Virtual Perspective: ARTIST STATEMENTS

Cici Artist
Artist's Website

The woman/painter in this animated gif moves from thoughtfulness with eyes-closed into that great eyes-wide-open stage when her thoughts become clear and her vision, her perspective as an audience, can be put to canvas.

Stacie Flint
Artist's Website

My interest in painting is in the use of color, energy, movement, and story, and is emotion and figure-based. As I put together relationships of people, pets and objects, consciously and unconsciously from my daily life, a narrative unfolds on the canvas. These images -- from the fabric of my life and imagination -- are good feeling.

No Dogs Allowed emerged from a conscious situation in my life.

A few years ago, I was creating work for a solo show in a gallery owned by a couple. The title of the show was to be "Women, Cats and Dogs" because these beings, and their relationships, appear in my paintings often. One day, the woman gallery owner said that she had a request from her husband for me. She said, "I love both cats and dogs, but my husband only likes cats. When we have opening receptions, we have a regular visitor that brings her dog every time, even though she knows that my husband doesn't like it. So, for your show,
my husband requests that you make a painting that addresses this.

In No Dogs Allowed, I express the energy of several figures in an art gallery, observing the rule with apparent disregard. My focus is on exaggerated character, unexpected color, bold energy and movement. The narrative happens through inclusion of and placement of figures and objects, as well as the relation to the directive in the title.

It makes me smile.

Giovanni Greco
Artist's Website












At the age of fourteen I was introduced, through my literature teacher, to the term "metaphysics". Well, everything is trapped and preserved in my memory and everything revolves around all '"éndonèxò" (internal-external a) a term I coined some time ago where the gaze is directed towards myself and into things but at the same time is expressed my desire to feel the painting closer to the experience of the observer. Since I've always wondered why recognize or admit the existence of a reality super-physical as primary reality and instead go to the bottom of the phenomena we observe, beyond appearance or how things appear to us.

With metaphysics I have found that sometimes the objects in the approach or represent them in the context of architecture (albeit derivation of Giorgio De Chirico) or in an environment, the unknowable, the indescribable, the mystery inherent deep that is 'inside each of us that you can get by searching "in itself" and precisely out of the conditions of its appearance, far from me quibble about philosophical concepts but I will say that I try to overcome and go beyond the limits of experience drawn from limited space-time man to land on the outside of which it is not possible any form except as purely rational and the intuitive, ultimately intelligible form that transcends any possible reality linked to human experience where everything is known to our eyes and our memory, but everything seems back through a gap oblique thought that always refers to something else, something beyond. Human subject is captured and deprived of its possibilities cognitive; elements arranged with geometrical precision, the screen becomes a reflection of the storms that stir the heart of the universe. I felt that the reason may return the absolute truth and the harmonic order In these figurative works executed with oil and acrylic media on canvas I have tried to revive the instinctive emotions, a sense of suspension that is part of the nature of man to the limit to get closer to the truth.


MacKenzie Grimmer
Artist's Email

I believe my Polaroid lifts best represent how I see my world, which is, delicate, intimate, and sometimes surreal. My process takes what I see a step further in producing something that is unique through its shape and form. When I make a polaroid lift each one has different sets of wrinkles and tares that I cannot control. This unruly process enables my creativity to develop with the finished project. I started making Polaroid lifts in 2009, before Polaroid went out of business. After three year break I decided to take up this alternative process again with the hopes of expanding my imagination.

Alice Jacoby
Artist's Website

In Bird of Prey I wanted to capture chaos in motion. I began this painting as a reaction against the war in Iraq. To get a feeling of bloody chaos I painted black crosses in the background on a field of vermilion red. The bird of prey, draped in a black cloak with eyes wrapped in American flags, sees nothing, and recognizes no difference between right and wrong. As bombs are being dropped all around it, the beak of the bird of prey pierces the only living thing in the painting, a still beating heart.

A theme I'm interested in exploring in my paintings is storms at sea. In this painting I wanted to show the moments right before a storm when the sky is strangely alight and the ocean waves appear deceptively calm. Using oil, with brush and palette knife, I sought to create this luminous interlude.

Ken Morgan
Artist's Website

I spent the first 20 years of my life as a performing acrobat with "Al Morgan and his Toy Boys". This experience has informed my art through out the years. A recent stroke has introduced me to a computer and my images are now all computer generated. Aware "THE SHOW MUST GO ON", I now say "Ladies and gentlemen, children of all ages if I may direct your attention towards Center Ring the show will begin… I have found once a Toy Boy always a Toy Boy.

Jasmine Murrell
Artist's Website

I frequently work in a thematic series that primarily examines ideas found around common everyday objects. Critiquing mainstream culture while putting together unlikely combinations that invoke strange altered spaces. This particular drawing is part of a series called" Our dreams are our weapons " which combines two conflicting worlds of identity and transformation . Both figures are carrying something on their heads, which becomes a visual metaphor for oppression.


Stephanie Rorem
Artist's Email

I have recently become fascinated with flatness and the absence of depth. I find the representation of our three-dimensional world on a two-dimensional surface intriguing, because no matter how much depth an image may appear to have, it's still a flat image.

Photographs are the most realistic representations that can be achieved, but they're inherently two-dimensional, and it is this flatness I attempt to bring to out in my photographs. By zooming in on sections of buildings with a telephoto lens, the photo is compressed and the sense of depth is diminished, leaving a flat plane with shapes fitting together like a pieces of a puzzle. I want these photos to not look like photos. I want to make people wonder what kind of work they are. To take my process towards this I take two more step. First, closely crop what's allowed in the image, removing any sense of what is in the picture. Second, saturating the colors beyond what was naturally occurring in the scene – giving them an unreal graphic aesthetic. In this way I touch more into this "a photo that does not look like a photo" idea.

Larry Ross
Artist's Blog

I've been exploring the possibilities of linear geometric shapes combined with imaginary mechanical creations in deep space – both inner and outer space. I'm inspired in science fiction and recent scientific discoveries, as well as psychological ideas about the subconscious. I am playing with impossible visual situations which stretch my imagination in new and surprising ways to take the viewer where they haven't been before. I start these works with a blank piece of paper and no preconceived ideas. I begin making marks with pen and ink and I let the line go wherever it wants to go. There are no mistakes since every line stays in the picture and either ends up making something identifiable or something non-identifiable. I usually finish most of the line work before I add the color (with dyes or acrylics); or black and white tone (with dyes and ink).





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