Dedicated to covering the visual arts community in Connecticut.

Thursday, December 11, 2008

Saturday opening for West Cornwall photo show

Northern Exposure Gallery
413 Main St., West Cornwall, (860) 927-3319
Photographer's Choice
Dec. 13, 2008-Feb. 15, 2009.
Opening reception: Sat., Dec. 13, 3-6 p.m.

Press release

Doreen Osto (Web site), a Southbury resident and local area photographer will be displaying her fine art photography at the Northern Exposure Photographic Gallery in West Cornwall, from Dec. 13, 2008 through Feb. 15, 2009. Gallery Hours are Saturday and Sunday Noon to 5:00. Gallery reception is on December 13, 2008 from 3:00-6:00 pm. Ms. Osto's black and white photography is a complex study of light and shadow.

Other photographers who work will be part of the Photographer's Choice show are April Aldighieri, Lazlo Gyorsok, Marcelo Leonard, Marlow Shami, Birgitt Pajarola, Deb Persson, Abby Ripley, Victoria Beller-Smith, Brad Smith, Karin Smith and Patricia Tassy.

Abstract paintings show opens in Stafford Springs Saturday

Middle River Gallery
58 Main St., Stafford Springs, (860) 684-6226
Ted Mikulski: Literally Abstract
Dec. 13, 2008-Feb. 28, 2009.
Opening reception: Sat., Dec. 13, 4-7 p.m.

Press release

Literally Abstract, a show of paintings by Ted Mikulski, sets out to prove that abstract expressionism can be more than pictures of nothing. This show pushes the limits of what can be considered recognizable in abstract art. Look out Pollock, this art means what it says.

Mikulski's statement:

I received my masters in architecture from Norwich University and there learned how to balance and create space. I have always been an admirer of abstract art and began to paint sporadically in school. As time went on I knew that art was the only form of design I wanted to pursue.

I began teaching art and really diving into the art world to find my personal creative niche. There I found the major players in the abstract expressionism world and was hooked by its raw beauty and creativity. I like large canvases, which allow me to be freer with the paint and express an overall concept. I use a combination of latex and spray paint to achieve various effects.

Some may say that abstract expressionism is a con game, and I hear it quite often in Connecticut. However, abstract art does not have an obligation of recognition. Art in general should be something ornamental, something that the owner can be a part of. It should speak to you in a way that is more than one sided. Abstract art allows the medium to free itself from human recognition. It's meaning evolves and changes over time until it becomes something intimate.

Opening at La Motta Fine Art Friday night

La Motta Fine Art
11 Whitney Street, Hartford, (860) 680-3596
New Work
Dec. 10, 2008—Jan. 10, 2009.
Opening reception: Fri. Dec. 12, 6—8 p.m.

Press release

La Motta Fine Art presents a group exhibition entitled, New Work, opening Dec. 10, 2008 and continuing through Sat., Jan. 10th, 2009. There will be an opening reception on Fri., Dec. 12 from 6—8 pm. The reception is free and open to the public.

New Work features a diverse group of artists both new and familiar to the gallery. The exhibition will present works by several emerging artists that include the expressive abstract paintings of Ethan Boisvert (CT); the haunting landscapes and figurative paintings of Roxana Geffen (D.C., see image with this post); the personal and romantic portraits of Sam McKinniss (CT) and the perceptual abstractions of Blake Shirley (CT). The exhibition will offer a variety of images and stylistic approaches that include new paintings by Diane Brainerd (CT) in watercolor on panel; Tom Hebert's (CT) assemblage paintings of linoleum, board and wood; Peter McCaffrey's (NY) bird and animal paintings in oil and gold & silver leaf and the postmodernist compositions of Cary Smith (CT). Also on view will be new prints and wood sculptures by Bryan Nash Gill (CT), as well as recent prints by Leslie Enders Lee (NY). Lens-based photographer Ellen Carey (CT) will be represented by recent moiré Polaroid prints and there will be a selection of lyrical abstract paintings by James O'Shea (NY).

La Motta Fine Art is located at 11 Whitney Street, Hartford, CT. Gallery hours are Wednesday-Friday, 10 a.m.-5 p.m., Saturday, 10 a.m.-4 p.m. and other times by appointment. For further information please contact Janice La Motta at (860) 680-3596 or Janice [AT]

Wednesday, December 10, 2008

Diverse "Archaeology of Wonder" show at Real Art Ways

Real Art Ways
56 Arbor St., Hartford, (860) 232-1006
Archaeology of Wonder
Through Jan. 4, 2009.

