Richard Garrison analyzes ubiquitous materials, objects, activities and places from the suburban, often consumer related, American landscape, such as Sunday newspaper sale circulars, parking lot colors, product packaging colors, and architectural colors of locations like Disney World and Wal-mart, Target, Toys-R-Us, and Home Depot, among others. Through a process of careful scientific-like scrutiny Garrison dissects and restructures the color schemes of common everyday objects that are marketed and consumed by his average American family. This deconstruction of quotidian objects and experience is a personal, non-judgmental, examination of the visual, emotional and conceptual aspects of consumerism. While the analytical quantification and qualification of his studio practice offers us a thoughtful re-examination of objects and experiences ubiquitous to the suburban American experience; the resulting Minimalist compositions expose the beauty in the banal. This recontextualization of aspects of consumer culture affords us a new perspective on often overlooked or ignored experiences.
The work of three artists in A Random Meander: James Cullinane, Nene Humphrey and Taney Roniger, like the flâneur, revel in this freedom of exploration and visual titillation created by the manipulation of systems or networks and repetition to investigate visual and conceptual space. Each artwork in the exhibition allows the viewer to follow random paths and connect the dots through unknown spaces that result in mapping of unrestricted and unfamiliar places.
Sharon Lawless uses found materials — discarded packaging, paint samples, wrapping paper and altered pages from auction catalogs — in her manipulation of two modern traditions, collage and geometric abstraction as she explores the tension between accident and control and how this tension effects perception.
Robert Strati: Layers, an exhibition of 6 new three dimensional wall works that explore unseen realities. Strati, who’s name means layers in Italian, uses ubiquitous materials like clear packing tape and steel wire to create whimsical, layered compositions that appear to float off the wall. The resulting shadows add to the subtle suggestion or implication of spaces beyond what can be easily seen and that might lie somewhere between the surface of the sculptural object and the wall.
Over time by progressively reducing the contrast of value and color in his work, the goal of Duane Zaloudek has evolved away from formal problem-solving and toward a self-conscious awareness of the physicality of seeing. Through an intense encounter with carefully reduced stimuli Zaloudek seeks to raise an awareness of being on the part of the viewer with the intention of making painting an exclusively physical-visual experience.