Plamen Veltchev

Denied

Elynne Rosenfeld

Reiki Meditations

PLAMEN VELTCHEV – Denied 

ELYNNE ROSENFELD – Reiki Meditations

May 3 – June 1, 2013

Artist Reception, May 4, 6 – 8 pm

First Friday, May 3, 6 – 8:30

LGTripp Gallery is pleased to announce the exhibition of works by artists Plamen Veltchev and Elynne Rosenfeld. Veltchev, who is represented by the Gallery, premiered in his first solo exhibition Modern Conflicts in 2011. This is Veltchev’s second solo exhibition and Rosenfeld’s first with the Gallery.

This exhibition creates a dialogue between Plamen Veltchev’s forceful paintings and Elynne Rosenfeld’s meditative paintings. While Veltchev’s work shouts and groans, Rosenfeld’s work hums. Both artists, however, explore the idea of “release” from different points; Veltchev laments its absence while Rosenfeld celebrates its power.

Plamen Veltchev’s powerful paintings are ominously wrought with tension as menacing forms are confined and bound, confronting the viewer dead on. In Denied, Veltchev is exploring the friction between the individual and the monolithic issues of a globalized world. In his words, “I am most interested in unveiling consequences by modern unrest and global fragility. In my new paintings I discharge rather new symbolic meanings of peril, dominant intractable detonations, and infected conquerable liberties.” Lumbering forms and sharp diagonals add to the overarching sense of turmoil blurring the line between internal and external struggles.

Plamen Veltchev was a Candidate for the Masters of Fine Arts program at the Pennsylvania Academy of Fine Art in 2005 after graduating from the Certificate Program in 2004 with a concentration in Print Making. Born in Bulgaria, he now resides and shows locally in Philadelphia. Veltchev is included in private collections across the Mid-Atlantic as well as the Pennsylvania Academy of Fine Art.

Elynne Rosenfeld’s abstract series Reiki Mediations is dynamic, as auras of color seem to vibrate with energy. There is a movement and life to Rosenfeld’s brushstrokes as intricate layers of swirling color optically mix and combine into spiritual landscapes that function on a macro and micro level. Rosenfeld’s process is meditative and a clear nod to the artist’s practice of the ancient healing practice of Reiki. According to Rosenfeld, “My work exists to connect with others in contemplation, affirmation, peace and spirit. It invites interaction as it changes with the light, imparting various messages at different times.”

Rosenfeld is a Philadelphia based artist who has exhibited nationally. She holds a Master of Fine Arts from the University of Massachusetts, Amherst (1977) and a Bachelor of Art from Rice University in 1975. Rosenfeld is a recipient of the 2009 John H. Wolfe Award, Contemporary Voices, Woodmere Art Museum
, the 2003 Juror’s Choice Award at the Wayne Art Center National Juried Show, 
and the 1999 Lifetime Honorary Membership Award through the Tri-State Artists Equity Association.

Michelle Marcuse

Carrying the Dreamer

Yvonne Love

The Naming of Islands

April 5 – 27, 2013
Artist Reception, April 6, 5 – 7 pm
First Friday, April 5, 6 – 8:30 pm

LGTripp Gallery is pleased to announce the exhibition of works by Michelle Marcuse and Yvonne Love in their first solo shows at LGTG. Marcuse is represented by the gallery. Her work was exhibited in the Premiere Exhibition in 2010 and Works on Paper in 2012. Love was included in the RSVP 3 invitational in 2012.

For many artists the act of making is contemplative and introspective. There is an intimate relationship between artist and art as they explore both their media and the world around/within. Both Michelle Marcuse and Yvonne Love rely heavily on a dialogue with their work and their process. They are explorers enticing the viewer to join in on their journey and intimate conversation.

Inspired by a transcendent experience, Marcuse’s work reflects a mystical quality as well as a spiritual interest in things unseen. When describing this inspirational event Marcuse states, “It left my world in unidentified matter exposed to light and dark shafts where the unimaginable existed within shifting currents. I had become a traveler transitioning into a magical environment, which involved compelling movement.” Michelle Marcuse’s inquisitive work creates a dreamlike narrative of dynamic, swirling forms. Almost surrealistic, the predominantly monochromatic drawings present a sense of timelessness as well as nostalgia. In her most current work, bright splashes of color dissect the image field, vividly jumping from the picture plane and encouraging the viewer to delve deeper into this emotional landscape which itself is untethered by time or space.