I believe I have noted in the past that, as a reviewer, I have a conflicted relationship with themed shows. When presented with an exhibition like Archaeology of Wonder at Real Art Ways, do I consider the individual works through that frame? Or is it better to ignore the frame and contemplate each on its own? Kristina Newman-Scott, RAW's Director of Visual Arts and the curator of this show, describes her process in her curator's statement. "Archaeology" in this sense is symbolic. (The "wonder" in the show's title refers to the revelatory moments that viewers may experience when confronted with a particularly powerful work of art.) Newman-Scott writes, "Like Freud...who used archaeological excavation as a metaphor for the process of remembering or unearthing life experiences, I wanted to explore the life story of individual works of art."

It is a worthy metaphor around which to organize a show. But it can also be a distraction. Given the multiplicity of ideas and media offered here, trying to consider the works through any one given frame seems a mistake. So I'm not going to.

That said, I'll note that one of the first works that catch the eye as one enters the main gallery are Yuko Suzuki's wood cutouts on the back wall. Suzuki digs into childhood memories for inspiration. Her cutouts, which read almost as wall drawings, reference the contradictions of early childhood—particularly that of young girls—in which innocence and budding worldliness clash. These cutouts capture moments at the nexus of socialization, making for some awkward humor. In "Message," a girl squats on the ground to urinate and defecate while a cat sniffs at her excrement. The "victim" in "Victim" is a one-eyed teddy bear impaled by pencils. Childhood frustration is vented on an inanimate object (yet one imbued with a simulation of life and personality).

Harriet Caldwell
's "Cerebration" looks to the other end of the life cycle. It is a meditation on the functioning of the brain. In particular, Caldwell is concerned with the brain under stress, as with Alzheimer's. This mixed media work incorporates drawing, sculpture and installation, and a very popular material for artists these days, beeswax. Dozens upon dozens of circular vellum panels are hung in layers, held together by a network of threads. Caldwell has drawn in ink and graphite on the vellum, which is also treated with the wax. The drawn imagery is a mix of scientific representations of brain functioning—scans, chemical diagrams—and representations of memories. Memories are associated with faces or, more impressionistically, silhouettes of figures alone or with others. The vellum panels with drawings are clustered around the center of the installation. Panels toward the top and the edges and especially toward the bottom tend to be blank. Caldwell's piece posits consciousness as a complex, multi-layered process: the intersection of biology, chemistry and interconnected humanity. The wrinkling of the vellum from the beeswax treatment also evokes the topography of the brain.

Well, bees are bugs and bugs don't bug Julia Gail Oldham. I'm sure some scientist could correct me if I'm wrong, but I think humans and insects probably share a lot more DNA in common than most of us would think (or perhaps be comfortable with). Oldham's video, "Night Spider," makes the leap from the idea of shared DNA to that of a shared attachment to social experiences and ritual. Oldham has studied bugs in "an attempt to enter the mind of the invertebrate." She videotaped herself at night engaged in a series of motions mimicking invertebrate mating dances and communication rituals. Hands and feet planted in the grass, rocking from side to side. Bent over and repetitively pawing at the ground. Flapping her arms, crooked at the elbows like wings. With its sped-up imagery and added soundtrack, "Night Spider" is compellingly disconcerting. We don't see Oldham's face. Instead, she assumes the identity of a human bug.

For Brian Burkhardt, bugs are also a source of fascination. In the main gallery, we meet the beetles in his triptych "Seven Specimen Surveillance Beetle Painting." Behind the glass within the three wood frames Burkhardt has arranged a rainbow of handmade beetles in the formation of an arch. They may be seven different species—signified through color schemes and markings—but on close inspection each is individuated. As in an entomologist's display, they are stuck to the backing with pins. With their shiny carapaces and wings they are almost jewel-like. The militaristic precision of their organization is appealingly disrupted in the right panel. One of the beetles in the forward row breaks ranks to fly off on its own. In the two works by Chad Curtis (Web site), cows—either as drawings in "Turbines" or porcelain figurines in "Cows"—become symbols of the intersection of the biological and industrial worlds. Approximately 20,000 black licorice mice comprise Tom Bogaert's "Colline au Milles Souris." The floor installation targets Eurocentric notions of "rudderless third-world humanity impulsively acting out ancient ritual blood feuds," according to Bogaert's statement. The piece has a kinetic dynamism, static yet with a palpable sense of upward thrust and motion. The masses of mice are all pointed upward, all rushing over each other to reach the pinnacle. Yet, at the pinnacle, there is no "there" there—it's a dead end.

