Currently showing: Submerged
Ocean Waves I
(48"x36") |
These paintings are
acrylics on tortured plywood reliefs. They are conceived in the mind as images
derived from experiences. Ocean Waves was conceived while paddling in rough water and watching approaching waves... These are made in several art acts. First the rough sketch of the basic idea and shapes. Second the drawing on plywood which I cut into a sort of jigsaw puzzle. Third the jig saw pieces are screwed to a plywood base and shimmed to create a 3D relief. Finally the relief is painted, sometimes in harmony with the cut out shapes and sometimes in contradiction to them.
I want these to be seen evocative objects and not images.
I like that
they are rough and frayed. |
| Dancing Flame (16"x22") | Homage to Leger (48"x44") | |
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Craig Hein
| Alright Then (7.5"x9” Styrofoam, polymer clay and acrylic) | ||
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The imagery that I choose to use in my artwork is made up
primarily of what may be considered somewhat generic, everyday objects, such
as cinder blocks, cubes of dirt, sticks and candles. I have chosen these objects because they have resonated with me enough to make me want to make drawings or sculptures of them. Most of the work suggests some sort of clumsy, open-ended narrative. I have almost always worked exclusively on a small scale, for several reasons, which I won’t get into. |
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Sven Atema
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Triple Stack Jellyship (14"x18” mixed media) |
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 In fact, I will go so far as to say that nature and the environment is a powerful tool for peace. I think that if more people could have this experience of the world they would naturally want to take care of it more. And the ocean, though it covers two thirds of our planet is perhaps the least understood. I believe when most people think of the ocean they think of the surface of the ocean, or as something between two pieces of land. When really it is just a continuation of the same land with water over it. The same mountains, volcanoes, valleys we have on land continue down to the depths of the ocean with the same diversity of habitat. We were born from the oceans and someday we will inevitably return to them. |
As an artist I am often influenced by science/biology.
Science and art clearly share much in common. They both love to explore,
discover and interpret the world/nature in new ways. As a child and teenager in Woods Hole our neighbor and good friend, Russel Cuhel, was a microbiologist at WHOI. I remember when they went down in the submarine Alvin and first discovered those huge tube worms thousands of feet below that feed off bacteria from hot vents from the earths core. I remember watching cuttlefish in tanks at the labs change colors in an instant, clearly communicating with each other. I remember swimming at night diving with no mask and watching a blur of bioluminescence stream by my face with intermittent comb jellies (we call them moon jellies). And many, many other mind and eye opening experiences that have shaped my view of nature. And really the mystery of nature. It made me more aware that we need to change the focus from a continually human centric focus to one that includes all these other life processes with their own intelligence and our complex relationships with them. Though firmly rooted in the scientific method, in many ways, these could be considered spiritual experiences. With my art I have attempted to get people to notice these things. To bring the focus of my lens out wide and down low, out to space, to the bottom of the ocean, to the core of the earth, to the wonderful intelligence and sometimes thin balance of nature. I believe art can affect people in subtle ways, like an old smell that triggers a memory. A connection to the recycled matter that is us, which is the earth itself in different combinations and forms. I wonder why everyone isn't astounded that we live here. I think they must be, but I want them to do it more. |
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3 Candles (14"x18" mixed media) |
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Alan Steinbach
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I have always wanted to collect stuff from
the beach and the bottom, and am particularly interested in helping the
flotsam and jetsam of the oceans come back in various forms as an oceanic
reminder of what human suffering is about." |
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Flotsam & Jetsam Walk #3
22"x26"x6" Ocean found objects and Goop) |
Right Back At You
(5 Feet x 5 Feet x 3 Feet Net floats, Monofilament, Sticks) |
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Jessica Moon
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I’ve had a feverish image-making impulse within the last 14 months and
running around taking pictures of what I see is the luxury of my life.
Everyday I feel like a tourist on earth seeking light, humor, and unexpected
narrative. I think of my pictures as visual notes and seldom hesitate to
capture an image, which is very liberating to me. The volume of images that
I’ve made astonishes, overwhelms and encourages me—ask me about the number. |
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2nd Avenue & 55th Street
(12"x21" Digital C Print mounted on Foam) |
3rd Avenue between
102nd and 103rd Street
(12"x21" |
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Bayard and Elizabeth Street (12"x21" Digital C Print mounted on Foam) |
Broadway between 8th and 9th Street (12"x21" Digital C Print mounted on Foam) |
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Crosby Street between Houston and Prince (12"x21" Digital C Print mounted on Foam) |
Sullivan Street between Houston and Prince (12"x21" Digital C Print mounted on Foam) |
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Michelle Memran
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Michelle Memran is an
observer-at-large, working in whatever medium best
depicts the story, be it oil pastels, video or
prose. She is currently working on "The Rest I
Make Up: Documenting Irene," a documentary
portrait of the dynamic Cuban-American dramatist Maria
Irene Fornes. |
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Honest Abe: Asks for
raft instead of draft? 48"x32" |
Ludwig Wittgenstein:
"You get tragedy where the tree, instead of bending, breaks? 48"x32" |
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