Michelle Marcuse is a Philadelphia based artist originally from South Africa. Marcuse has exhibited in New York, Chicago, Philadelphia, Scottsdale and Florida. Her work is included in corporate and private collections across the country and abroad. She was awarded a residency at The Vermont Studio Center in Johnson, VT. In 2008, Marcuse’s paintings were featured in the New American Paintings, Mid Atlantic. Marcuse studied at the Shenkar College for Fashion and Textile Technology in Israel, at The Michaelis School of Fine Art in Cape Town, South Africa, and at the Tyler School of Art in Philadelphia. She works as a teacher and regularly conducts workshops in contemporary encaustic techniques.

Yvonne Love employs nontraditional materials in her works such as glue and modeling paste. Straddling the realm between painting and relief sculpture, her works have a cellular feel as small shapes extend from and define the surface. The resulting organic forms play with the notion of “drawing space and holding form.” Love’s work reflects the intimacy between artist and medium. Her work is contemplative as she explores the boundaries and contours that form her artwork. Yvonne Love explains, “This current series of works delve into quiet memory and employ a play on repetition that offers both a meditative state as well as eliciting a tone that is simultaneously of the body and the ocean.” The result of quiet reflection, these peaceful works peak the viewer’s tactile and visual interest.

Yvonne Love holds a MFA from the University of Pennsylvania and a Bachelors of Design in Art Education from the University of Florida. She received grants from Pennsylvania Council on the Arts, Penn State University, Artsbridge, The Michener Museum, and the University of Pennsylvania. Love’s work has been included in exhibitions across the Northeast and internationally in Italy. Her work is in corporate and private collections. Love lives in Chalfont, PA, and is senior lecturer at Penn State Abington College.

Virginia Bradley

A Fragile Grace

Paul Davis Jones

Surfacing: Recent Paintings

March 1 – 30, 2013
Artist Reception, March 2, 5 – 7 pm
First Friday, March 1, 6 – 8:30 pm

LGTripp Gallery is pleased to announce the exhibition of works by Virginia Bradley and Paul Davis Jones in their first solo exhibitions at LGTG. Jones was included in the RSVP 3 invitational in 2012.

Water is one of the most basic, foundational elements. However, humanity’s relationship to this element is nothing if not complex. Water is a life giver providing nourishment to the land and the body, but it also holds destructive powers sweeping away villages and cities that dare to challenge its might or contain its borders. Water is therefore both friend and foe. This dichotomy has proven ripe for artistic exploration throughout the annals of art history as well as in more contemporary works such as those by Bradley and Jones.

Virginia Bradley’s work, “A Fragile Grace”, focuses on the destructive power of water as well as the contrast of the manmade with the natural world. Reflecting the artist’s love of exploration and travel, this brooding series focuses on the 2011 Tsunami in Japan, which flooded landscapes, decimated towns and set off a chain of nuclear accidents. Employing a variety of mixed media and techniques, Bradley carefully constructs her compositions balancing destruction with a sense of beauty. Bradley juxtaposes tumultuous forms with more graphic imagery from the tsunami and 15th Century Venice, a city that famously maintains a delicate relationship with its waterways and canals. Light penetrates the density and darkness of the work as Bradley entices the viewer to further investigate the alchemy of imagery and material.

Virginia Bradley is a Philadelphia artist and professor of art at the University of Delaware. She holds a BFA in Painting and Printmaking from the University of Miami, and a MFA from the University of South Florida. Bradley has exhibited her works locally and internationally at such places as Freedman Gallery at Albright College, Abington Art Center, The Minneapolis Institutes of Arts, Hoyt Institute of Art, Delaplaine Art Center, and the Florence Biennale in Florence Italy. Bradley was a recipient of the McKnight Foundation Fellowship in Painting, Arts Midwest NEA Fellowship for Painting, and two Minnesota State Arts Board Fellowships in Painting and Drawing.

In “Surfacing: Recent Paintings”, Paul Davis Jones creates tranquil and meditative spaces. In a nod to the Impressionists, painterly strokes of color dance across the picture plane evoking the peaceful movement of a babbling spring. As with Monet’s “Water Lilies,” Jones’ paintings give “the illusion of an endless whole, of water without horizon or bank” (Claude Monet). Although formally linked, Jones’ abstract compositions are surprisingly complex. To achieve their fluid and visceral quality Jones skillfully builds up his surface with layers of color and metallic pigment. Heavily reliant on process, these atmospheric and light-soaked painting are often the result of over 50 layers.

