[et_pb_section admin_label=”section”][et_pb_row admin_label=”row”][et_pb_column type=”1_4″][et_pb_image admin_label=”Image” src=”https:\/\/archive.hamiltonstreetgallery.org\/wp-content\/uploads\/2016\/08\/postcard.jpg” alt=”Wax Wane ” title_text=”Wax Wane postcard ” show_in_lightbox=”off” url_new_window=”off” use_overlay=”off” animation=”off” sticky=”off” align=”left” force_fullwidth=”off” always_center_on_mobile=”on” use_border_color=”off” border_color=”#ffffff” border_style=”solid”] [\/et_pb_image][\/et_pb_column][et_pb_column type=”1_4″][et_pb_text admin_label=”Text” background_layout=”light” text_orientation=”left” use_border_color=”off” border_color=”#ffffff” border_style=”solid”]<\/p>\n
Hamilton Street Gallery is proud to present Wax\/Wane, a juried exhibition which focuses its sights above and beyond, toward the beauty and mystery of the Moon, and it\u2019s influence upon the Earth and all its creatures. Thirty one artists have contributed a rich variety of subjects and media relating to the theme, including phases of the moon, lunar excursions, romance, moonlight, moon surfaces, lunacy, as well as little green men.<\/p>\n
[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_4″][et_pb_text admin_label=”Text” background_layout=”light” text_orientation=”left” use_border_color=”off” border_color=”#ffffff” border_style=”solid”]<\/p>\n
Featured Artists [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_4″][et_pb_text admin_label=”Text” background_layout=”light” text_orientation=”left” use_border_color=”off” border_color=”#ffffff” border_style=”solid”]<\/p>\n Thomas Hemmerick Rita Herzfeld [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”Row”][et_pb_column type=”4_4″][et_pb_portfolio admin_label=”Portfolio” fullwidth=”off” show_title=”on” show_categories=”on” show_pagination=”on” background_layout=”light” hover_overlay_color=”rgba(255,255,255,0.9)” use_border_color=”off” border_color=”#ffffff” border_style=”solid” posts_number=”35″ include_categories=”9″] [\/et_pb_portfolio][et_pb_text admin_label=”Text” background_layout=”light” text_orientation=”left” use_border_color=”off” border_color=”#ffffff” border_style=”solid”]<\/p>\n Artists Statements<\/p>\n Luis Alves Collage ___________________________________________________________________________________<\/p>\n PETER S. ARAKAWA<\/p>\n \u201cLUNAR METAPHYSICS\u201d, Ink, watercolor, gouache, and collage on paper, 22\u201d x 30\u201d, 2003, $3,000.00 Edward Jean Baptiste Finally, when we came to the end of the image; we had in mind the entire group of ideas that compose this complex Universe. And then, we realized that the Moon served as a transition between Earth and beyond. _________________________________________________________________________________________<\/p>\n Sam Caponegro _________________________________________________________________________________________<\/p>\n Jackie Cassidy I\u2019m interested in themes like the marginalized outsider (\u201cthe Other\u201d), death and decay, apocalypse, power struggle, and hubris. Though my work revels in the macabre, dark humor and the surreal, subtly rendered but often no less present are empowering concepts like perseverance and hope. Outright violence and the splendor of serenity are equally dull notions; with every painting, I shoot for depth and range to expose a more dynamic, true-to-life emotional current.<\/p>\n Some concepts come from my own mind while others grow organically from conversations I have, resulting in work that is more collaborative. Though I start with solid imagery, my work also eventually becomes a stream-of-consciousness rendering of the hidden narrative. Brushstrokes made during the heat of creation are instinctual, so even paintings created only weeks or days apart may contain noticeable differences in execution. The addition of deliberate marks comes during the final, refining stages.<\/p>\n Subject matter always informs my style, and I find it impossible to confine myself to any one particular style or genre — though I’ve tried many times. Abstract and loose, realistic and tight, process-based — all are salient modes of representation that hinge on my own instincts and the subject or theme at hand.<\/p>\n Randall Cleaver _________________________________________________________________________________________<\/p>\n Fred Cole However, my favorite aspect of the moon is the uniting aspect it has to the planet Earth at large. Every night there is a moon, it is seen all over the world in the same phase and in the same way by the people everywhere. It reminds all of us we are connected and can remind us of people we know in faraway places large, that in fact they are seeing the same moon we are. To me this grounds us and makes us more human in a world that often feels large, disconnected, and disorienting.<\/p>\n My work for this show combines my interest in the moon and my interest in sculptures with light. What better than to light the moon for the Hamilton St. Gallery.