quite stylized. People often refer to my paintings as "realistic" or "photographic", but I tend to disagree with these terms as they imply a much greater degree of objective reporting about either appearances or photographic distortions. 

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JEAN BLACKBURN

Jean Blackburn is a Yale MFA graduate who creates ingenious sculptures by deconstructing everyday household items: chairs, tables, chests of drawers, beds and related objects.
Using the materials from the deconstructed objects, Blackburns makes elaborate constructions that undermine the basic utilitarian nature of the object.
In addition to the deconstructed household objects, Blackburn fabricates ceramic pieces with her signature holes and makes gauche drawings that disguise Ikea catalog imagery in brightly colored modernist styling. All Blackburn’s work is striking in its inventiveness and ingenuity.

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KARA D'ANGELO

My work explores the line where clothing and skin become blurred. Abstract three-dimensional structures suggest clothing and the human form. The enhanced shapes become a remnant of someone or  something which is absent. The clothing apparitions evoke a moment in time in which a sense of movement occurs beyond the body. The viewer's own imagination can explore the potential of each informational vessel: ethereal bodies that suggest a presence.

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SCOTT CAWOOD

My metal sculptures generally maintain a few basic elements that serve as a common thread woven throughout: Medium, Design Concept, and Process.  I revel in the use of material deemed useless and ugly; detritus by definition. As an artist I try to identify, and then as a craftsman, utilize the material's unique qualities. I use found metal objects at every opportunity and scrap or surplus metal for nearly everything else. My blacksmithing skills allow me to create what I can't find, and fabricate "connectors" for the various found parts. The challenge for me is finding what each piece of scrap has to offer, then fitting the pieces together to achieve an overall concept while creating a certain visual elegance.

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RAY BELDNER

I call this body of work, Counterfeit. It refers to my plagiarism of selected twentieth century masterpieces as well as the conditional nature of the value of art and money. My recent experience working in the internet industry has shown me how faith and exuberance can sustain high values for stock in companies with very little net worth. The current stock market downturn, however, has demonstrated how quickly that worth can evaporate as investor confidence wanes. In the art world there are comparable stories of expensive artworks formerly assigned to great masters that have lost value after having been reattributed to lesser known artists. Has the company that issued the stock or the artwork itself actually changed? Only our perceptions change, our beliefs shaken, decreasing a given object's desirability and worth. Counterfeit ultimately conflates our two most prized possessions--art and money--perhaps undermining, or strengthening, our faith in both.

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LUIS SANCHEZ

Luis Sanchez, a renaissance man and extraordinary talent, has emerged in the art world combining both symbolic physical structures, art history and contemporary ecology displayed in trompe l' oeil two-dimensional works. His name not easily forgotten once you have seen this art or met this amazing man.  This Mexican born painter executes his work
from the depths and wisdom of one who has lived a fine line between life and death.  The images from his paintings reach the viewer, as he brings canvas to life and dreams to a wise timeless still.  Reinventing the ancient process of fresco, he paints details of degraded stucco walls remembered from his childhood in Mexico City.  He brings the past to the present contemplating about the future and reminding us all the past holds the truth to the future.

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ROD APPLETON

Each material I use speaks to me seductively and carries with it certain innate qualities, as well as historical meanings that society at large has attached to it.  This in mind, I involve myself in augmenting or transforming artistically unconventional and conventional art materials into a ‘new aesthetic' through contrast and combination, such that the inherent qualities of each are heightened.  Much of my work employs materials that visually record the creative process and exhibit the effects of nature and time, thus lending an aleatoric(chance accident) quality to the work. 

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JOHN BONICK

In my recent work, I have developed a vocabulary of imagery that centers around ropey forms I call channels.  Sometimes they are stacked on top of each other, sometimes they crisscross the picture plane in seemingly random directions, layer upon layer.

For me, the channels are metaphoric of a kind of connectivity and connectedness.  That is why they extend beyond the edge of the picture.  Each image is only a temporal slice of the constant and continuous flow, a flow that can be liquid, light, life, energy, thought.