Paul Davis Jones is a self-taught artist living in Philadelphia. Originally from New York City, Jones earned a PhD in Humanities from the University of Syracuse. After a career as a lecturer and professor, Jones went on to co-found the IDPR Group, a Boston-based company specializing in strategic philanthropy, which partners corporations and wealthy individuals with non-profit organizations. Jones began his latest reinvention as an artist after moving to Philadelphia in 1999. He has shown his work locally in group and solo exhibitions.

James Erikson

Quartet

Timothy Gierschick

Recent Paintings

January 25 – February 23, 2013

Artist Reception, January 26, 5 – 7 pm

First Friday, February 1, 6 – 8:30

LGTripp Gallery is pleased to present recent works by Philadelphia-based artists James Erikson and Timothy Gierschick in their first solo exhibitions at LGTG. Both artists were included in RSVP 2 in 2011.

At first glance, both of these abstract artists utilize color as one of their main tools of expression, but it is their ability to draw from the wider context of history and art that further compels Erikson and Gierschick’s work. Understanding that the modern artist is indebted to the work of the past as well as to the greater human narrative, Erikson and Gierschick embrace this reality and discover new and unique perspectives worth exploring.

James Erikson’s Quartet series has an architectural feel to it as he pulls from the world described in Lawrence Durrell’s Alexandria Quartet. For Erikson, art is a conduit linking the contemporary to the past. Within Erikson’s paintings geometric forms overlap and jostle for space hinting to the alleyways and archways of an energetic and ancient city. A nod to the painting process and his love of color, brushstrokes of dense shapes overlap with subtle variations. Erikson writes, “My paintings aren’t about particular monuments or monoliths but I do want them to function on a similar, basic human level emotionally.” Within Quartet, new expanding and contracting emotional landscapes vibrate as colors contrast and compliment each other in dueling yet peaceful formations.

Erikson’s work has been included in exhibitions across the Northeast. Currently residing in Philadelphia, Erickson received his B.A from Messiah College, his MFA from State University of New York’s Purchase College and a MLS from City University of New York in Queens. Erikson previously taught at Immaculata University and SUNY Purchase.

Timothy Gierschick’s paintings on panel and paper explore connections that bridge dualities of time as well as nature and movement. Gierschick states, “Art now is almost always about connections: making them; breaking them; repairing them; looping them; pretending they exist; pretending they don’t. And despite the abstracted nature of my own work, the deliberative act of making connections is really the long, snaking backbone which – yes, connects – all the work I make.” There is a design element to his work that draws from folk art as much as it does from graphic design and modern art. The product of Gierschick’s controlled hand, geometric forms of flat color overlap in surprisingly complicated and visually appealing compositions.

Tim Gierschick is a Philadelphia based artist who has exhibited across Pennsylvania. He received his B.A. from Messiah College. Gierschick works at the Barnes Foundation, and is a founding member of the artist collaborative gallery Tiger Strikes Astroid as well as director at Second Space Arts in North Philadelphia.

December 7, 2012 – January 12, 2013
Artist Reception, December 8, 5 – 7 pm
First Friday, December 7 and January 4, 6 – 8:30 pm

FOCUS: 5th Annual Abstract Photography Exhibition presents works by seven artists at LGTripp Gallery. Each photographer approaches abstraction through their own unique lenses, yet they all reflect an inquisitive and contemplative nature.

In our visual culture, we all too often view a photograph as “reality.” However, despite appearances, it is by its very nature removed from the reality we see and feel. The camera is an image-maker and translator; filtering light through lenses, shutters and apertures. Through this mechanism objects are transformed and reinterpreted. By rejecting the myth of photography, the abstract artist embraces the medium’s full potential. A camera is to them a creative tool for expression, exploration and creation. They are not tethered to the physical world, but are free to make new emotional and physical landscapes more akin to painting than to photojournalism.

Jennie Barrese
Barresse’s work is introspective; simultaneously exploring the world and the self. In her recent work, Barresse allows her atmospheric images to shift between playful and brooding moods. Photographs like Below, balance tensions of fluidity and density to create landscapes that feel just as much at home in the expanses of the cosmos as in the microscopic world of the petri dish.

Ken Cushman
Cushman’s works relies on process. Crushed aluminum foil is given new life as it is transformed into something more monumental. The folds of material glow with the reflection of the artist. Light sumptuously moves across the folds and surface as if they are mountains or red-hot magma. There is a tension to these “landscapes” as if to suggest the turbulent grinding of emotions or of tectonic plates.