<\/p>\n ________________________________________________________________________________________<\/p>\n Shanna Cole Alissa Eberle ________________________________________________________________________________________<\/p>\n Robyn Ellenbogen Chris and Jamie Ernst _________________________________________________________________________________________<\/p>\n Ivan Filipchyk Artist statement: Stanley Gavidia _______________________________________________________________________________________<\/p>\n Curt Harbits _________________________________________________________________________________________<\/p>\n Thomas Hemmerick ___________________________________________________________________________________<\/p>\n Rita Herzfeld On the other hand, as a child, I felt that the moon and the darkness were frightening. Leaves were falling around me…some landing on my head…the rustle of leaves on the\u00a0 ground, the sudden flurry of something passing right overhead…Birds?…Bats? And the moon had a face on it…it was scowling…run, run home to a warm, well lit home.<\/p>\n _________________________________________________________________________________________<\/p>\n Ruth Jansyn ________________________________________________________________________________________<\/p>\n Antonietta Kies _________________________________________________________________________________________<\/p>\n David LaMorte From the private collection of Donald Lokuta Statement _________________________________________________________________________________________<\/p>\n Zig Mantell ________________________________________________________________________________________<\/p>\n John Marron Brian McCormack _______________________________________________________________________________________<\/p>\n Jeremy Munson _________________________________________________________________________________________<\/p>\n E. Carol O’Neill _________________________________________________________________________________________<\/p>\n Nancy Ori _________________________________________________________________________________________<\/p>\n Ellen Rebarber __________________________________________________________________________________________<\/p>\n Louis Toledo _________________________________________________________________________________________<\/p>\n JUAN RAMIRO TORRES _____________________________________________________________________________________<\/p>\n Ivia Sky Yavelow [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Hamilton Street Gallery is proud to present Wax\/Wane, a juried exhibition which focuses its sights above and beyond, toward the beauty and mystery of the Moon, and it\u2019s influence upon the Earth and all its creatures. Thirty one artists have contributed a rich variety of subjects and media relating to the theme, including phases of […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-558","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/archive.hamiltonstreetgallery.org\/index.php?rest_route=\/wp\/v2\/pages\/558","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archive.hamiltonstreetgallery.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/archive.hamiltonstreetgallery.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/archive.hamiltonstreetgallery.org\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.hamiltonstreetgallery.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=558"}],"version-history":[{"count":9,"href":"https:\/\/archive.hamiltonstreetgallery.org\/index.php?rest_route=\/wp\/v2\/pages\/558\/revisions"}],"predecessor-version":[{"id":2425,"href":"https:\/\/archive.hamiltonstreetgallery.org\/index.php?rest_route=\/wp\/v2\/pages\/558\/revisions\/2425"}],"wp:attachment":[{"href":"https:\/\/archive.hamiltonstreetgallery.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=558"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n<\/strong>Luis Alves: collage
\nPeter Arakawa
\nEdward Jean Baptiste
\nSam Caponegro
\nJackie Cassidy
\nRandall Cleaver
\nFred Cole
\nShanna Cole
\nAlissa Eberle
\nRobyn Ellenbogen
\nChris and Jamie Ernst
\nIvan Filipchyk
\nStanley Gavidia
\nCurt Harbits<\/p>\n
\nRuth Jansyn
\nAntonietta Kies
\nDave LaMorte
\nDonald Lokuta
\nZig Mantell
\nJohn Marron
\nBrian McCormack
\nJeremy Munson
\nE. Carol O\u2019Neill
\nNancy Ori
\nEllen Rebarber
\nLouis Toledo
\nJuan Ramiro Torres
\nIvia Sky Yavelow<\/p>\n
\nImage list
\n\u201cFIND YOUR MOMENT\u201d\u00a0 24 x 36 Framed Handmade Collage, 2015 $650.00
\nStatement
\nMedia and Art exert powerful influences over all of us through continuous, evolving processes of reflection and creation.\u00a0 They shape our hopes and fears, our notions of beauty and ugliness, our ideas about the primitive and the civilized, our conceptions of the honorable and the shameful.\u00a0 My work uses juxtaposed images to comment on the deep and delicate role the media plays in the shaping of our complex lives, identities, and consciousness.\u00a0 Each collage is hand-manipulated with the goal of transformation as a way of commenting on, satirizing or criticizing the source material.<\/p>\n