Remember having to diagram sentences in school? Brian Lund must have really enjoyed that. Lund takes the concept of diagramming to what may be an absurdist extreme. His series of seemingly abstract drawings ("Edit Cuts from the Motion Picture Showgirls") is in actuality a deconstruction of the notorious flop. Lund devised his own system of analysis and contextualization, cross-referenced with index cards. The drawings, executed with color pencils, have their own compositional integrity apart from their inspiration.

Heather Hart queried folks connected to Real Art Ways on books that had particular meaning for them or strong impact on their lives. Each participant named two books and gave some reasons for their choices. Hart knitted yarn cozies for each pair of books. The cozies join and protect the books but also obscure and hide them. For her installation, "Notations of a Hybrid," Hart set the cozied books on two shelves in a little mini-den. On top of a tattered oriental rug, a couple of comfortable chairs are provided for sitting and perusing the books—they are unreadable in the cozies. On the wall, Hart sketched out her own diagram, linking book titles with excerpts and commentary on their importance.

There is a complementarity between the undulations of Lund's abstract diagrams, with their suggestions of exotic dancers, and Sally Moore's wood constructions in the nearby room. Moore's two sculptures suggest miniature architectural dreamscapes, imaginative and inviting yet also fragile and easily susceptible to dissolution. In turn, her delicate fabrications—marked by carved spiral staircases, ladders and splintered collapsing planks—resonate with Javier Piñón's collages in the same room. Piñón, son of Cuban parents and raised in Houston, Texas, is fascinated by the American cowboy myth. His collages—and his striking installation "Daedalus," with its confining rough hewn wood fence and bucking chair framed by large bull horns—depict the cowboy myth as a construct that is, on the one hand, active and powerful while at the same time being constraining and unstable.

Identity—and its sociopolitical ramifications—is at the heart of Simone Leigh's "Queen Bee." Leigh's stunning chandelier-like sculpture hangs from the ceiling in the main gallery, bearing down on viewers with the weight of gender and race oppression. It consists of a large cluster of rounded forms with pointed, nipple-like tips aiming downward. They suggest multiple referents: breasts, bombs, bunches of ripe tropical fruit. A profusion of thin metal spikes—old car antennas—flare outwards, referencing the nail sculptures of Nkisi fetishes as well early Space Age satellite iconography. Leigh's piece is particularly evocative of Newman-Scott's interest in the process, the life story, of artworks. Its existence is shaped, formed, by a confluence of intellectual/ideological/historical factors—Black Liberation thought of the 1960's and 1970's, feminism, Orientalism, empire—as well as by physical and aesthetic considerations, including the use of traditional and contemporary artmaking techniques and materials.

In Elia Alba's (Web site) video "Se Revela, Se Devela," the male figure's face is never seen. Throughout the two-minute loop, he appears to struggle with a wrapping of pinkish cloth around his head. From glimpses of the man's shoulders and upper torsos it is possible to surmise that he is African-American or Latino. Does it matter? The man's motions present a puzzle. Is he engaged in a struggle to unveil himself, to drop the mask? Or is he wrapping himself up, a living mummy, endeavoring to hide from the world the more definitive signifiers of his identity?

Julia Brown's video "American Vernacular" was shot in an historic Maine barn house. As Brown notes in her statement, "the video features a series of scenes of physical interaction in domestic settings, in which one person uses another as an object." Many of these scenes are racially charged, as when a light-skinned woman—Brown herself—sips soup from the cupped palm of a Black man. (We see only his hand and forearm.) The racial dynamic is reversed in a different scene where a Black woman holds the legs of a white woman, seeming to use her to churn butter. The video was inspired by Black Americana objects, which were first manufactured in the late 19th century and "frequently feature representations of Black characters as decorations on household goods." In Brown's video, this dehumanizing kitsch is foregrounded by situations in which one person uses another as a tool in a domestic task without regard to their personhood.