Johanna Inman
In Inman’s Book series, the artist draws her inspiration from the little details that are often overlooked. In works like Untitled #35 sinuous watermarks on a book are transformed into what feels like an abstract painting. Inman’s lens draws out beauty from imperfection, celebrates the physicality of the book as a subject unto its self. In this way, an intimate connection is made between viewer and image.

Christopher Kennedy
Kennedy celebrates the camera as a means of mark making, and uses it like a painter would use paint. In his Photo Luminism series, the artist explores one of the most basic elements of photography; light. Using a single exposure, Kennedy’s ethereal compositions whimsically dance light across the picture plane creating new abstractions of light and form.

Saga Moor
Saga Moor’s work is about internal perspective and connection. His recent photographs reverberate an intensity and at times a sensuality. In high contrast works like Lightbulb, light, glass and plastic visually melt becoming almost liquid.

Eric Porter
Porter’s photographs demonstrate a curiosity and love of the city around him. By abstracting and cropping the everyday Porter redeems the urban landscape. The inquisitive nature of his work invites the audience to investigate decontextualized vignettes of vivid color, rough texture and geometric shape.

David Sacks
Sacks’ photography reflects a love of light and texture. With a mastery of light and dark, Sacks creates rich, but ambiguous landscapes. The high contrast of light seems to drip off of the picture plane and evokes the sumptuous work of photographer Edward Weston.

Graham Dougherty

Recent Work

Natasa Stojanovic

In-between Spaces

November 2 – December 1, 2012
Artist Reception, November 3, 4 – 6 pm
First Friday, November 2, 6 – 8:30

LGTripp Gallery is pleased to announce an exhibition of recent paintings by Graham Dougherty and installations by Natasa Stojanovic in their first solo shows at the gallery. The artists utilize subtle qualities of light and shadow and geometric form, but employ very different approaches and materials to create evocative works.

Filled with both geometric shapes and organic areas of color, the abstract paintings of Graham Dougherty reference architectural elements doused in light and shadow. Doughtery uses the contrast between light and dark to breathe life and meaning back into these ordinary, man-made structural elements. His compositions are a result of his study into the ever-changing progression of light through a space so that shadows and shapes created by light’s movement suggest formerly visited and/or inhabited rooms and areas. A careful balance and flow to the interaction of color and form in his painting permit the viewer to contemplate events and spaces past without challenging the viewer to confront the unknown. There is a natural beauty inherent in Dougherty’s choice of color and balance of form. A broad color palette comprises grayed translucent tones and the moods they invoke assist the viewer in contemplation of memories of bygone places and time.

Graham Dougherty studied at Tyler School of Art and the Pennsylvania Academy of Fine Arts in Philadelphia. Since the 1960’s Dougerty’s work has been included in local and national exhibitions and he has also shown internationally in Italy. In 1975, Dougherty co-founded the Delaware Center for the Contemporary Arts in Wilmington where he still maintains a studio.

Natasa Stojanovic explores the potential of light and its effects on color by utilizing a wide range of materials to develop two and/or three-dimensional pictorial arenas. In Light Drawings, a strategically placed light source passes through color gels onto long, thin slivers of Plexiglas that reflect onto the wall behind it, producing a differently animated image of lines and shadows. Keep Moving consists of hundreds of pieces of folded color paper interspersed in terms of shapes and tones. Looked at straight on, the work has a mesmerizing array of vertical and horizontal shapes. But move to the left or right and a completely different work emerges. In Stojanovic’s pieces, light, shadow, color and shape, successfully mix and mingle, with the viewer’s angle and perception, fashioning a delectable visual and spatial experience for the viewer.

Natasa Stojanovic is currently pursuing her M.F.A. at Moore College of Art and Design in Philadelphia. Originally from Serbia, Stojanovic has shown in Philadelphia as well as internationally in the Netherlands and Serbia. She recently completed a residency at Burren College of Art and Design in Burren, Ireland.

September 14 – October 27, 2012 (Exhibition extended)
Artist Reception, September 15, 2012
First Friday, October 5, 6 – 8:30

LGTripp Gallery is pleased to announce an exhibition of recent works by Paul Fabozzi. This is his fourth solo exhibition with gallerist Luella Tripp.