\nStatement
\nYeats worked around the phases of the moon. I have based my activities around the moon phases. My lunar watching started while I was a fisherman, and spilled over to my studio time. I have become accustomed to\u00a0 strange feelings when the full and new moon are active. I imagine the seasons have an effect on me also. The intuition and the moon are linked.<\/p>\n
\nImage List
\n\u201cFull Moon\u201d, 6.1\/2 X 6.1\/2, Mixed-media Non-Silver and Acrylic on paper 2013 $100.00
\nStatement
\nThe Full Moon is there. Its extended image is amplified gradually as each star is added. We followed its tones, forms, nuances, colors \u2026 We tried to understand. We wondered. We brought to mind by remembering and remembering.<\/p>\n
\nThe Moon became a place where we sought emotional satisfaction, and a place where we struggled for religious salvation, for others as well as ourselves.<\/p>\n
\nImage List
\n\u201cMoon Dancers\u201d My work consists of paper inlay (Pieces of patterned paper cut,\u00a0 repositioned, and glued to create different paper) on cigar boxes with resin, $100.00<\/p>\n
\nImage List
\nTitle: \u201cFlyte Night\u201d – Year: 2015 – Medium: Acrylic on Canvas, Dimensions: W 5\u201d x H 5\u201d x D 1.50\u201d (framed) $110.00
\nStatement
\nThe stuff of dramatic tension — for me, a marriage of conflict and mystery — is a driving force behind my work. My characters run the gamut of life forms: a man choking on his meal, a sloth holding a skull, deformed peas inside a zippered peapod. My landscapes, too, contain “characters” that meld with the trees, mountains and waves all around.<\/p>\n
\nImage List
\n\u201cMoon Days Times 2\u201d 2013,53\u201dh x 35\u201dw x 6\u201dd, $1,800.00
\nMedia: 12 cookie tins purchased new, 2013, Bike rim found in Philadelphia around 2004.
\nMetal plate given to me by a neighbor, 2013, Bottom of a grill pan from my kitchen, 2012
\nPlastic balls from Community Forklift, 2012, L brackets from a local hardware store 2013
\nBrass plumbing part from a dumpster in Philadelphia, 2004, Pendulum movements and clock movement purchased new
\nStatement|
\nThe inspiration for this came from finding a round disk with 12 holes in it. It was originally from a ceiling light fixture.\u00a0 It first I was just going to use it as a clock but as the piece grew I ran into an image of the lunar cycle using 12 photos and decided on that direction for the clock. I have a lot of tins but I did not have 12 the same size and I really wanted a consistent size. After scouring the local thrift shops and walking around the neighborhood during recycling days and not finding what I wanted I started looking online and found a cheap cookie tin site. The blue was beautiful. It reminded me of early morning skies with the moon still out. The tins were also a perfect size for the pendulum units.\u00a0 I decided on the different lengths that went at different speeds to show the different energies throughout the day\/month. From frantic to more relaxed. The plastic knobs are painted in the back with glow in the dark paint so in the dark you have a ring of moons.<\/p>\n
\nImage List
\n\u201cDue Lune con Luce.\u201d Recycled wood, metal and plastic lens. Closet light\u00a0 2015, $235
\nStatement:
\nI have always been fascinated by the moon. As a kid it always changed positions when we were riding home in the car\u2026one side than the other\u2026seemed like a miracle to me. It\u2019s phases, size, brightness and dances with the clouds were always a big deal to me. My main interest in the moon comes from the small knowledge I have of the influence the moon has on the planet and all of us on earth. The mythology surrounding it, the art capturing it, the poems and songs celebrating it, and it\u2019s allure to so many have made the moon special for me.<\/p>\n
\nImage List
\n\u201cCow Jumping Over the Moon\u201d Glazed ceramic 2005 NFS
\nThis piece is a representation of childhood innocence and the comforting presence of the moon watching over the world. I made this in an elementary school art class, and the staples of childhood are visible in the details of the piece \u2013 the personification of the moon with its smile and the playful engravings around the border. Although I don\u2019t remember my exact inspiration for this piece at the time, the moon has always been an important and meaningful symbol for me. As far back as I can remember I have been fascinated by the changing stages of the moon and how bright something surrounded by so much darkness can be. I vividly remember asking my mother why the moon would always follow us when we were driving in the car at night. As I have gotten older, the moon has retained this meaning and also become a reminder of unity and familiarity in an increasingly changing and unstable world. Wherever I am, my loved ones and all other beings on this planet are looking up at that same body mass in the sky. The moon is a constant and provides us comfort in the thought that we are all under the same sky.<\/p>\n