Kitsch also informs Valerie Garlick's "Under My Skin," a 2:42 video loop. Garlick's video is considerably more lighthearted than Brown's. It is one of a series of videos Garlick has made interpreting old love songs in unconventional ways. Playing off an old recording of Cole Porter's "I've Got you Under My Skin," Garlick—lipstick-bright lips in a pout—acts out a pantomime of clinical romantic obsession. Shot using green screen technology and with her image edited in front of a postcard beach scene, Garlick scratches off her "skin," actually a layer of dried Elmer's glue.

And, speaking of archaeology, Kristina Newman-Scott dug up a couple of artists working in a medium that almost seems archaic these days: painting. "Retro kitsch" is one of the elements informing Jennifer Knaus' (Web site) anthropomorphic still lifes. (Others include Art History and "the salad bar at Stop & Shop.") There is a whiff of Surrealist whimsy in her amalgamations of fruits, vegetables and flowers into representations of women's faces and bodies. Like Knaus, Justin McAllister combines strong technique with a quirky conceptualism. McAllister has been depicting ice glaciers as "a character" in his paintings since 2003. In his statement, he writes, "Riffing off nineteenth-century American painting, they act as a predator, literalizing the sublime." And it is, in fact, sublime—if not ridiculous—to see a great wall of ice advancing down High Street in New Haven in McAllister's oil painting "Ground to Bits II." The glacier is bearing down on the building housing the Skull and Bones secret society, which counts among its alumni both Presidents Bush as well as Sen. John Kerry. Of course, it's always a pleasure to see nature put the power elite in its crosshairs. Even more so when depicted with such painterly skill: McAllister has expertly captured the color temperature of frigid afternoon winter light. I dig it.

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Friday, December 05, 2008

Inside/Outside opens at Kehler Liddell Sunday

Kehler Liddell Gallery
873 Whalley Ave., New Haven, (203) 389-9555
Inside/Outside: Artwork by Lisa Hess Hesselgrave & Scott Paterson
Dec. 4, 2008—Jan. 11, 2009
Opening Reception: Sun., Dec. 7, 3—6 p.m.

Press release

Lisa Hess Hesselgrave brings a new body of work to Kehler Liddell, exploring a variety of media on paper alongside her better-known work in painting. Her long history with oils and portraiture gives way to works done in pastel, pencil and collage. The medium changes allow her to "reaffirm and continue my love of color, line, gesture, and luminosity" and to renegotiate the boundaries of her craft. Hesselgrave often addresses the human figure or landscape with intentional focus on color and light. Yet the recognizable subjects also have a strong sense of interior emotion. Sometimes it is an interplay of figures on the canvas. Other times, it is a subtle interchange between viewer and artist.

Scott Paterson's work clearly shows his interest in architecture. His fascination with painting houses began as a student in San Francisco, perusing newsprint real estate mailers. He turned the black and white images into color, focusing on the architecture of composition rather then the homes.

"I would look for some kind of drama in the structure of dark and lights...between organic and artificial." For much of the past 30 years, Paterson veered toward abstract painting, returning only in 2007 to the house-related images.

"This time they are my own images, found along the Connecticut shoreline, in northern California, and near Sarasota, Florida. Collectively, they may resemble a real estate catalog in which some of the properties could soon be going into foreclosure."

Whether the view is ostensibly inside or outside, Paterson's and Hesselgrave's work offers a timeless sense of the physical world. Here is a shared reverence, made visible in the artists' ability to translate and document what surrounds them as beautiful, humble, and often mysterious.

City Gallery Give Art opening this Saturday

City Gallery
994 State St., New Haven, (203) 782-2489
Through Dec. 24, 2008
Opening reception: Sat., Dec. 6, 4—7 p.m.

Press release

It's December and time again for City Gallery's GIVE ART show. This is the gallery's annual member show in which all art work will be sold for $100 each. This is your chance to get incredible art deals either for yourself or to give to someone special.

The show will go through the month of December, closing before Christmas.

Gallery hours are the usual: Thursdays through Sundays from 12—4 p.m. The opening reception will be this Saturday, Dec. 6, from 4—7 p.m.

Silvermine Guild School of Art fundraiser this weekend

Silvermine Guild Art Center
1037 Silvermine Rd., New Canaan, (203) 966-9700
Small Masterpieces
Through Dec. 23, 2008
School of Art fundraiser: Sat., Dec. 6, 10 a.m.—4 p.m. & Sun., Dec. 7, 1—5 p.m.

