March 9th thru March 31, 2002
Reception Saturday March 9th, 4-6 P.M.

"Interior & Exterior"
Photography by Rebecca Cooney, Robert D’Alessandro, Chad Kleitsch, Mary Cathryn Roth
Sculpture by Eli Anthony, Alexandra Limpert, and Tracy Heneberger

"Transitions"
Works by Gary Spradling

Fourth Annual "Art & Ability"
Work by 13 disabled artists

"Korai"
Homage to women who died of breast cancer, by Doreen Perrine

Interior & Exterior

PHOTOGRAPHERS:

Rebecca Cooney Statement

I live in two different worlds -- one of journalism and the other you see in these landscapes.

As a journalist I look for stories that fall between the cracks. Through my photographs I assemble bits and pieces of people's lives. I look at how they work and how they play -- from the very poor to the very rich -- noting along the way details of their lives, the obvious ones and the ones they discard or ignore.

As a landscape photographer, I seek out the infinite. I am in awe of the natural world because it is impersonal and uncontrollable. When I go out to take pictures, I look for this. But like a journalist I record details. It’s the only way I know to convey the vastness of what I see.

In my landscapes I look for something beautiful. Something evocative and unexpected. Something hidden. I do not want to dilute its mystery. I only want to remind myself that it is there. Prove its existence.

The black and white of these landscapes reminds me of the pencil drawings I have made in my sketchbooks since I was little. In winter when trees have shed their leaves and the light is low and stark, the world looks just like my line drawings.

Landscapes are for me abstract in the sense that music is abstract. This is what I like about them. I want the viewer to mind their own meaning in them.

The square is linear, symmetrical and favors no axis. Some argue that our gaze takes in a squarish form, as opposed to a rectangular one. I’m not sure why I am saying this. It’s just an aspect of seeing that fascinates me.

Photography is about time - after all, it’s governed by the camera's shutter. These pictures are about time at its slowest, time over the course of a day or season. Time prolonged. Particularly it is not just about the moment. In landscapes, “particular” moments stretch out. We can take our time as we take the measure of time itself.

But what I really love about landscapes? They don’t move. I have to go out and find them. Mostly in the wild areas along civilization’s edges. And then decide where to stand.


Robert D’Alessandro Statement

For me architecture has a life apart from what its builders may have intended. The structural juxtapositions of forms and materials have a life and energy I can feel when I am walking among them. I enjoy stopping to consciously look at what’s around me, but especially at what is up above me. When I can catch an idea of what I am seeing in a photograph, it makes me happy to have it to see again.


Chad Kleitsch Statement

The standard print sizes are 30x40" and 20x24". They are printed in editions of 10 or 15.

The images you see are as honest as I can record them. I use a 4x5 Wista field camera, with a 150 G-Claron standard size lens. I use Kodak Tungsten balanced film. I do not use any filters, artificial lighting, or unique tinting or printing techniques to embellish these photographs. Many of these images are done by long exposure (ranging from 1 to 30 minutes)

In photographing I work at creating a sense of presence, a connection with the moment. The transitory nature of existence makes these moments precious.


copyright © 2000 Mary Cathryn Roth
Trinidad, Cuba

Mary Cathryn Roth Statement

My eye is drawn to surfaces and textures, beauty in abstraction, repeated forms in nature and man-made structures. In them, I see layers of time, history repeating itself, humankind's resilience, a woman's weathered face, and man's weaknesses. They are journals of history. The photographs in this series come from the exterior of colonial structures in Cuba, the Castillo de San Felipe del Morro in San Juan, Puerto Rico, and the interiors of the oldest slave forts in Ghana. They speak to me, shouting.

The weathered layers of the surfaces reflect man1s inherent nature to build, unbuild and rebuild. While walking among them, one has a feeling of being inside when outside and outside when inside. One feels the wind blowing through them, whispering.


SCULPTORS:


Eli Anthony Statement

I make vessels or containers, representing the human struggle.
The exterior of these vessels does not deny access to the interior, but interacts with it to create a narrative. The exterior represents the world of appearances through a sociological and physiological framework.

The interior space is psychological, consisting of what is personal and intimate, such as fragile memories and neuroses.
Within the relationship of the interior and exterior things are lost, decay revealed, things are clung to, stifled, confined.

In displaying the relationship I do not hide behind a singular explanation. The narrative that follows transcends the didactic, engaging the viewer in a more profound discourse.


Wick, 2001, Brass, lead, tin, 70 x 35 x 25 inches

Tracy Heneberger comment by the critic Zhu Qi

In the last two years, Tracy Heneberger has made five trips to Beijing to exhibit, lecture and cast bronze. The critic Zhu Qi, regarding Heneberger’s work in a January, 2000 exhibit with four Chinese sculptors at the Central Academy of Fine Arts Museum in Beijing, wrote, "His works infinitely expand basic elements, like the breeding of a basic form, to make an image of infinite derivation, differentiation, radiation, diffusion and viviparity, in the visual sense. His works express a strong concept, representing the magic temperament of an Eastern organic idea.’’


"Monument"

Alexandra Limpert Statement

I am a New York City artist who sculpts the human body in metal. My figures reflect the continuous breakdown and regeneration of the urban environment. The confrontational life-size scale of my sculptures generates a powerful presence.

As a woman I redefine the female form through steel. I have stripped away the barrier of feminine beauty to find new territory. I represent the underlying complexities with mysterious architectural structures.

The sculptures are constructed from a network of metal rods and remnants. Their energy and unity depends on the diversity of these elements. The figures are infrastructures resonating with the environment.

My art work is a monument to transformation. It is also an investigation of the familiar and the unsettling aspects of the human form. Influenced by external and internal systems that repeat and progress over time, my figurative sculptures are relics of our experiences.