\nImage List
\n\u201cMedit Moon\u201d Color Photographic C Print\u00a0 20\u201d x 20\u201d, 2015 $250.00
\nStatement
\nThese images explore the fantastical lives of our nocturnal domestic partners, the cockroach. Throughout the ages, the cockroach has been a nuisance to humans, growing and changing alongside man and adapting to his behavior and the environment that he provides. Our attempts at eradicating them have been met with extreme failure, and as testament to their resilience as a species, it has also been predicted that they could outlive humans. If this were to happen, than the cockroach in a sense would be an artifact of human existence, a link between life after humans and before. In these images,\u00a0 they are depicted as other-wordly night beings that exist between the contemporary era of humans, and the one yet defined, as spirit animals shuffling the world off to the great unknown.<\/p>\n
\nImage List
\n\u201cRotating Element\u201d metalpoint, colored pencils, on colored gesso panel 16\u201d dia. 2015. $1,250.00
\nStatement
\nChildhood memories suggest that sensations captured my mind and spirit. I was drawn to the darkness of the night sky, the smoothness of surfaces, and the play of light and pattern that appeared when I closed my eyes.\u00a0 Time and memory play an important role in my work. I aspire to translate these feelings, perceptions, and sensations into something palpable, fluid , intimating the process by which formlessness becomes form. I work in varied formats, drawings, paintings, books, digital imagery, photography and\u00a0 sculpture,\u00a0 all based in an abstract language.\u00a0 Over the past few years I have been working in metalpoint and egg tempera.\u00a0 Both of these practices are based in 12th<\/sup> century techniques. Metalpoint was used in several ways, drawing, preliminary sketch for painting (often egg tempera) and calligraphy. I use an assortment of metalpoint\u00a0 and metallic wools.\u00a0 Metalpoint may include metal wire in a stylus and the use of flat and three-dimensional pieces of metal such as coins, plates spoons and assorted jewelry. I draw with everyday objects and build dream-like images in which fiction and reality meet, meanings shift and past and present fuse. Who can say what memory is? My images occur from intuitive and internal gestures, These gestures generate seemingly tranquil images that leave traces on the edge of recognition and alienation.\u00a0 My paintings in egg tempera continue to explore inner states of mind.\u00a0 When I was a child, I had an internal dialogue which often centered on loss, absence, the inevitability of dying and a sense of absurdity. Egg tempera paintings are often combined with the use of metalpoint.<\/p>\n
\nImage List
\n\u201cMoonshine\u201d Mixed Media, 15\u201d x 15\u201d, 2015, $150.00
\nStatement
\nI strive to recreate mechanical works while allowing the artist\u2019s hand to have a strong influence.\u00a0 Pop culture and original sketches form the basis for a majority of my paintings.\u00a0 Punk, hip hop and skateboarding are all huge influences.\u00a0 I prefer complementary, synthetic colors and intense lines. I love it when a piece strikes the balance between a childhood memory and my contemporary, personal twist. The mood I aim for is somewhere between modern and nostalgic.<\/p>\n
\nImage List
\nChamber symphony #2. Oil on canvas. 24 by 48\u201d. 2015. $700.00
\nIvan Filipchyk, 24 years old,\u00a0 was born in Belarus, small country in the Eastern Europe. He began to study music and visual arts at the local Art school in his hometown. Thereafter he continued his music education in college, majoring as an accordionist. After the graduation from Gnesin Academy of music in Moscow in 2015 he moved to USA, New York. Now Ivan continues his music career actively combining it with visual art.<\/p>\n
\nThough haven\u2019t been involved with visual arts since the graduation from art school and for 10 more years to come, I felt at some point that music, being a powerful source of inspiration and abstract ideas, is not enough for self expression. That was a turning point after which I couldn\u2019t imagine my life without painting. Though much more concrete a type of art than, say, music, representative painting seems to me capable of conveying very abstract ideas and allowing\u00a0 a lot of variation, hence rich and unlimited.<\/p>\n
\n\u201cThe Children of the Moon\u201d, Oil on Canvas, \u00a0 24 x 36, $1,000.00
\nBio
\nStanley Gavidia was born and raised in El Salvador.