Paul Fabozzi’s recent series, Site Translations, strays beyond the traditional landscape; each piece is a reflection and conversation between artist and place. Fabozzi draws his audience into an intimate dialogue that goes beyond a casual and fleeting interaction. By employing multiple viewpoints, angles and depths, his intricate compositions are a visual experience of a place in-the-round. Layers of subtle line, shape and color meld together to create complex structures that seen together hint to the essence of their inspiration.

Paul Fabozzi states, “By employing rigorous means of visually dissecting and translating photographic artifacts of my experiences of specific sites in a number of international cities (including Rome, New York, and Istanbul), I am attempting, through the creation of images, to dissolve the (linguistically determined) dichotomies between external and internal, organic and geometric, presentness and memory, thought and feeling.”

Fabozzi’s work is rooted in the emotional and psychological experience of place; he is searching for the human pulse of each specific location. A thread throughout Site Translations is the concept of containment. In works like Corviale #2, Paul Fabozzi explores the complex social and physical constraints of the fortress-like housing complex outside of Rome. Eleven stories high, the formidable Corviale structure stands as an oppressive and abysmal contradiction for its low-income residents: here the issue of overcrowding in the city is simply relocated and contained inside those daunting walls. In this work, sharp diagonals and dense lines sharply divide the picture plane and introduce a density that contrasts with the more delicate and veiled elements of the piece.

Negative space is an important component of the work in Site Translations. Just as a building relates to its surroundings, the open space of Fabozzi’s work represents the world outside of his structures. The Corviale Series reflect the physical and emotional isolation of the building’s inhabitants. However, Fabozzi finds redemption in the void: his boundaries are open and there exists a sense of freedom that allows the viewer to freely traverse in and out.

Paul Fabozzi’s work has been included in solo and group exhibitions throughout the United States and Europe and is included in numerous private and public collections. Awards include a fellowship from the New York Foundation for the Arts. Fabozzi, who received his MFA from the University of Pennsylvania, edited an anthology of writings on contemporary art, titled Artists, Critics, Context: Readings in and around American Art Since 1945 (Prentice-Hall, 2002). He is currently Professor of Fine Arts at St. John’s University in New York City.

July 13 – August 18, 2012
Artists Reception, Saturday, July 14, 4 – 6:30 pm
First Friday, August 3, 6 – 8:30 pm

LGTripp Gallery continues its tradition of a summer invitational. This exhibition is the intersection of the variegated histories of thirteen artists. Although there exists a disparity between the rich and expansive career of the mature artist and the enthusiastic, tenuous beginning of the recent art school graduate, the educated and the self-taught, these artists express their creativity and experiences through a myriad of styles, mediums and techniques, each with their own individual approaches to abstraction. It is at this juncture of abstraction that their paths converge.

This year RSVP 3 is showcasing thirteen artists, twelve exhibiting here for the first time. The exhibition will feature paintings by Ryan Cobourn, Paul Davis Jones, Michele Kishita, Yvonne Love, Mircea Popescu and Michael Yoder, drawings by John Dickerson, Robert Dodge, Joseph Iacona, Colleen McCubbin Stepanic, video by Victoria Pepe, sculpture by James Perry and installation by Tegan M. Brozyna. These artists are based in Philadelphia and the surrounding region.

Contributing Artists:
Tegan M. Brozyna
Ryan Cobourn
John Dickerson
Robert Dodge
Joseph E. Iacona
Paul Davis Jones
Michele C. Kishita
Yvonne Love
Colleen Mccubbin Stepanic
Victoria Pepe
James Perry
Mircea Popescu
Michael Yoder

Charles Kalick

Ryan Pellak

Paul Rider

CHARLES KALICK, Painting
RYAN PELLAK, Installation
PAUL RIDER, Photography

June 8 – July 7, 2012
Artist Reception, June 16, 5 – 7 pm
First Friday, July 6, 6 – 8:30 pm

LGTripp Gallery is pleased to present recent works by three Philadelphia-based artists, Charles Kalick, Ryan Pellak and Paul Rider. In 2011 works by Pellak and Rider were shown in group exhibitions, RSVP and FOCUS. This is Kalickʼs first exhibition at this gallery.

In its most basic elements in the pictorial space, an artist makes decisions about the placement of shapes, line and color. With these decisions about the interplay of color and form, come choices about texture, space, and media. These three artists express their choices through photography, painting and installation.

Charles Kalickʼs paintings are geometric compositions of the artistʼs exploration into surface, texture and pattern. Pockets of color are created by various added elements, such as sticks, pebbles, clay, paper mache and sawdust that, as a result, dissect the color plane. The bright and bold colors pop off the board, while the areas of white recess into the background. The use of contrasting colors in the densely textured rectangles further exaggerate the sculptural elements of each work.