Press release

Silvermine Guild Arts Center, located in New Canaan, is celebrating the holidays with the Holiday Show, an annual exhibition and sale of fine art and handcrafted gifts showcasing Small Masterpieces by Silvermine Guild Artists. Small Masterpieces incorporates work of all different media, two and three dimensional art that is united by the size of the work. All work is 6" square. The exhibition runs through December 23.

The holiday celebration also includes the annual School of Art fundraiser on Saturday, Dec. 6, from 10 a.m. to 4 p.m. and on Sunday, Dec. 7, from 1—5 p.m. Wonderful gifts are available in a variety of media created by the talented Students and Faculty of the School of Art. Original works, all available at very attractive prices, include ceramics, prints, paintings, photography, sculpture, and wearable art such as jewelry, scarves, felt hats and handbags. In the spirit of the season, a portion of the proceeds from all sales support the School of Arts Children's Scholarship Fund.

Guild Artists continue the holiday spirit with their unique gifts of original art work—including 6" square paintings and prints—and much more is in store for holiday shoppers at Silvermine Galleries. Throughout the galleries, you will find a great array of special and unique gifts. Proceeds from the gallery exhibit running through December 23 will support the art center.

Craft USA '08, the sixth national juried Craft Triennial competition will also be on exhibit at the Silvermine Galleries through Dec. 23. Celebrating craft as art, Craft USA is a juried triennial competition/exhibition showcasing original handmade works of art. Sixty-seven artists' work were selected from almost 600 entries of contemporary craft from 27 states in various mediums such as ceramics, fiber, glass, jewelry, metal, paper, wood, basketry and mixed media. This year's juror is Gretchen Keyworth, Director/Chief Curator, Fuller Craft Museum in Brockton, MA.

Saturday opening at New Haven Free Public Library

New Haven Free Public Library Art Gallery
133 Elm St., New Haven
The Bridge to the Soul: Artworks by Carmelina Mosher and David Brodsky
Nov. 29—Dec. 27, 2008
Artist's reception: Sat., Dec. 6, 2:30—4:30 p.m.

Press release

Carmelina Mosher is a Visionary Expressionist of Penobscot heritage and a Hamden resident. Her works resemble archetypes from a vast range of cultural mythologies. Mosher received her Master's Degree in Expressive Arts Therapy in 1986 and has a private practice in New Haven. She has shown her paintings nationally and internationally. Mosher has done post-graduate work in Education, Fine Arts and Foreign Languages, and is fluent in French, Spanish, Italian and Japanese.

"Art is a bridge to the soul, and the gate to the soul's evolution," says Mosher. "We all feel differently from moment to moment. Our mind is constantly shifting. Thoughts and feelings are processed through sensory images before words. Painting is a visual expression and often reflects our inner thoughts and feelings. This expression of art becomes a metaphor for how we live our lives."

"My first love has always been painting. I believe creative expression is essential to life. Through painting I continue to develop my identity as an artist and transmitter of the creative process. I have worked as an Expressive Arts Therapist and Educator for 22 years. As a guide, I have been privileged to witness the creative evolution of those I've worked with and to participate in the power of their healing through the arts.

"My imagination is fueled by nightly dreams, daydreams, unconscious images, and visions experienced in occasional sweat lodge ceremonies. My art is a reflection of my cultural heritage as well as a visual epic of my personal journey through life."

Carmelina's artworks are currently on display at the Keefe Community Center in Hamden, CT, Chapel Haven, Inc, in New Haven, CT and in her office on 1435 State Street, also in New Haven. Women of Healing is the title of the exhibition of original paintings by Carmelina Mosher and Jennifer Skelly, which will be on display at Café George by Paula, 300 George Street, New Haven, CT, beginning May 2, and will be on display through June 30, 2008. The show includes more than 20 acrylic paintings from each artist.

Carmelina's paintings range in size from 5" x 7" to 18" x 24" and exhibit the rich and colorful spiritual visions of each artist. The artists will donate 10% of proceeds from sales of their work to the Autism Society of Connecticut (ASCONN).

David Brodsky is an art student of Carmelina Mosher, and lives in New Haven.

"I also like ceramics and graphic design," he says. "I paint because it is relaxing. It gives me inspiration and a break from sitting and watching TV or listening to the radio or exercising. I find painting intriguing, and sometimes it fills my loneliness and my time. I feel painting is an expression of action, movement, thoughts, and feelings." David is originally from New York City, and has been living in New Haven for more than 10 years.