\nHe studied Visual Art at National Art Center of El Salvador, (CENAR) Centro Nacional de Artes de El Salvador. Stanley Gavidia currently resides in Paterson, N.J.
\nArt Statement
\nI cannot say anything concrete about painting, what happens on the canvas is unpredictable and surprising to me. There is no particular system I follow when I begin painting.
\nI work on many canvases simultaneously; some of them suggest something, once I sense the suggestion, I begin to paint. I know what I\u00a0have to do at the moment. I leave it to the spectator to fix the meaning. It can always be interpreted in many ways.
\nI frequently hear the question, what do these images mean? However, this is simply the wrong question; visual images do not have to conform to either verbal thinking or optical fact.
\nA better question would be, ‘do these images convey any emotional truth?\u2019<\/p>\n
\nImage list
\n\u201cGemini\u201d \u00a0 acrylic on canvas \u00a012″ x 15″ in a white gallery frame, 2015 $300.00
\nArtist Statement
\nMy works utilize the vast reference that is the internet. I create digital sketchbooks to facilitate my ideas, making them tangible. These compositions are then drawn with graphite, charcoal, acrylics, and other multimedia. Merging the ethereal with hand-made craftsmanship.<\/p>\n
\nImage List
\n\u201cMoon Rise\u201d watercolor on paper, 9\u201d x 12\u201d, 2015, $200.00
\nStatement
\n“This piece was drawn from life on a late summer night in the city.\u00a0 I took my drawing paper to the roof of my building and captured the moon rising up above the many churches and buildings in my neighborhood.\u00a0 New York City is such a remarkable place that even at night its glow is reflected in the sky.”<\/p>\n
\nImage List
\n\u201cLUNAR\u00a0 LUNACY\u201d \u00a0 acrylic on paper 12\u201d x 12\u201d 2015, \u00a0 $80.00
\nStatement
\nThe power of the Moon and the effect it has on romance is quite amazing.\u00a0 Lovers looking at each other in the light of the moon all look perfect.\u00a0 Moonlight can seduce you.\u00a0 Encounters that in the light of day are just pleasant, become more intense and all of a sudden…you’re in love.\u00a0 I find that the moonlight, peeking
\nthrough the treetops and shimmering on the lake fills me with a sense that all is
\nright in my world.<\/p>\n
\n“Solstice Marker at Chaco Canyon,” digital montage, 2015 16\u201d x 20\u201d $50.00
\nStatement
\nI started photographing landscapes from the time that I could hold our venerable Kodak box camera more or less steady.\u00a0 After my brother demolished the box when he attempted to sterilize it in an autoclave, I graduated to a series of more advanced, but less inspiring cameras. \u00a0During these years I used my camera to document my European wanderings.\u00a0 .\u00a0 Then, as retirement approached, and my research trips ended, I participated in a number of archaeological digs.\u00a0 I needed something better than a standard point and shoot camera. I took photography courses at Long Island University in New York City.\u00a0 After seven years, I turned myself loose
\nI don\u2019t have a particular purpose or theme in mind when I set out with my camera, although recently I have shifted my focus from the southwestern Texas landscapes to the individuals who populate these scenes.
\nPeople often ask what camera I use.\u00a0 Despite the emphasis in this statement, I believe that my eye, both when I snap the shutter and then when I view the image, is my most important tool.\u00a0 I take many shots, but work on only a few.\u00a0 And that, I believe, is what seven years of media study have taught me.<\/p>\n
\nImage List
\n\u201cNocturne I\u201d Oil on canvas, 25\u201dx16\u201d, 2015, $375
\nStatement
\nThe fragmentary feeling from a dream and the experience within a photograph are equally real, and these worlds freely intermingle. I hope to create a spiritual connection with the viewer by inviting them into a world of images.
