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13 December, 2009

New Directions 2010, Down + Out








What a show! Ms. Carol McCusker of MOPA has curated an international exhibition to showcase here at the gallery as well as a second viewing in Portland at 23 Sandy coming up in February.

The competition was tough. over 220 submissions, 1000 images, and Carol was able to cull it to 42 artists with 45 images. Really tough. I loved a lot of the work submitted, so I didn't envy her her job of clarifying dizzying visual perspectives.

Here is a list of the participating artists (in alphabetical order)

Robbie Acklen (Claremont, CA)
John Aldredge (Seattle, WA)
Jeff Antebi (Los Angeles, CA)
Cordelia Bailey (Anahola, HI)
Chris Bennett (Portland, OR)
Heidi Bertman (Beaverton, OR)
Andrew Binkley (Haiku, HI)
Charles Blackburn (Seattle, WA)
J. Wesley Brown (Los Angeles, CA)
Alejandro Cartagena (Monterrey, Mexico)
Pete Cosenza (Ventura, CA)
Matthew Derezinski (Kirksville, MO)
Kristen Fecker Peroni (Dexter, MI)
David George (Hackney, London, England)
Colin Graham (Port Angeles, WA)
Steve Guttenberg (Brooklyn, NY)
Ray Hau (Hong Kong)
Nicole Jean Hill (Eureka, CA)
Joshua Hobson (Tallahassee, FL)
Adam Jacono (Greenville, NC)
Kirby Johnson (St. Paul, MN)
Jeffrey Krolick (Ashland, OR)
Sarah Marie Land (St. Louis, MO)
Larry Larsen (Seattle, WA)
Nathan Lunstrum (Tarrytown, NY)
Duc Ly (Portland, OR)
Kora Manheimer (Brooklyn, NY)
Patricia McInroy (Albuquerque, NM)
Daniel Melo (Buenos Aires, Argentina)
Charles Mintz (Cleveland, OH)
Emily Nathan (Oakland, CA)
David Jaewon Oh (Mill Creek, WA)

Wayne Palmer (New York, NY)
Ric Peterson (Vashon Island, WA)
Dawn Roe (Winter Park, FL)
Wendy Ross (Nyack, NY)
Michael Seif (Watertown, MA)
Sarah Sharp (Detroit, MI)
Peter Tilgner (Tenafly, NJ)
Ronit Toledano (Tel-Aviv, Israel)
Anna Maria Vag (Seattle, WA)
Jacqueline Walters (San Francisco, CA)


12 December, 2009

China Travels





So, I am back from China, and have many thoughts on what a great trip it was, what an interesting country, politically, personally and visually and am still trying to wrap my head around the experience. In the meantime, Buzz always hits the road with me, so I thought I would start with his highlights of the trip. There will be more posts on Chinese photography to follow. Stay tuned.
and thank you to Karen Davis for the shot of me and buzz.

21 November, 2009

Lishui Photo - Karen Davis






Karen Davis is headed to China this week with her body of work, Close to Home.
Here is more on her series.

Project: Close to Home
“Close to Home,” is a series of portraits of children and family at moments of deep engagement. I began at home, with photographs of girls at play; I continued with subjects in my family and immediate neighborhood. As my own children married and had children, I incorporated the diversity of their lives. Now, “Close to Home” extends far beyond my neighborhood to the world.

19 November, 2009

Lishui Photo - Mary Parisi






Mary Parisi left for China today.

Her work, looking at food is based on the artistic, rather than culinary, allowing us to create an emotional connection of our own to foods so personal to her.


more about Food Pictures -
This body of work is about food. All the pictures resulted from foods, which I cooked and ate. Some of the food, like the chicken soup pictures are reminders of my childhood and my father who made chicken soup every other Monday for many years.
To some extent the pictures are related to my history as a sculptor because I think of food as material for art. I am indebted to the artist Joseph Bueys and his use of fat for its physical properties and metaphorical value.
I have to admit that while I am not a vegetarian, I live with a reluctance to take as food other animals, who like us have blood in their veins. I have no answer for this dilemma. I can only acknowledge the conflict and try to say, it is a chicken or a pig or the fat rendered from the pig’s body and it is delicious and beautiful and horrible.

