by Eugene Hwang

Schatz's laconic pieces juxtapose and conflate the processed with the unrefined, the smooth with the jagged, and the linear with the crooked, while searching for balance within asymmetry. The media are handled gently, are only marginally modified. Schatz requests the viewer to consider art as arrangement rather than transmutation or facsimile and artist as observer rather than craftsman.

by Eugene Hwang

While her paintings may include identifiable forms such as dragonflies and flowers, they never hide their identity as paintings because McConville is infatuated with the brushstroke and the emotive qualities of color. Though demonstrating varying degrees of abstraction and showing a wide range of influences from van Gogh to Pollock, these paintings always exhibit movement.

by Eugene Hwang

The pristine and meticulous works of Burford strive to achieve harmony between creature and environment, between past and present, and between art and reality. Abstract backgrounds that minimally resemble real habitats, if at all, peer through the translucent or transparent skin of creatures, whose organs and consumed meals one can sometimes see. The beauty of a given creature borrows from and is inspired by its surroundings. The two-dimensionality of both environment and animal puts them on relatively equal footing.

by Eugene Hwang

The paintings of Petra Nimtz are abstract, yet many undoubtedly evoke nature, not only because of the chosen palette, but also the diversity of forms in which the colors are applied, giving the viewer the impression that he is viewing a landscape. There seem to be pristine rivers, lush trees and vibrant flowers, only the viewer is on the verge of taking a nap and there is a pleasant loss of sense as colors meld and objects fall into shapelessness. The leisurely quality to these works makes them nonthreatening though they are full of unrecognizable forms. The experience of viewing these paintings is like taking a stroll through a park.from and is inspired by its surroundings.

by Eugene Hwang

One might spend hours trying to discern how Patrick Pryor's "Atlas" paintings might resemble maps or Titan with little success. The mysterious title's purpose may be to make the viewer linger and the paintings do deserve lingering. There is much detail that gets lost if due attention is not paid to these paintings, in which there is a competition, or perhaps a reconciliation, between the extremes of fortuity and intentionality. The figures, composed of intersecting arcs, are sketched out, but colored with deliberation, leaving little question as to where the object ends and the background begins.

by Eguene Hwang

Amelung's meditative paintings are chromatic experiments, which ambitiously rely heavily on color and simple forms to relate the artist's themes. One gets the sense that all is gingerly placed, though there is a good amount of extemporaneity. Once the paint is brushed on, there is a confidence that it was meant to be, though it might not have come out as planned. There is no such thing as a rehearsal. There is no need for them because there are no mistakes, and so these pieces, while containing a melancholic element, embrace optimism.

by Eugene Hwang

There is a refreshing levity to Botella's pieces. They are humorous and intelligent surreal cartoons that seem like something out of a Lewis Carroll book. Especially since many of Botella's paintings feature clocks, they will undoubtedly be compared to the paintings of Dalí. Time, often viewed as menacing, or at least perturbing in art, plays an atypical role with Botella's work.

by Eugene Hwang

Mukhtar in her collages takes on the challenge of arranging the disparate into neat, fastidious compositions. What her exact rules are, the viewer is not privy to, but there does seem to be the presence of rules. Planes and perspectives are experimented with and objectivity is blurred, much like in a cubist painting. Mukhtar's use of negative space lends to her work added complexity and allows her to explore the beauty of geometry and rigidity with greater depth.'s work.

by Eugene Hwang

Houle's paintings, though heavily relying on abstraction, do not always renounce reality outright. One can discern characteristics of the real world creeping into the abstract, though in the slightest degrees. Swaths of color are applied in a way that suggest a third dimension or there seems to be coherent scene, but it happens to be obscured, as if viewed through thick glass embedded with impurities or the abstract is presented as an object, suggesting that there is a gravity-optional world in which such objects exist.

by Eugene Hwang

Balogh's paintings might be seen as experiments in textural disruption. They begin with flat hazy surfaces resembling thin but uneven veils of cloud illuminated by the moon or the sun in different stages of dusk or dawn. The surfaces are then rippled, subtly like a lake drizzled on, dramatically like a conflagration or itinerantly like the path of an excited particle. A chromatic abstractionist would have stopped at the hazy surface. Balogh wonders what would happen if he placed his finger in a Rothko and swirled around a bit.