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Nancy Lewis
My work inhabits a liminal space. It usually combines disparate
emotions. I paint and draw metaphors for feelings that everyone
has--love, longing, desire, regret, emptiness. I have a
tendency to be upbeat even when I am not and this is often
apparent in my work. In my attempt to tackle dark subject
matter I, inadvertently, add a veil of humor, often ending
up with oddball imagery and saccharin color. This contradiction
in my work I find to be strange, but it is usually unavoidable.
Yuri Makoveychuk
“Testing” is the key word for this series as
a whole and depicts images of various scientific, medical
and consumer products research. Derived from medical textbooks
and consumer testing of earlier decades, this material that
no longer has any relevance to reality makes the content
of the paintings alien to today’s audiences.
The small format and intentional craftsmanship
superficially awakens nostalgia for the tradition of classical
panel paintings and creates a paradox between the precision
of execution and the irony of the subject matter.
Michael Moore
I draw. I make lines. I design with lines. Every line has
a beginning, middle and end. All lines are drawn in relation
to the vertical and horizontal. No lines exist alone. Each
line relates to every other. Many techniques are used. Techniques
are combined to create worldly appearances and situations.
Relationships develop. Contexts form. Images appear. Earthly
elements, objects, figures, and places begin to take shape.
Stories are revealed. I notice these developments, delineate
the ones I prefer, and subjugate the others. When I have
done all I can to draw meaning from the form, I stop drawing.
Completed drawings are visual records of thoughtful actions.
They require interpretation. Interpretations are active.
They help us imagine what there is to know. Drawings help
us to imagine our world as it is. If we can imagine it,
we can know it. Drawing is knowing.
Hiro Sakaguchi
I am interested in making an object, which contains a fictional
realm
that is relevant to my experience as an artist and an individual.
I depict images gathered from my everyday experience and
memory. Because of my back ground, growing up in Japan and
residence in U.S., elements of my image often come from
experience from both place. By depicting those autobiographical
elements from memory and everyday life, I am after some
kind of story in which I myself would like to see. I am
after some kind of emotion in which I associate with those
images.
Mark Shetabi
The architecture in this painting is based on a parking
garage found in a video game called Vice City: Grand Theft
Auto. I stumbled across this form after having painted similar
parking garages for 5 years. Seeing it for the first time
felt like an epiphany. I have used the architecture in this
game as an invaluable source of imagery in my more recent
painting and sculpture.
The vantage point from which the viewer accesses
my work is of paramount importance, as is the degree of
clarity or fog that mediates the visual experience. The
work contains multiple layers of representation and a confusion
of the model and reality is a desired end result.
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