Lishui Photo - Karen Strom






Karen Strom is one of a pair of Stroms. Her husband, Stephen is a photographer as well. Both Stroms are accomplished scientists, who have now focused on creative endeavors. Stephen's work, abstract large scale landscapes, was profiled earlier this month as part of the Lishui Festival. Karen's work is significantly different than Stephen's in her process, eye and creative focus. Her composited works create environments, visions and scenes that are often miles apart. Her blending of textures creates what she calls Architectonics.

Here is more about her process -

"The world I see is composed of many different layers, scales and moments. When making an image, I explore the relationships between multiple facets of the world, integrating them into a single vision in an attempt to mimic the manner in which the mind forms composite impressions from the array of images that are constantly impinging upon you. While the resulting images often evoke disparate, even conflicting, responses, they ultimately capture a more complete impression of a landscape or object: details are synthesized into broader views; interiors integrated into exterior views. It is the ambiguity of my images, the feelings evoked by differing scales, perspectives and viewpoints, that together work to yield an integrated image of a landscape. It is these visions that I then attempt to translate into a single image, hoping to evoke similar emotional and intellectual responses in the viewer. "

18 November, 2009

Lishui Photo - Sarah Hadley








I met Sarah in Portland at PhotoLucida this April. She had a beautiful, romantic and really gorgeous portfolio on Venice. Sarah is also one of the participants of the Lishui Festival. The organizing committee chose a different body of work, Water's Edge. Having spent my youth on a beach, and getting back to it as often as I can, I understand the power the ocean holds over us, the metaphors it can conjure and most often I have the overwhelming urge to plunge in and be surrounded in the silence. Sarah's images lead me to that moment. Her Black and white images showcase that fluid ever changing boundary beautifully.


about
"The Water's Edge":

I grew up spending entire summer days by the ocean. These outings were always a special event and the beach was a place of wonderment, fascination and exploration for me. I loved the enormity and freedom the beach provided and the sense that we had entered a space where time was lost and the only rhythm was governed by the tides. As an adult, I have lived close to two great bodies of water--Lake Michigan and now the Pacific Ocean, and I've found myself drawn to beaches wherever I travel, especially when I can be alone in these vast panoramas. The complex and ever-changing landscape feels like stepping into an altered reality and I am interested in how the patterns in sand, sea and sky echo one another, as well as showing the transformative power of the elements. Capturing that point where water meets land feels like entering an infinity at the edge of the world.

17 November, 2009

Tom Chambers - World Photography Gala Award




















It is an honor and a privilege to represent someone as talented as Tom Chambers.


I have had the pleasure of seeing his work grow, mature and emerge as one of the most talented artists in the world. His recent showcase in Fotográfica 2009 Bogotá, his smashing show in Madrid, his first place award from DC FotoWeek for his image "Saccharin Perch", and now his most recent success, the World Photography Gala.


Tom was awarded First Place in the Digital Enhanced category of the 2009 Worldwide Photography Gala Awards. "The Goatherd" will be exhibited in the WPGA inaugural exhibition in Madrid.


The WPGA received 3,180 images from 47 countries. The jurors' team included Susan Zadeh, publisher of Eyemazing Magazine; Chris Steele-Perkins, Magnum; Tim Anderson, editor of the Red Dog Journal; and Brooks Jensen, publisher of Lenswork.


Congratulations Tom!




New Directions 2010












Thank you to everyone who submitted to Down + Out, New Directions 2010.
We have some incredible submissions, and it will be difficult for Carol to make her decisions. I have had a great time going through the work, and have picks of my own, which won't be divulged until after her decisions are made.

We will be announcing the selected artists in December, and the show opens in Seattle in January. We will announce the Best of Show in January, and thanks again to Blurb for donating publishing for the winner of Down + Out.























images by Aline Smithson, Badwater and Jennifer Schlesinger, North Noon

16 November, 2009

Lishui Photo - Charles Rozier








Charles is another participant in the Lishui Photo Festival.
Having met him in Portland, and really enjoying his work, I was pleased to see his inclusion in China.

His family fills the frame of his lens, watching who they are, how they grow and change over time. Broken into segments based on his camera, he defines his world by low and high resolution.

About the series -

“Low-Resolution Diary” is the second of three photographic series that form a 30-year diary of documentary portraits, mostly of my family. This project has driven almost all of my photography and remains a work in process. I can't say just how it got started, but I can say my first exposure as a teenager to Cartier-Bresson was life-changing.