\nAntonietta received her MFA from the Pennsylvania Academy of the Fine Arts in May, 2013.<\/p>\n
\nImage List
\n\u201cVoyage to the Moon\u201d Cut paper, collage, and watercolor, 12″x12″x 2″,\u00a02015 $150.00
\nStatement
\nDavid LaMorte is public school art teacher, sculptor, and collage artist from Metuchen, NJ. He create works that have a playful pop art sensibility. He draws from cartoons, comic books and contemporary art history. His work takes the dark\/sinister too lightly silly things too seriously.
\nHis papercut and collage technique allows him to use repetition to create pattern and to create limited edition works by his own hand. His work has been shown both locally and internationally.
\n_________________________________________________________________________________________<\/p>\n
\nImage List:
\nApollo photographs: Chromogenic Prints listed below
\nApollo 14\u00a0 – \u201cCommander Shepard on Lunar Surface From Lunar Module\u201d – NWNASA AS14\u00ad66\u00ad9231
\n20\u201d x 16\u201d framed $1,200.00
\n2) Apollo 15 – \u201cPhotograph From a Panorama by Jim Irwin, Apollo 15 Lunar Module Pilot\u201d – NASA AS15\u00ad90\u00ad12248 – 20\u201d x 16\u201d framed $1,200.00
\nApollo 11 – \u201cEarth During Translunar Coast Using 250mm Lens\u201d\u00a0 – NASA AS11\u00ad36\u00ad5401- 20\u201d x 16\u201d framed $1,200.00<\/p>\n
\nThe Apollo astronauts underwent intensive training in preparation for their Moon explorations. Over the several years prior to the Moon missions, scientific and photographic training was provided. Astronauts were encouraged to take training cameras on trips to become more familiar with the camera operation and to enhance their photographic technique. Tutorials were provided to the crews on the equipment, its operation, as well as on the scientific purposes. The crews visited geologic sites in Nevada, Arizona, and Hawaii, frequently simulating their lunar traverse, completely outfitted with sample bags, checklists, simulated backpacks, lunar rock hammer, core-sampling equipment, and typically using Hasselblad EL cameras similar to those they would use on the Moon. As the use of the camera was mostly automated, the most crucial training was in pointing the camera which was attached to their chest control packs for the suit’s environmental control system. The astronaut would point his body in order to aim the cameras. Films taken during the practice exercises were processed and returned to the crewmen who would study the results.
\nFrom December 1968 to December 1972, twenty-seven astronauts traveled to the Moon and twelve walked upon its surface. There were nine voyages across the quarter million miles. The treasures of Apollo included the samples of the lunar surface and the photographs the astronauts took. The photographs of Apollo, today, three decades later, help us to relive the experience.
\nGary H. Kitmacher, NASA<\/p>\n
\nImage List
\n\u201cGreetings from the Moon Motel\u201d – digital collage, 16\u201d x 20\u201d 2015, $250.00
\n\u201cGreetings from the Sea of Tranquility\u201d – digital collage, 16\u201d x 20\u201d 2015, $250.00
\n\u201cWish You Were Here\u201d\u00a0 – digital collage, 16\u201d x 20\u201d 2015, $250.00
\nAll three digital collages are $600.00
\nStatement:
\nThe postcard is an old American custom
\nWhen you go someplace nice, you think of your friends and family still at home. Naturally, you send them a postcard to let them know what a wonderful place you are visiting, and they would love it\u00a0too. Of course, you want to share your happiness with them. and the picture on the postcard offers the visual stimulation to entice a positive reaction from them. So, what do postcards have to do with the Moon? These postcards were created during the large full moon we experienced at the end of September 2015, when the moon was at the closest point to the Earth in many years. If there is proof of lunacy during a full moon, then maybe …..
\nWe have labored under a full moon for too long.
\nSome say; America obsessed about sending a man to the moon for twenty years.
\nSome say; We landed there in 1969. Some say; It was all fake. A conspiracy concocted in Area 51.
\nSome say; It was a Tricky Dick Nixon enterprise, covered up in 18 minutes of silent tape that revealed that conspiracy.
\nSome say; It was the Flying Saucers.
\nSome say; These postcards were created in order to lure unsuspecting Americans into Outer Space, by little green men.
