Charles Swedlund's "Elizabeth" (detail)
Charles Swedlund: Diary/84
Oct. 16 - Nov. 6, 2014
Photographs taken every hour on the hour of the artist's awakened day for an entire year.
I decided to make a photograph of my life, every hour on the
hour of my awakened day, for an entire year. I changed the time each day in
order to reduce repetitions. A small 35mm camera with automatic exposure and a
data recorder back was purchased, specifically for this project. In this
manner, there would not be confusion between this project with my other areas
of photography, and each exposure would have the date automatically recorded. I
decided upon black and white film. All exposures would be made with available
light. The film was developed periodically to insure the system was
operational. However, I did not look at the images. I did not want any form of
editing to influence what I was photographing. It was important to me to
maintain this desired degree of spontaneity.
Upon awaking January 1, 1984, I placed the camera around my
neck and started the project. The camera became my constant companion. When it
came time to make an exposure, I explained the project, if someone was near me,
and asked for their permission to be photographed. Eye contact between me and
the person being photographed was a desired visual quality. I did not wish to
make any “candid” type photographs. The photographing of so many people became
a new photographic experience for me and became an integral part of my life. At
the end of the year, I ended the project and processed the remaining exposed
film. Contact prints were made from all of the rolls of film and numbered. I then
examined the contact prints to see which photographs were interesting to me.
They were cut out from contact sheets, numbered, and placed on a table. It was
quite a sight to see some 800 tiny photographs on the table. I then started to
sort and relate imagery. This selection produced over 250 photographs. It soon became clear that a lot of them were
of my wife Elizabeth, my children (Heather and Alison), portraits, places, and
events. I organized these photographs into these visual chapters.
Michelle Hamilton's "Flaming Crispa" (detail)
Michelle Hamilton: Equanimity
Oct. 16 - Nov. 6, 2014
Glass sculptural vessels that explore depth and negative space reminiscent of the symmetry found in botanicals and sea forms.
My glass compositions are sculptural vessels. They investigate the
elegant configurations and radial symmetry found in botanicals and sea forms
providing rhythm to the balance of material and soul. The collection is created
with the use of fused glass elements. Their format and design pay homage to the
stratified components found in natural sea life and horticultural beds. The
translucent and opaque colors are used to create loft and additional depth that
not only celebrates the alluring draw of glass but also creates the illusion of
a new material that softens with a skin like quality.
My work is layered and stacked to enhance and
increase the depth and negative space that is exposed by organic openings.
These holes naturally occur in glass that is encouraged to draw and flow
through the use of combined pieces of glass melting in a kiln atmosphere. The
outcome of these assembled forms draws the viewer’s eye into a curious
observation of colors and silhouettes peeking out through parallel, negative
spaces. But most exciting is the creation of a fourth dimension generated by
both shadows and reflected, translucent colors that also strata themselves on
the wall, ceiling and horizontal placements. The manifestation of floating off
the mounted element compels a feeling of a natural motion and elegant growth
found in our natural surroundings.
Cory Seller's "Portrait of a Madwoman" (detail)
Cory Sellers: Familiar Figures
Oct. 16 - Nov. 6, 2014
Thickly-applied oil paintings that investigate composition and the human figure to create intense pictorial drama.
my recent paintings, I am first concerned with composition, facts, and
investigations of space. While pushing the limits of paint, I want the viewer
to luxuriate in the lusciously applied medium and intense mark-making. I create
a dark, unknown space with minimal light that is combined with the imagery from
the figure. Obsessed with the figure, I manipulate and exaggerate it, repeating
this motif over and over again until the painting has developed its own
characteristics – then push it further.
figure and forms have a space within themselves. Not always real. This is a
contradiction which adds to the complexity of the painting. Some paintings will
have up to fifty preliminary drawings, keeping in mind the outcome does not
have to carry the same mannerisms to the surface. Turning an observation into
an intense pictorial drama, even if by accident, is what interests me.