The three series are defined by their media: 35mm monochrome (Tri-X Diary) through 2002; then small format digital (Low-Resolution Diary) 2003-2008; and currently medium format film (High- Resolution Diary) 2008-2009. Although I feel all the photographs emerge from the same point of view, each series is shaped differently by its format.

The Low-Resolution series was photographed digitally with a tiny camera that allowed me to unobtrusively capture fleeting situations that might otherwise have been missed or disrupted. The pictures are printed at a fairly large scale, at which the coarse character of the camera’s output becomes integral with the image, imposing a degree flatness and abstraction. Although some of the images may appear constructed, they are entirely documentary.

The High-Resolution seris is photographed on relatively larger and slower 6x7cm film. The resulting images are more static, formal, and perhaps more classically photographic in character than the earlier series. There are three key things I have been trying to accomplish: to capture a “live” documentary moment within a formal composition; to evoke a real environmental space; and to reveal the subject in a sense that is neither momentary nor expected.

15 November, 2009

Lishui Photo - Susan Berger






Susan Berger is another Lishui participant. Her focus? She stopped. While the rest of us go whizzing by at 80 miles an hour, she stopped and payed tribute, and helped us focus on those who have left us. Roadside memorials are all something we see, but don't look at. I think Susan has done us a great favor by honoring those who care for those memorials, as well as the individuals they pay homage to.

About Private Memories in Public Places -

My portfolio, “Private Memories in Public Places”, documents the roadside memorials that dot our highways and city streets.Most of us barely notice them as we drive along, but these memorials have become an integral part of the national landscape. Perhaps we don’t notice them because they have become so common that they no longer arrest our attention. And perhaps it’s because they often fit so naturally into the landscape.
As I look at these monuments, I am struck by the obvious care, time and work that went into their creation. They are intended to be permanent and to be visited again and again. The compelling question to me is why the survivors need to memorialize the place the person died. Some have suggested a belief that the soul still hovers at the sight. But I believe it’s because the death was so sudden, violent and unexpected. Perhaps the survivors want to remember that life stopped right here.
I began photographing these memorials in 2005. In 2009, I was awarded a project grant from the Arizona Commission on the Arts to travel the country and photograph these little works of art. In 2009, I drove 18,000 miles from coast-to-coast and border-to-border photographing the memorials I found along the way.

11 November, 2009

Lishui Photo - Rita Maas

Rita Maas and curator Paula Tognarelli, from the Griffin Museum in Boston head to the Lishui Photo Festival to showcase Rita's series, Reality TV. I reviewed the work in Portland, at PhotoLucida, and found it fascinating. Reality TV is a world unto its own, creating a culture of reality stars and megastars, elevating the average to iconic status. It spawns some curious creatures, like Balloon Boy's Dad, in its more obvious surreal forms.
But what Rita is looking at is far more subliminal and seductive. Think about the palettes she is showing, from TV shows like Top Chef, The Home shopping Network, even news like Obama's Inaguration and baseball games - Pirates vs. Cardinals. We all know how we are affected by sunshine, and what that warm light does to us, how it lifts our spirits as it washes over us. But think about that light emanating form that big screen tv you have on all the time in that background. How does that affect your mood? Rita's presentation asks a good question, and showcases a perplexing answer.

About her series -

Reality TV was created as a direct response to living in a culture of You Tube and Twit- ter; constantly multitasking on multiple screens and the unending stream of informa- tion, both relevant and banal.

Feeling overwhelmed after the recent political season I felt the need to express my search for relief. The result is “Reality TV”. Each composite photograph represents a television program photographed with the camera directed towards a wall and ceiling or corner of the room where the program is being viewed. The camera takes in the information beamed from the television and reformulates it for the viewer as reflected color. The camera sensor is recording the light over several seconds, blending it as the capture takes place. It is recording the unseeable. The assembled images of saturated color vibrate against each other and are evocative of both field paintings and pixels. They are, in a sense, a reduction of the very notion of a photograph, the recording of light.

This piece is meant to highlight issues of observation and comprehension. How much of the world we inhabit do we really observe? How much do we comprehend of all we take in everyday? To what extent do we create our own reality?

The piece itself hangs on the wall as a kind of spiritual icon, presenting a space of mediation, a transformation of what it was created from.