\nSome say; “Hey, try this Acid.”<\/p>\n
\nImage List:
\n\u201cBardo\u201d sumi on paper, 12\u201d x 16\u201d , 2004, $1,000.00
\nStatement
\nJohn Marron closes his eyes when he paints. form, emptiness (shunyata), wabi\/sabi, intention, representation, virtuosity, history,aesthetics, color, perfect flaws,originality, art& beauty all disappear …. vegetable char floats up to inspire the page, be it water, rice paper or clear sky …. a quick graph of the point blank now remains … his brush with spontaneity, swipe of kitchen towel, twig, divining rod, rip of saran wrap, invisibility wand, palette knife, found object or pipette come into the moment to create whooshes out of simple means, ephemeral selves or sacred nothings ……. . mystery abounds …. where you find it …. or embody it …. sumi-e, for him, is a style, a term for “black ink” in japanese, a wacky pseudo ideogram, a fun, easy, inexpensive way to get off the merry-go round \/full stop ….
\nas co-founder of the Princeton area zen group(pazg), Highland Park Art Collective (HPAC), editor of as is so & so press, author of the haiku book “blips” (amazon\/ black angel press-(2012), and student of Aitken Roshi, Trungpa Rinpoche, Kaz Tanahashi and Suzuki Roshi, he hopes you too close your eyes and breathe into these clear marks .. what you see (eyeye) is the freedom to forget your suffering and fleeting attachments to whatever and just be, sans i, for a nano-enzo-ichi second.<\/p>\n
\nImage List:
\n\u201cPearlmoon Ride\u201d collage and cray-paz on masonite, 2\u2019 x 4\u2019, 1995, $250.00
\nStatement:
\nAccess on the job to color copiers, stat cameras, silkscreen, offset duplicators, darkrooms and more became my excursions into art while on the job. Stealing away minutes here and there, making and collecting imagery, and stashing it at home in flat drawers for later use. Leftover scraps of projects became surfaces for artworks made in the late night squeezing out every last minute of free time before bed and then work again. It was at one of those times, when my \u201cPearlmoon\u201d came into view with his glasses big eyebrows and mustache. How fitting for the humorist of the Marx Brothers to become the face of the moon with a muscle bound winged angel flying a rabbit rocket up to greet him.<\/p>\n
\nImage List:
\n\u201cHermit Satellite\u201d sculpture, aluminum and mylar, 24\u201d x 48\u201d x 60\u201d 2015, $1,250.00
\nStatement
\nI contrast images recurring in my life which create spontaneous visual melodies. \u00a0I render them directly in dimensional space while using the most expedient methods possible. It is a form of collage, but with primary rather than appropriated content.
\nExtracting these bits and pieces and guessing at the relationships between them is like taking a blood sample. I always get queasy having blood drawn but it\u2019s interesting to see what\u2019s hidden in there. Seeing other\u2019s reactions is like getting a glimpse at their blood, too. Some of the relationships surfacing are obvious, like repulsion or attraction, while others remain ambiguous. I don\u2019t mind either way. The clear pieces can be used to communicate more directly while the unclear connections leave a lot of space and are less dictatorial for the viewer. Both are useful to me.
\nIt could drive one mad trying to understand all the interconnections of causality. I focus on the contact point between human activity and the living systems supporting and closely surrounding it. This is where I glimpse hope, survival and irony. It is the frontier of an integrative theory where we can see the delusion of ideas like economics and other heroic human abstractions.<\/p>\n
\n\u201cOwls Wax and Owls Wane\u201d mixed media collage, 16\u201d x 20\u201d, 2015 NFS
\nStatement
\nI have been saving these magazine photos of the owls and the full moon for years. To be a collagist means being a saver. Recently I found the lower right ink drawings in black and white of a group of active people.
\nThey seemed just right as a foil against the owls. Adding more patterned papers plus a 2″ gold and black ribbon, the owls are suspended by the moon in their own collage.
