Main Galleries and Sculpture Garden:
Caroline Ramersdorfer
Sculpture
Concept alters Reality
"In my sculptures I try to find ways in diminishing the distance the spectator has in observing sculpture by enabling to look in depth - upwards, from top to bottom or in horizontal - revealing the internal structures.
The mental eye of imagination gives endless scale possibilities from small scales - mind spaces - where the viewer becomes an integral part to further experience light, form, compact mass and empty space. A lattice - work of structures build from inside out where the spectators own position within fuse into new experiences of perceiving physical and spiritual spaces, identifying multidirectional moments.
By piercing my materials, stone or wood-slabs, coaxing the finest details and leaving only ligaments and connecting rods, the play of the day’s shifting light appears to dissolve the space and transform it into an ever changing arrangement of light and shadow. The passage of time turns the delicate lattices into translucent assemblies that are constantly created anew, evoking a varied range of emotions.
An accompanying video installation renders the factor of time by focusing on the changing light during the course of a day. Seeing the inside of the sculptures, the apparently limited and defined spaces are turned into an oscillate object of light, radiating from within. The video projections allow access to subtle viewpoints which would otherwise be barely perceptible.
The digital eye directs our attention to fine the textures and subtle shifts of light, which are not discernible to the human eye, at the same time complement and imbue the works adding power that significantly alters perception and thereby the emotional understanding of the sculptures."
Caroline Ramersdorfer
2010
Carriage House:
There are five artists within the carriage house (Sam Sebren, Lois Borgenicht, Harry Leigh, Constance Jacobson, and Farrell Brickhouse) in addition to a continuously changing group show of gallery sculptors on the first floor.
Installation:
Sam Sebren:
Art Lesson #1
"The anthropomorphic shopping bunny has become a zombie, numb to any goal of existence other than to shop & consume. Viewers will be dwarfed by a billboard size graphic as they are invited to sit, connect the dots & color w/ crayons in the interactive “Art Lesson #1”. What are the priorities of our 21st century, corporate-controlled, advertising-blitzed world? Where is the emphasis being placed as we raise children in this world where nature is seen as a commodity or even an inconvenience?"
Sam Sebren
2010
Second Floor:
Lois Borgenicht
Landscapes and Still Lifes
"Last summer I ventured outdoors to paint landscape for the first time in years. I felt like I was at an all you can eat buffet! I had to keep up a little mantra by telling myself "Take what you want; leave the rest! Take what you want; leave the rest!"
My years of still life painting helped to bring some sense of order to the unruly outdoors. Still life painting, often emblematic of the quiet and the eternal can also convey a sense of imminent change and even unrest. The challenge of the changing light, the wind and the passing clouds were exciting and a new aspect of movement began to permeate my still life painting.
I am pleased for this first opportunity to show my recent landscapes and still life paintings together in this exhibition."
Lois Borgenicht
June 1, 2010
Second Floor:
Harry Leigh
"The work exhibited will consist of wood wall constructions in a variety of sizes"
Harry Leigh
2010
Mr. Leigh was born in 1931 in Buffalo, New York, his father a cotton-spinner and immigrant from Manchester, England, his mother, a farm girl from the finger lake district. He was educated in the public school system and attended Albright Art School and SUNY, Buffalo, where he received his B.A. in 1953.
Harry worked as a laborer on construction sites, in steel mills, and on the assembly line of Ford Motor Company. He was drafted into the Army in 1954 and trained as a radio operator. While serving in Europe, he traveled extensively, visiting museums and architectural sites.
Upon return, he studied on the GI bill for a Masters of Art at Columbia University. He studied privately with Richard Pousette-Dart (1956-1960) in painting. He also took a course with Peter Volkus in clay sculpture. While painting from 1955-65, he began experimenting with large works from cardboard, plaster, then plywood in 1960. His sculpture became his main focus with his first solo exhibition representing a full assimilation of his diverse work experiences.
Third Floor:
Constance Jacobson
“These drawings continue my interest in an ongoing exploration of the brain and my fear of memory loss, and of my feeling that we are watery creatures—we came from the primordial seas and ultimately we depend on marine life for our survival. The medium here is water, literally and metaphorically with scale shifts between macro and microcosm.
I am thinking in this work about our relationship with the marine world in a few ways. One has to do with the fact that we evolved from marine organisms and that the fluids in our bodies have a salt composition almost identical to that of seawater. Another has to do with the fact that our health and our lives are intimately connected to marine ecosystems that are increasingly threatened by human behavior, such as by climate change and rising seas. And finally, one has to do with an imagined sense of my thoughts, floating in a fluid medium, seeking connection to other thoughts, perceptions, and memories to form a coherent whole. How can consciousness hope to view itself except by metaphor?”
Constance Jacobson
2010
Fourth Floor:
Farrell Brickhouse
"What I feel I have done these past few years is move my experiment in overt imagery from the initial seminal studies to complete paintings. At first, it was important to just get to see what was possible. I was in a new home and studio in a new part of town. It has been liberating. I've always felt good work was somewhat like a time machine. It opened up one's past body of work to new interpretations and significance and claimed new territory for the future. I now have access to my own history with a renewed understanding of its original content and a deepening understanding of how these images can continue to speak for me in paint. As a mature artist I find I have this large vocabulary to draw from. Imagery found a decade ago is now available and malleable once again. I have also found the ability to speak to everyday experiences, tell stories and paint about current events that is liberating. Even art history looks different to me as I see my concerns expressed in a whole new set of artists and old 'friends' offer new gifts.
I've stated that my paintings are a personal odyssey, a vehicle to carry me forward and find some deeper unity in what is happening in and around me. I believe the making of a painting needs that moment of epiphany and a trace of how the imagery conveyed thru paint was discovered and experienced by the artist. Not a graphic notation of the language of experience but the mystery of it."
Farrell Brickhouse
2010
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