“Nothing is more abstract than reality” —Giorgio Morandi




13 December, 2009

New Directions 2010, Down + Out








What a show! Ms. Carol McCusker of MOPA has curated an international exhibition to showcase here at the gallery as well as a second viewing in Portland at 23 Sandy coming up in February.

The competition was tough. over 220 submissions, 1000 images, and Carol was able to cull it to 42 artists with 45 images. Really tough. I loved a lot of the work submitted, so I didn't envy her her job of clarifying dizzying visual perspectives.

Here is a list of the participating artists (in alphabetical order)

Robbie Acklen (Claremont, CA)
John Aldredge (Seattle, WA)
Jeff Antebi (Los Angeles, CA)
Cordelia Bailey (Anahola, HI)
Chris Bennett (Portland, OR)
Heidi Bertman (Beaverton, OR)
Andrew Binkley (Haiku, HI)
Charles Blackburn (Seattle, WA)
J. Wesley Brown (Los Angeles, CA)
Alejandro Cartagena (Monterrey, Mexico)
Pete Cosenza (Ventura, CA)
Matthew Derezinski (Kirksville, MO)
Kristen Fecker Peroni (Dexter, MI)
David George (Hackney, London, England)
Colin Graham (Port Angeles, WA)
Steve Guttenberg (Brooklyn, NY)
Ray Hau (Hong Kong)
Nicole Jean Hill (Eureka, CA)
Joshua Hobson (Tallahassee, FL)
Adam Jacono (Greenville, NC)
Kirby Johnson (St. Paul, MN)
Jeffrey Krolick (Ashland, OR)
Sarah Marie Land (St. Louis, MO)
Larry Larsen (Seattle, WA)
Nathan Lunstrum (Tarrytown, NY)
Duc Ly (Portland, OR)
Kora Manheimer (Brooklyn, NY)
Patricia McInroy (Albuquerque, NM)
Daniel Melo (Buenos Aires, Argentina)
Charles Mintz (Cleveland, OH)
Emily Nathan (Oakland, CA)
David Jaewon Oh (Mill Creek, WA)

Wayne Palmer (New York, NY)
Ric Peterson (Vashon Island, WA)
Dawn Roe (Winter Park, FL)
Wendy Ross (Nyack, NY)
Michael Seif (Watertown, MA)
Sarah Sharp (Detroit, MI)
Peter Tilgner (Tenafly, NJ)
Ronit Toledano (Tel-Aviv, Israel)
Anna Maria Vag (Seattle, WA)
Jacqueline Walters (San Francisco, CA)


12 December, 2009

China Travels





So, I am back from China, and have many thoughts on what a great trip it was, what an interesting country, politically, personally and visually and am still trying to wrap my head around the experience. In the meantime, Buzz always hits the road with me, so I thought I would start with his highlights of the trip. There will be more posts on Chinese photography to follow. Stay tuned.
and thank you to Karen Davis for the shot of me and buzz.

21 November, 2009

Lishui Photo - Karen Davis






Karen Davis is headed to China this week with her body of work, Close to Home.
Here is more on her series.

Project: Close to Home
“Close to Home,” is a series of portraits of children and family at moments of deep engagement. I began at home, with photographs of girls at play; I continued with subjects in my family and immediate neighborhood. As my own children married and had children, I incorporated the diversity of their lives. Now, “Close to Home” extends far beyond my neighborhood to the world.

19 November, 2009

Lishui Photo - Mary Parisi






Mary Parisi left for China today.

Her work, looking at food is based on the artistic, rather than culinary, allowing us to create an emotional connection of our own to foods so personal to her.


more about Food Pictures -
This body of work is about food. All the pictures resulted from foods, which I cooked and ate. Some of the food, like the chicken soup pictures are reminders of my childhood and my father who made chicken soup every other Monday for many years.
To some extent the pictures are related to my history as a sculptor because I think of food as material for art. I am indebted to the artist Joseph Bueys and his use of fat for its physical properties and metaphorical value.
I have to admit that while I am not a vegetarian, I live with a reluctance to take as food other animals, who like us have blood in their veins. I have no answer for this dilemma. I can only acknowledge the conflict and try to say, it is a chicken or a pig or the fat rendered from the pig’s body and it is delicious and beautiful and horrible.

