a series of visionary images evoking a sense of subtle magic and the mystery of a moment
in time under the sky's umbrella--
Each is based in reality and descriptive of a specific place and occurrence in time but often
taken to extremes of abstraction or imagination.
The exhibit presents works in painting, drawing and photography that taken collectively
explore the transition between photorealism and abstraction. Yet even the most accurate of
these images take us to a place suggestive of a deeper sense of reality.
Edward Fausty's nocturne photographs capture the night sky, treetops, a glimpse of a lit
house window; they seem to be our own memories. Sandra DeSando's expansive ink work
can seems totally abstract or totally realistic at first glance. Informed by her years of work as
a photo-realist pencilist, her Seconds After Midnight- presents us with a illusion of space
that is like peering into the darkness-not knowing what is land, sky or water.
James Pustorino's large wash drawing starts from accurately rendered cloud photographs
and weaves a complex structure throughout that defines the space and creates a plausible
new reality. Scottish artist Ian Scott, now in America, realistically renders scenes more
imaginary than any in the exhibit: in which a man with his ancestors and family clearly
illustrated on his body, parachutes though the night Recent London transplant, Graham
McNamara's, works take the classic painters of the English countryside as their source and
restate their experience in current visual language. Jill Scipione's towering painting on
tin-"No Response" is as silent and dark as the bottom of the sea.
The execution meets the mood in these works where what is real and what exists in our
imagination become hard to differentiate. They are about moments when we awaken to a
greater sense of the awareness of our existence and our awareness of the world around
us--like the fantasy of midsummer night's dream; in which reality seems less cold, less
clear, and our aspirations take true forms.
in time under the sky's umbrella--
Each is based in reality and descriptive of a specific place and occurrence in time but often
taken to extremes of abstraction or imagination.
The exhibit presents works in painting, drawing and photography that taken collectively
explore the transition between photorealism and abstraction. Yet even the most accurate of
these images take us to a place suggestive of a deeper sense of reality.
Edward Fausty's nocturne photographs capture the night sky, treetops, a glimpse of a lit
house window; they seem to be our own memories. Sandra DeSando's expansive ink work
can seems totally abstract or totally realistic at first glance. Informed by her years of work as
a photo-realist pencilist, her Seconds After Midnight- presents us with a illusion of space
that is like peering into the darkness-not knowing what is land, sky or water.
James Pustorino's large wash drawing starts from accurately rendered cloud photographs
and weaves a complex structure throughout that defines the space and creates a plausible
new reality. Scottish artist Ian Scott, now in America, realistically renders scenes more
imaginary than any in the exhibit: in which a man with his ancestors and family clearly
illustrated on his body, parachutes though the night Recent London transplant, Graham
McNamara's, works take the classic painters of the English countryside as their source and
restate their experience in current visual language. Jill Scipione's towering painting on
tin-"No Response" is as silent and dark as the bottom of the sea.
The execution meets the mood in these works where what is real and what exists in our
imagination become hard to differentiate. They are about moments when we awaken to a
greater sense of the awareness of our existence and our awareness of the world around
us--like the fantasy of midsummer night's dream; in which reality seems less cold, less
clear, and our aspirations take true forms.
edward fausty
ian charles scott
sandra desando
graham mcnamara
ian charles scott
sandra desando
graham mcnamara
This series takes figures from the Renaissance paintings of
Giotto and reforms them into mysterious forms that suggest a set
of actions or steps in a process.
The concept of a manual is that it should show one how to
accomplish a task-
Here the task, like over-fishing, is a questionable and fruitless
one, self defeating in its very nature. The process of the paintings
themselves- drawn onto lined paper, duplicated in copy
machines, reformed and repainted, is suggestive of the greater
theme of the seeming futility of human effort.
Giotto and reforms them into mysterious forms that suggest a set
of actions or steps in a process.
The concept of a manual is that it should show one how to
accomplish a task-
Here the task, like over-fishing, is a questionable and fruitless
one, self defeating in its very nature. The process of the paintings
themselves- drawn onto lined paper, duplicated in copy
machines, reformed and repainted, is suggestive of the greater
theme of the seeming futility of human effort.
Sponsored by General Growth Properties
in Summer 2009
in Summer 2009
july/august 2009 exhibit:
dreams
on a midsummer's night
dreams
on a midsummer's night
victory hall @SEAPORT