"I was born with Cerebral Palsy and sometimes I get seizures and I need to rest for a few minutes and it is difficult. I have more strength in one arm than in the other. When I paint, I can take breaks and I don't have any time limit. No one tells me to hurry up and finish.

"My inspiration for painting comes from my mother who is a painter, and my father who had his own business as an architect and engineer. My father has designed airports and hotels internationally. My mother is an independent filmmaker. I have traveled with both my parents around the world.

"Some of my art comes from my imagination, some from memory. Sometimes I look at pictures and I am able to paint my impression. My paintings make me feel happy when I look at them, and I want other people who see them to feel happy. I would like to be a well known painter."

There will be an artist's reception for this show on Sat., Dec. 6, from 2:30—4:30 p.m.

Wednesday, December 03, 2008

Graduating student art majors show opens at CCSU Friday

Central Connecticut State University: Samuel S. T. Chen Fine Arts Center
1615 Stanley St., New Britain, (860) 832-2633
Hello World
Dec. 5—12, 2008
Opening reception: Fri., Dec. 5, 4—7 p.m.

Press release

Please join us on Friday, December 5, from 4—7 p.m., for the opening reception for Hello World, a group exhibition of work by graduating Studio Art majors at Central Connecticut State University.

Hello World artists are all media focused art students which will be evident in the artwork on display during the exhibition.

"Photography—both traditional prints and alternative methods—will be represented, as well as installation pieces, and time-based work, including video projections," explains Colin Burke.

Burke will showcase his new work in three alternative photographic processes: anthotype, diazo, and continuing his exploration in cyanotype, the vivid Prussian blue print process.

"Anthotypes are a very 'green' process, completely non-toxic, using the juices of plant materials painted onto cotton paper. I used blueberry juice, which leaves a vivid magenta stain on the paper. The prints are made in a contact method. I put a digital positive, as opposed to a negative, directly onto the coated paper and exposed that to UV light for several weeks. That's it, there's no development process after that," explains Burke.

Eventually, the light bleaches out the exposed areas leaving behind an image where the light was blocked by the positive. The positive is removed and the paper is presented as a photographic print.

"These images are highly fugitive and will continue to bleach out if left out in the light, so I had to design an installation to protect them," explains Burke.

The exhibition, Hello World, is being held in conjunction with the Art Education exhibition on view December 5—12. The opening reception is free and open to the public.

The Art Department is located in the Chen Fine Arts Center, Maloney Hall, on the corner of Stanley Street (Route 71) and Ella Grasso Boulevard (Opposite Eddie Glover Boulevard) on the CCSU campus in New Britain CT. Free parking is available in the adjacent parking garage.

Monday, December 01, 2008

Artist talk at Real Art Ways this Thursday

Real Art Ways
56 Arbor St., Hartford, (860) 232-1006
Carol Padberg: Face Value
Through Jan. 11, 2009.
Artist's talk: Thurs., Dec. 4, 6 p.m.

Press release

Artist Carol Padberg will be available this Thursday evening for an artist's talk about her current show at Real Art Ways. The talk will begin at 6 p.m.

Here is Padberg's artist statement on Face Value, her installation in Real Art Ways' Real Room:

During the last four years I have made work based on modernist fonts. Using the "modernist DNA" of typography fonts such as Bauhaus, Futura, and Helvetica, I create visual improvisations. I use fragments of found typography to take apart and put back together language. I have explored this subject in a variety of materials, including traditional painting media (encaustic and more recently polymer resins) as well as materials that extend the medium of painting (adhesive vinyl, flocking and metallic films in collage and installations). Often I choose materials with which I can create a tension between the flat graphic voice of type and the fluidity of paint and handwriting. These images ask questions about design, nonverbal language, and the modernist lineage of abstract painting.

For my Real Room exhibition I have created a site-specific installation. The installation is entitled "Helvetica Mash Up." In website development a "mash up" is a website that combines two or more computer programs. In this work I combine the manual technique of hand-cut collage with digitally generated layers. The end result is an abstraction that began as a small collage made entirely of red vinyl lettering, and ends up as a large information age improvisation in the "scale" of Helvetica.

I reviewed a show of Padberg's paintings at Paesaggio at 100 Pearl February of last year. There is video of Padberg discussing the work on Facebook.