Lishui Photo - Karen Strom






Karen Strom is one of a pair of Stroms. Her husband, Stephen is a photographer as well. Both Stroms are accomplished scientists, who have now focused on creative endeavors. Stephen's work, abstract large scale landscapes, was profiled earlier this month as part of the Lishui Festival. Karen's work is significantly different than Stephen's in her process, eye and creative focus. Her composited works create environments, visions and scenes that are often miles apart. Her blending of textures creates what she calls Architectonics.

Here is more about her process -

"The world I see is composed of many different layers, scales and moments. When making an image, I explore the relationships between multiple facets of the world, integrating them into a single vision in an attempt to mimic the manner in which the mind forms composite impressions from the array of images that are constantly impinging upon you. While the resulting images often evoke disparate, even conflicting, responses, they ultimately capture a more complete impression of a landscape or object: details are synthesized into broader views; interiors integrated into exterior views. It is the ambiguity of my images, the feelings evoked by differing scales, perspectives and viewpoints, that together work to yield an integrated image of a landscape. It is these visions that I then attempt to translate into a single image, hoping to evoke similar emotional and intellectual responses in the viewer. "

18 November, 2009

Lishui Photo - Sarah Hadley








I met Sarah in Portland at PhotoLucida this April. She had a beautiful, romantic and really gorgeous portfolio on Venice. Sarah is also one of the participants of the Lishui Festival. The organizing committee chose a different body of work, Water's Edge. Having spent my youth on a beach, and getting back to it as often as I can, I understand the power the ocean holds over us, the metaphors it can conjure and most often I have the overwhelming urge to plunge in and be surrounded in the silence. Sarah's images lead me to that moment. Her Black and white images showcase that fluid ever changing boundary beautifully.


about
"The Water's Edge":

I grew up spending entire summer days by the ocean. These outings were always a special event and the beach was a place of wonderment, fascination and exploration for me. I loved the enormity and freedom the beach provided and the sense that we had entered a space where time was lost and the only rhythm was governed by the tides. As an adult, I have lived close to two great bodies of water--Lake Michigan and now the Pacific Ocean, and I've found myself drawn to beaches wherever I travel, especially when I can be alone in these vast panoramas. The complex and ever-changing landscape feels like stepping into an altered reality and I am interested in how the patterns in sand, sea and sky echo one another, as well as showing the transformative power of the elements. Capturing that point where water meets land feels like entering an infinity at the edge of the world.

17 November, 2009

Tom Chambers - World Photography Gala Award




















It is an honor and a privilege to represent someone as talented as Tom Chambers.


I have had the pleasure of seeing his work grow, mature and emerge as one of the most talented artists in the world. His recent showcase in Fotográfica 2009 Bogotá, his smashing show in Madrid, his first place award from DC FotoWeek for his image "Saccharin Perch", and now his most recent success, the World Photography Gala.


Tom was awarded First Place in the Digital Enhanced category of the 2009 Worldwide Photography Gala Awards. "The Goatherd" will be exhibited in the WPGA inaugural exhibition in Madrid.


The WPGA received 3,180 images from 47 countries. The jurors' team included Susan Zadeh, publisher of Eyemazing Magazine; Chris Steele-Perkins, Magnum; Tim Anderson, editor of the Red Dog Journal; and Brooks Jensen, publisher of Lenswork.


Congratulations Tom!




New Directions 2010












Thank you to everyone who submitted to Down + Out, New Directions 2010.
We have some incredible submissions, and it will be difficult for Carol to make her decisions. I have had a great time going through the work, and have picks of my own, which won't be divulged until after her decisions are made.

We will be announcing the selected artists in December, and the show opens in Seattle in January. We will announce the Best of Show in January, and thanks again to Blurb for donating publishing for the winner of Down + Out.























images by Aline Smithson, Badwater and Jennifer Schlesinger, North Noon

16 November, 2009

Lishui Photo - Charles Rozier








Charles is another participant in the Lishui Photo Festival.
Having met him in Portland, and really enjoying his work, I was pleased to see his inclusion in China.

His family fills the frame of his lens, watching who they are, how they grow and change over time. Broken into segments based on his camera, he defines his world by low and high resolution.

About the series -

“Low-Resolution Diary” is the second of three photographic series that form a 30-year diary of documentary portraits, mostly of my family. This project has driven almost all of my photography and remains a work in process. I can't say just how it got started, but I can say my first exposure as a teenager to Cartier-Bresson was life-changing.

