EXHIBITION: JANUARY 25 – MARCH 1, 2014
Erratic Mud - 2013
13 x 6.5 x 7.5 in.
Laura Moriarty presents Intimate Monuments, a new series of freestanding sculptural paintings comprised of layers of pigmented beeswax. These sculptures are created through processes that mimic geological forces, such as heating and cooling, erosion, subduction, compression and friction. Configured as monumental, architectonic blocks, the pieces focus attention on vividly colored and abstractly patterned surfaces and function as core samples of the process, with exposed layers embedded with shell-like deposits, much like fossils in sediment. Yet the relatively small scale of the pieces also suggests a playfulness, a miniaturization that relates to educational models – and distills the vast time-space continuum of geology into something containable that fits into your hands.
Vanishing Act -2013
72 x 48 in. (183 x 122 cm)
Blackboards are not typically a vehicle for personal expression. More commonly, they are used to disseminate knowledge to a broader audience. They are a window to specialized information - an education tool. The blackboards in this installation will serve both functions. They will feature elements from our civic memory and act as a receptacle for the thoughts, feelings, or perhaps even indiscretions of viewers. I am providing the first half of an equation and inviting the visitors to finish the experience – blurring the line between artist, art and audience.
Charlie I’m Drunk - 2013
oil and encaustic on wood
60 x 60 in. (152 x 152 cm)
The imagery in Bill Fisher’s work is based on childhood memory, appropriated diagrams, and reflections of the visual realities of urban decay. His work expresses a continuing dynamic of time, experience, personal perception and the complex nature of the human drama we call life.
Red Eye - 2013
color coupler print on aluminum
20 x 24 in. (51 x 61 cm)
Andrew Garn has been documenting feathered urban dwellers since 2008. The close-up portraits ennoble; they reveal the individuality, personalities and inner beauty of this common bird. Photographs of the pigeon developmental process, including one hour old hatchlings, peepers and fledglings, give insight to a mostly secret world. High speed electronic flash of pigeon flight illustrates the incredible and graceful maneuverability of our avian neighbors. The artist and the gallery will be donating to the Wild Bird Fund twenty percent of all sales of Andrew Garns photography.
Poplars in Snow - 2010
oil on wood
12 x 8 in. (30.5 x 20 cm)
Marilyn Turtz’s current oil paintings offer glimpses of the suburban landscape in winter. Turtz captures the essence of the scene with sensitivity to time and atmosphere and respect for the painted surface. The images bear witness to frozen moments in time and speak with quiet intimacy of the iconic nature of the every day.
Old #47 - 2012
graphite on Bristol board
10.25 x 16 in. (26 x 40.5 cm)
Roger Watt’s graphite drawings reflect his long held fascination for the effects of light on industrial metal and his work increasingly explores its atmospheric properties in everyday situations.
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