\nI have been working in collage for over 10 years in Central New Jersey. My latest exhibit was a solo show of 18 pieces at Johnson & Johnson Worldwide Headquarters ending September 25, 2015. This is the first of my new work. I hope that you enjoy it.<\/p>\n
\nImage List:
\n\u201cA Cold New Jersey Night\u201d, archival inkjet, 18×24, archival inkjet, $295
\nStatement:”
\nIt is a magical time of evening or morning when the sky is still light enough to photograph and the moon is revealing itself to us. I love the mood that the lighting creates.<\/p>\n
\nImage List
\n“Moonlight Solitude\u201d fused glass with various colors 12″ x 14” $225.00
\n\u201cMoon over the Mountain\u201d fused glass with various colors 12\u201d x 16\u201d $265.00
\nArtist’s Statement
\nEllen is a sculptor, working with a variety of materials, including metal, wood, stone, cement, plaster, clay, glass and most recently acrylite. She welds, solders, enjoys making clay raku sculpture and loves to design fused glass jewelry and platters. Ellen is a risk taker reaching as far as she can, so to create beautiful objects that are pleasing to her and to others through sharing and exhibiting her work. Throughout her adult life, Ellen\u2019s eagerness to learn inspired her to continue her art education so to enhance her development as an artist. She studied under George Segal, the sculptor, who made a profound impression on her and in\ufb02uenced her work. There, she learned about form, texture, composition, painting, drawing, art and music. \u201cHe really taught me how to see and comprehend our surroundings, for which I am grateful.\u201d After retirement from teaching in Highland Park, Ellen enrolled in sculpture classes at Middlesex County College as well as Mason Gross School of Visual Arts at Rutgers University. She also studied with Rudy Serra, who was very inspirational and encouraging to her. Ellen works diligently in her home studio where she spends much of her time. She recently completed a commission for an indoor water fountain for the John J. Heldrich Center for Workforce Development in New Brunswick, NJ, and most recently is a participating artist in City Without Walls 2013 Metro 30 traveling exhibition. Ellen has works in private collections throughout the metropolitan area and is available for commissions. For more information about Ellen visit: http:\/\/ellenrebarber.wordpress.com<\/a><\/p>\n
\nImage List
\n\u201cKiller Moon\u201d, Photography, 12\u201d x 12\u201d, 2015, $250.00
\n\u201cCrazy Moon\u201d, Photography, 12\u201d x 12\u201d, 2015 $250.00
\nStatement
\nLouis Toledo a Brooklyn born artist and painter, now living in the North New Jersey area for the past fifteen years. His focus is on Abstracts. He works on paper, canvas and panel in a variety of mediums . His work is available in originals, prints and commissions.
\nMy inspiration comes from nature, emotion and music and what ever is happening in my life at the moment. I like to say at the risk of sounding flaky, Life is art, art is life. The artist soul can not be suppressed, a constant struggle between reality and what really drives you. Explosions, energy and movement.<\/p>\n
\nImage List
\n\u201cInside demon\u201d Gouache and ink on paper, 11\u201d x 14\u201d, 2011 $250.00
\nBIO:
\nJuan Ramiro Torres was born in Lima Peru and has lived in the United States since 1984. He graduated from Parsons School of Design (NY) in 1991, since then he has worked as Art Director of many newspapers.
\nHe currently works as fine artist, art teacher and graphic designer.
\nHis artwork has been exhibited in major events and galleries in the
\nUnited States and other countries (Peru, Ecuador, Bolivia, Colombia, Dominican Republic, New Zealand, Italy and France). He has also been recognized with numerous honors and awards, and his works are part.
\nSTATEMENT:
\n\u201cEvery painting tells a story that one has lived. Therefore my work finds all it\u2019s emotions, characters and scenery through my past. With the use of a contemporary language these subjects blend together to recreate\u00a0and enhance an event.\u201d<\/p>\n
\nImage List:
\n\u201cCosmos\u201d (Handprint), graphite, charcoal, and dust on tracing paper, 12\u201d X 16\u201d, 2014, $165
\nStatement
\nMuch of my recent work has been contemplating blankness and the creation process.\u00a0 I have been experimenting with how marks can come together to create an indistinguishable whole, where the whole becomes a component again, a \u201cblank\u201d space, for further creation.\u00a0 A white gallery wall, gessoed canvas, or sheet of paper are often used as backgrounds for works of art.\u00a0 But these \u201cblank\u201d contexts are themselves made from processes of creation – accumulated marks and erasures.\u00a0 They have unique textures and histories, such as plaster or paint patches, paint drips, smudges or tears on the edge of a paper.\u00a0 These contexts were created (with purpose) from the same materials often used in art pieces. These pieces use basic materials such as gesso and paper to investigate the materiality of what is often used as a \u201cblank slate\u201d and to experiment with making visible some of the movements and processes that can go into creating surfaces related to art making, playing with ways that solid white surfaces can be formed and destroyed.<\/p>\n