The three series are defined by their media: 35mm monochrome (Tri-X Diary) through 2002; then small format digital (Low-Resolution Diary) 2003-2008; and currently medium format film (High- Resolution Diary) 2008-2009. Although I feel all the photographs emerge from the same point of view, each series is shaped differently by its format.

The Low-Resolution series was photographed digitally with a tiny camera that allowed me to unobtrusively capture fleeting situations that might otherwise have been missed or disrupted. The pictures are printed at a fairly large scale, at which the coarse character of the camera’s output becomes integral with the image, imposing a degree flatness and abstraction. Although some of the images may appear constructed, they are entirely documentary.

The High-Resolution seris is photographed on relatively larger and slower 6x7cm film. The resulting images are more static, formal, and perhaps more classically photographic in character than the earlier series. There are three key things I have been trying to accomplish: to capture a “live” documentary moment within a formal composition; to evoke a real environmental space; and to reveal the subject in a sense that is neither momentary nor expected.

15 November, 2009

Lishui Photo - Susan Berger






Susan Berger is another Lishui participant. Her focus? She stopped. While the rest of us go whizzing by at 80 miles an hour, she stopped and payed tribute, and helped us focus on those who have left us. Roadside memorials are all something we see, but don't look at. I think Susan has done us a great favor by honoring those who care for those memorials, as well as the individuals they pay homage to.

About Private Memories in Public Places -

My portfolio, “Private Memories in Public Places”, documents the roadside memorials that dot our highways and city streets.Most of us barely notice them as we drive along, but these memorials have become an integral part of the national landscape. Perhaps we don’t notice them because they have become so common that they no longer arrest our attention. And perhaps it’s because they often fit so naturally into the landscape.
As I look at these monuments, I am struck by the obvious care, time and work that went into their creation. They are intended to be permanent and to be visited again and again. The compelling question to me is why the survivors need to memorialize the place the person died. Some have suggested a belief that the soul still hovers at the sight. But I believe it’s because the death was so sudden, violent and unexpected. Perhaps the survivors want to remember that life stopped right here.
I began photographing these memorials in 2005. In 2009, I was awarded a project grant from the Arizona Commission on the Arts to travel the country and photograph these little works of art. In 2009, I drove 18,000 miles from coast-to-coast and border-to-border photographing the memorials I found along the way.

11 November, 2009

Lishui Photo - Rita Maas

Rita Maas and curator Paula Tognarelli, from the Griffin Museum in Boston head to the Lishui Photo Festival to showcase Rita's series, Reality TV. I reviewed the work in Portland, at PhotoLucida, and found it fascinating. Reality TV is a world unto its own, creating a culture of reality stars and megastars, elevating the average to iconic status. It spawns some curious creatures, like Balloon Boy's Dad, in its more obvious surreal forms.
But what Rita is looking at is far more subliminal and seductive. Think about the palettes she is showing, from TV shows like Top Chef, The Home shopping Network, even news like Obama's Inaguration and baseball games - Pirates vs. Cardinals. We all know how we are affected by sunshine, and what that warm light does to us, how it lifts our spirits as it washes over us. But think about that light emanating form that big screen tv you have on all the time in that background. How does that affect your mood? Rita's presentation asks a good question, and showcases a perplexing answer.

About her series -

Reality TV was created as a direct response to living in a culture of You Tube and Twit- ter; constantly multitasking on multiple screens and the unending stream of informa- tion, both relevant and banal.

Feeling overwhelmed after the recent political season I felt the need to express my search for relief. The result is “Reality TV”. Each composite photograph represents a television program photographed with the camera directed towards a wall and ceiling or corner of the room where the program is being viewed. The camera takes in the information beamed from the television and reformulates it for the viewer as reflected color. The camera sensor is recording the light over several seconds, blending it as the capture takes place. It is recording the unseeable. The assembled images of saturated color vibrate against each other and are evocative of both field paintings and pixels. They are, in a sense, a reduction of the very notion of a photograph, the recording of light.

This piece is meant to highlight issues of observation and comprehension. How much of the world we inhabit do we really observe? How much do we comprehend of all we take in everyday? To what extent do we create our own reality?

The piece itself hangs on the wall as a kind of spiritual icon, presenting a space of mediation, a transformation of what it was created from.


“Nothing is more abstract than reality” —Giorgio Morandi