Rebecca Silus

I am interested in how place is constructed and how the automobile mediates private and public space. The built environment that surrounds the autmobile plays a large role in my work; it is an example of the complex set of meanings that are attached to the landscape. Physical places exist in the mind as memory, history, identity, and myth. By existing in this way, these places get transformed into something other than what they are in their physical form.

David Linneweh

The ways in which architecture varies has ultimately found a place of direct influence within my work, their alterations spawning my own re-configurations. In my most recent work, I play with the idea of how I can re-assemble the architecture I experience by creating my own configurations, my own architectural hybrids. These new configurations transcribe representational elements of actual space while also incorporating abstraction of the formal elements of flat paint and drawing over a wood veneer surface.

Andy Messerschmidt

Divining by Ephemera (Shoddy Stagecraft) My work mimics the psychosis surrounding crystallomancy and the performance of fortunetelling in the gypsy wagon. Like divining by crystal balls, my artwork deals with staring hard into ephemeral stuff. The cursory and fragmented subjects in my work come and go in the viewer’s eye, much like the fading imagery that reveals itself, then disappears, to the scryer of crystals.

Carolyn Swiszcz

A “thin place,” in Celtic Christianity, is one where, in the words of author Sylvia Maddox, ”the veil that separates heaven and earth is lifted and one is able to receive a glimpse of the glory of God.” These paintings depict places I’ve encountered on recent travels where I have felt in touch with a kind of grace. Admittedly, my “thin places” are rather mundane and so are the illuminations I receive; when the “veil” lifts for me at the food court, I am more often stirred by humorous dread than holy vision.

Anna Jóelsdóttir

I grew up in Iceland without the influence of mass media. I was twenty years old when I saw television for the first time. I read books, any book I could lay my hands on. There was one radio station. It had everything: novels, the world news, plays, poetry, Sunday sermons, music, concerts, all taken in by ear. Reading books and listening to the radio got me into the habit of making up my own visuals. Every voice, every story, every place or sound I heard or read about created an image in my head. Did that give me as distorted a view of the world as today’s media? It was distorted, for sure.

Paul LaMantia

My painting is a contradiction between impulse in order. There is a deep sense of urgency that has been created in the new century that challenges the way I process my experiences into a visual reality. These groups of comic-inspired characters are locked in a claustrophobic horror vacuii Caricature of space. They are symbolic elements, as well as a form of the madness of reality. Circus-like sideshows creatures float in and out of shifting spaces, meandering through psychic spills like so much automatic writing.

Martina Nehrling

I am inspired by the cacophony of daily life, particularly the weight and the flimsiness of it at once. Compelled by the pulsation of the beautiful and horrific relentlessly clashing, I create compositions of accumulation. Grouped or tangled together, I frequently use multiple distinct brushstrokes for their graphic directness, and highly saturated chroma in order to heighten the effect of color’s imprecise language. I am utterly seduced by the formal complexity of color, while I revel in its emotive slipperiness and enjoy mining its controversial decorativeness.

Leslie Baum

My work is alphabet-like, with individual pieces functioning as fully realized objects and as the building blocks for paintingbased installations. The work unfolds across diverse media and scale, and includes large oil paintings, tabletop drawings, standing floor panels, animations, watercolors, and spray-painted drawings. Each material contributes a particular surface and has its own personality. A mindful engagement with modern painting sensibilities anchors this multiplicity. By sampling the modern canon indirectly, through the lens of memory and through the

Cody VanderKaay

As a person who enjoys the activities of a given time or in a given setting, and the people who take part in them on a daily basis, I train myself to notice relationships again and again, and have the ability to propose new ones. Internalizing why flux and movement can become life’s experienced ideas excites and motivates me.

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