aaron hobson

Aaron Hobson's work is mesmerizing.

I grew up with a mystery writer (my mother), which leads me down the very twisted path of my imagination that really connects with this work. The sense of darkness, foreboding and a strange sense of dry wit really compels me to look at this work over and over and over.

I first saw the work on Aline Smithson's great blog Lenscratch, and then again during my review of Critical Mass, from the great group at PhotoLucida.

Information about Cinemascapes -
Hobson's work is created by combining several sequential, vertical images, thereby offering more visual information and an obscured rendition of any moment depicted by a single image. These preserved moments straddle between the contexts of fictitious, universal and isolated autobiographical experiences. At times inspired by scenery near the artist's residence in the Adirondack mountains, the work contains narratives steeped in the everyday-from the machismo American cowboy to the disheveled Wall Street staffer. In a fashion comparable to that of feminist portraiture the figure in the image is always the artist whose signified identity morphs through changes in attire and ever-changing elusory surroundings. The nuanced details in the photographs are not forced, whether the interior of a '64 Mercury or a seemingly unconscious figure, and lack excessive or immediately shocking details. Rather, the restive energy that pervades the artist's work unexpectedly draws and subsequently arrests the viewer as the narrative unfolds exposing sensual, disturbing, and onerous undertones. The incredibly intricate and open-ended narratives are at once left to the interpretation of the viewer and restrained by details conveying the intentions of the artist; in the end, leaving the onlooker to ponder happenings within the frame incessantly.

Imagine - Jurored by Susan Burnstine at Spring Arts Collective

One of our represented artists, Susan Burnstine, juried a new exhibition, Imagine, opening Wednesday the 11th and running through 4 April.

Do not miss this outstanding collection of work. Susan did a fabulous job of curating this show. We were so excited to see Polly Chandler take top honors, Ann Texter, who I hadn't seen before, as well as Jonathon Luckhurst head the list of outstanding work on the walls of the Deborah Martin Gallery.

I have been a huge fan of Polly's work since meeting her in Portland two years ago. She has been part of our New Directions 07 show, as well as having a work in Collectible, our collection of affordable art.

Don't miss the opening extravaganza on the 11th (yup - that's this week)

for more information contact the Deborah Martin Gallery for details, and congratulations to all those involved.

victoria ryan

Victoria's work is stunning, rich and luscious to look at.
She was also a participant of PhotoNola, and I was thrilled to see such incredible work, not just Victoria, but all of the participants.

Victoria's work is textural, full of depth, structure and emotion. Her works pulls me in, holds my interest and takes me on a journey in each image. The split toning is the perfect compliment to add depth and showcase the texture of branches, bark, water and the environment she has chosen to frame for us.

from her artist statement -
With the threat of environmental sabotage looming, I want the work to convey the sense of urgency; to make people realize that we need to protect and appreciate nature and the depth of the gifts it offers. I want to provide a point of departure from which the exploration into the beauty and mystery of our natural world can begin, and the necessity of balance understood. The marriage of environmental concern with an obsession for observation has made this a project that will always have significance in my life, and has given me a voice to address something of great importance to all of us.

The process -
The images are printed on black and white silver gelatin paper, then toned archivally with Hypo Alum. I use this to achieve a split tone effect, dividing my values into warm and cool.

From there I use diluted photographic oil paint, which I add in a series of very light layers, shifting from warm to cool to give more dimension. I do this over a period of days to give each layer time to dry. Then I can slightly shift the values with each application, and as a result the light will refract differently, again adding more depth.

After it dries, I seal it with a protective finish. Because none of the steps in the process can be duplicated exactly, each print is unique.

Wallace Merritt

I met Wallace in New Orleans, and was completely entranced by his beautifully crafted black + white prints.
His gorgeous portraits have such sincerity, passion and connection, I couldn't stop looking at them. It's his connection with his subjects, the openness and honesty that captures my attention. All shot in his courtyard in New Orleans, the lush background makes a perfect compliment to the storied emotional visions he puts before us.

Jennifer Shaw

The Storm.

For those of us so remote as to witness it by MSNBC and CNN, it was horrifying enough. To know people there, share their concern, and watch their way of life change irrevocably is mind numbing.
I don't know about you , but it is still something I have a hard time wrapping my head around.
Jennifer Shaw's Hurricane Story is one of those stories I will never forget, her color images rich and creative. Her use of toys, and a toy camera make the story engaging in a way that journalistic images cannot.

Jennifer has done a number of beautiful bodies of work, but her images from this portfolio just really stick with me.


The story -
I was nine months pregnant and due in less than a week when Hurricane Katrina blew into the Gulf. In the early hours of August 28, 2005 my husband and I loaded up our small truck with two cats, two dogs, two crates full of negatives, all our important papers and a few changes of clothes.

We evacuated to a motel in southern Alabama and tried not to watch the news. Monday, August 29 brought the convergence of two major life changing events; the destruction of New Orleans and the birth of our son. It was two long months and 6000 miles on the road before we were able to return home.

Hurricane Story is a depiction of our family’s evacuation experience - the birth, the travels and the return. These photographs represent various elements of our ordeal. The project began as a cathartic way to process some of the lingering anger and anxiety over that bittersweet journey. It grew into a narrative series of self-portraits in toys that illustrate my experiences and emotional state during our time in exile.

collectible on capitol hill - 25 February

Remember that snowy night in Seattle last December that caused massive amounts of chaos and gridlock? Yeah, that night? well we had a fabulous reception planned for that night.

collectible on Capitol Hill.

Tara McDermott, Beaches

Nicola Dill, Waterways, No.2

Well, City Catering has created another opportunity for an evening of tasty food and easy to go down beverages, good company and great art. How can you possibly miss out?

John Chakeres, Painted Wall

Please join us at City Catering Company on Capitol Hill on the 25th of February.

Michael Gordon, Calligraphy

For more information contact the gallery or City Catering.

Aline Smithson, Enquirer

don't sit at home and miss out, then read about it later!

Kisa Kavass

Kisa's work is really beautiful.

While the object of her affection and talent in the images is less than palatable, the care and love, as well as the graphic nature of the work is truly stunning. Mouse Musings is still life in it's finest form.

I met her in New Orleans at PhotoNOLA, and found her charming, thoughtful and talented. She was showing two series, but I was mesmerized by the little mouse.