Three years ago, a diagnosis of cancer provided artist Jerry Walden the impetus for reflection. Looking back over his career, he felt much of his work was no longer visually valid. To reenergize both himself and his work, he began blocking out parts of his original paintings, covering some parts, leaving others to show through. In Deconstructing Jerry #40 (pictured at right), for example, the artist took his 1971 painting, Hi-way Drive-in, rotated it and painted over some of the original colors. By combining parts of his work that he finds valid with new layers of paint, he creates reinvigorated patchworks that have a life of their own.
In over 15 years of studio practice Childs has developed a minimal, mainly abstract language of patterns, symbols, structural logic and colors derived from photographs of Modern buildings he has taken of buildings in Toronto, Canada and New York City.
For more than 10 years Mr. Cullinane has been exploring the metaphorical power and psychological significance of children's book and dictionary illustrations. Through laborious process Cullinane transforms illustration into complex, often seemingly nonsensical images that float somewhere between the figurative and non-figurative.
Robert Walden’s Ontological Road Maps suggest aerial views or maps of elaborate urban zones complete with housing developments, industrial areas, and business districts. However the accustomed crisp printing of ordinary maps gives way to the insistent presence of the hand of the artist, as one imagines him making each of the fine delicate lines that constitute his webs of transit networks.
Henry continues his exploration of obsolete technologies as metaphor for the changes and complexities of contemporary life in a series of portraits of computer enhanced images culled from flea markets and garage sales, rendered in computer punch tape.
Ms Cateura paints deceptively simple color field paintings that, “question how we experience and relate to nature in an increasingly urbanized world.” Painted in acrylic on canvas, these peculiar geometric shapes float seemingly weightless in spaces of intense monochromatic colors and are on closer inspection a building, or a machine or beams of headlights on a mountain road at midnight. Behind the serene whimsy of her visual meditations Cateura laboriously manipulates the color and position of objects in each composition.