The channels, like binding fibers of the unified field, could easily be called by other names:  stems, branches, courses, arteries, veins, nerves, fibers, phone lines, roads, routes, maps, actions, reactions, paths, trails, three dimensional lines, vines, meridians, strings and blood lines -- all channels that pulse with the continuous flow, a flow that binds and connects all things spiritual, informational and biological.


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MIKE ROLLINS

"The stock ticker represents the universal language of a capitalist economy. Its dynamic combinations of symbol and price communicate on many levels with a wide range of individuals.  And yet the ubiquitous ticker we watch in offices, on television screens, or on the floor of the exchange is not real. It is an ideal.  The ticker exists only as it represents an organization of free-flowing information at any given time.

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BRAD HOWE

To commit yourself to the creation of art feels at times like building a small fire on a solitary mountainside in the dark of the night.  In the beginning you are focused on getting that fire started and your personal comfort from its warmth.  What you cannot foresee is who or what will come out of the dark to sit with you.  I have been very fortunate, as those who have come to sit with me and share my art have brought an abundance of gifts, and for their presence I have felt perpetually encouraged to keep the fire burning.

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ROBERT BERY

Robert Bery's most recent series, The Forest, incorporates a painterly manipulation of photographic images on wood. In this work, the artist uses oil paint and silver emulsion almost as a skin that integrates the natural texture and grain of the wood. The series is a collection of spiritually charged and environmentally inspired images which promote the notion that life is a source of boundless passion, energy, and creativity.

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DUNCAN HANNAH

Born: Minneapolis, Minnesota, 1952

Education:

Bard College, Annandale on Hudson, NY 1971-1973
Parsons School of Design, New York, NY 1973-1975

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VICKY PERRY

As the viewer’s eye crosses a border from realism to abstraction, the rules change.Then there’s a shock to the system when abstract and realist images are joined, a jolt - like sudden eyesight. Imagine Vermeer meets Pollock.

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BETH O'DONNELL

Moving beyond literal representation, I use the camera to interpret the world--a place, a feeling or an experience. I hope the resulting images challenge the viewer to look again at what passes in front of them, transcending the surface to reach the essence. That's what excites me. It keeps me in the moment, one moment at a time. From beach scenes and mountain vistas to urban scenes that reflect back to me, I offer these calming, reassuring photographs as simple hope in our ever- changing world.

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NICHOLAS PAPADAKIS

Nicholas Papadakis describes "growing up on the outskirts of Detroit somewhere between the Post-Industrial inner city decay and the sheltered American sensibilities of Cranbrook Design".
He earned a BFA in painting from RISD, "where concentration was placed on experimenting with varied materials and disciplines: glassblowing, metalworking, furniture design, holography, film/video, printmaking, etc.".

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RHETT BUTLER

Rhett Butler has been photographing nudes since 1978.  For Butler, the nude has been his particular way to strive toward both formal brilliance and emotional expression.  Influenced more by his background in classics than any single photographer, Butler approache photography philosophically: "I want to discover, through my lens, a psychology of the body, and capture that peculiar point where the fixity of nakedness and the fluidity of emotion collide."

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DEBORAH CARFAGNO

Carfagno has been painting since 1975, and throughout her years as an artist developed repute as both an instructor in printmaking at New York's School of Visual Arts and as master seriographer at Ruppert Smith's printmaking facility from 1977-1983, producing works on canvas and paper for artist Andy Warhol.  Owning and operating her own galleries in Pennsylvania for seven years, Carfagno managed and directed the careers of numbers of artists, carving an even deeper insight for the fine art and perhaps, atmosphere.

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JEFF SCHALLER

I paint in the unique medium of encaustic, creating textural art pieces which incorporate representational form with the printed word. In essence, the visual and written symbols merge to create a unique aesthetic language that is both provocative and whimsical.

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