Kalick was born in Philadelphia and graduated from Pennsylvania Academy of Fine Arts in 1972. He was granted the Lewis S. Ware Memorial and William Emlen Cresson Memorial Traveling Scholarships, and was the recipient of the Pennsylvania Council on the Arts Fellowship. For about 30 years his works have been exhibited in the Philadelphia and New York areas; in recent years, at the former Sande Webster Gallery in Philadelphia.

By concentrating on the border that defines a space, Ryan Pellak creates awareness to the intersection and the separation of how shapes interact within that space. 3-D wall drawings are constructed from multiple frames of colored yarn. The placement of each intersecting frame creates the illusion of overlapping shapes while bold contrasting colors assist in tracking each frame though the space. In contrast, identical companions to the 3-D wall drawings are released to sag, allowing gravity to determine the final form.

Pellak is from Souderton, PA. He earned a Certificate in Painting from the Pennsylvania Academy of Fine Arts. In 2011, he was the recipient of the Lewis L. Ware Memorial Travel Scholarship, won The Alexander Prize – Special Notice and The Mark Cullinane Memorial Prize in Sculpture – Special Notice. An emerging young artist, he plans to pursue a MFA in the near future.

Beyond color, Paul Rider explores the interplay of light and shape in his up-close photographs of curved, torn and molded paper. In the midst of the dark shadows and jagged edges created by the folds in the paper, the ʻlightʼ areas persist and radiate off the photograph. *The Walk to Paradise Garden*, a photograph by W. Eugene Smith, is the main inspiration for this work. Impassioned by the ongoing world conflicts and tensions, Riderʼs photographs serve as a reminder that in the darkness we are drawn to the light and a beckoning future.

Rider earned a BFA in Photography at the Philadelphia College of Art in Philadelphia and a MFA in Photography at Savannah College of Art and Design in Savannah, GA. His experience as a commercial photographer spans over 20 years. He’s also held the position of Adjunct Instructor at local universities since 1996, currently teaching at the Pennsylvania College of Art and Design and Tyler School of Art in Philadelphia.

We are pleased to announce and welcome artist Anthony Vega to LGTripp Gallery. Philadelphia-based, Vega is an outstanding, emerging artist with a clear and distinct vision, seriously committed to his art. DOCUMENTS, a collaborative effort with Luella Tripp, is Vega’s first solo exhibition at the gallery along with previously featured artists, Seonglan Kim Boyce and Paul Fabozzi.

Questioning our surroundings and the seduction of our environment has been a catalyst for artists’ investigation for quite some time. DOCUMENTS explores this context by looking at the relationship abstraction has to our contemporary landscape in the work of artists Vega, Boyce and Fabozzi.

Abstraction lends itself as an interesting metaphor for our current visual landscape, from how we see the world to how we cope with our ever-shifting cultural landscape (issues of identity and politic). Abstraction demands a question, it begs to be interpreted, it is curious, namely, in that the representation is hidden, the intention is open or the investigation is alluring. Abstraction (in this context) is a plastic document.

In looking at the questions asked throughout the history of art, it is impossible to investigate any artwork outside of social context (culture) and history. It becomes interesting to revisit the influence many historically important artists have on art today and their relationship to this investigation of landscape. What connections can be made to the intentions and questions of Matisse, Cezanne and Seurat, among others, in the modernist landscape to these three artists in our contemporary landscape? Has the impetus for documenting changed, are the concerns of the past still pertinent, or has the scope and scale shifted? How can we place contemporary artists within this framework?

Anthony Vega explores abstraction through image, metaphor and color. The intention of the work is to challenge our relationship to expectation and narrative, socially through layering, color, pattern and image. This is from a similar position to Henri Matisse and Pablo Picasso whose rich exploration of self, culture and inquiry led to a challenging of expectation and an invitation to question.

Paul Fabozzi also plays with nature, observation, and documentation. Fabozzi’s surfaces offer an exploration of contemporary place, time, and spatiality, both inside the mechanism of society and within the experience of the individual.

Seonglan Kim Boyce uses nature, observation and documentation as the catalyst for her work. The geometric forms, composition and color play on a contemporary visual investigation of self, nature and space. This is not unlike the intentions of Paul Cezanne or Georges Seurat whom obsessively investigated visual experience and the means for documenting within their culture.