This work is one of a series of images of three models that Albertini built in 2002 and 2003, based on the imagery from the
1972 Soviet sci-fi film Solaris by Andrei Tarkovsky. The film depicts the memories and fantasies of the occupants of a space
station in orbit around the planet Solaris, acting as an overall metaphor for the weakening quality of life in the Soviet
State. Albertini’s visual representations of the film act as a commentary on how technologies of digital imaging and
reproduction become the source of new ideas and imagined situations.
In his photographs, Jan Kopp pulls us into a pataphysical world, Alfred Jarry’s term for the poetic and unstable world of
referents and pointers separated from reality. The modular nature of his images remind us of Wittgenstein’s famous
remark from the Tractatus Philosophicus, stating that “the form is the possibility of the structure.” One is constantly
confronted by both the familiarity of these structures, while simultaneously being unsure of their true nature.
As part of a series of women’s portraits made with tempera on wood, this work exemplifies the artist’s focus on the visual
language of portraiture. Servane Mary has skillfully reproduced faces taken from magazines and placed them on a plain
background, omitting any formal figuration. In this way, the emotions shown on the women’s faces become the subject
matter of the work, creating a profound style of representation that rises above the genre of portraiture.
When Curtis Mitchell entered the art scene in the 1980s with his own kind of process art, he was known for altering
prefabricated materials and found objects with dirt, glass, and even chemicals. In his latest series entitled “Meltdowns,”
Mitchell abandons objects for large-scale images. These prints are produced on photographic paper and treated with
chemicals to create gorgeous patterns of light drips and streaks.
Lyle Starr’s brightly colored, puzzle-like paintings inspire reflection on the mediated reality of daily life. In their
overlapping and interlocking parts, Starr locates the fragments of a culturally defined "self," creating works in which the
individual is both lost and found. Achieved through the use of opaque areas of color and the careful management of space,
the transparent imagery causes the collapse of signs and objects, guiding us to see through them to ourselves.
With his twenty-two minute video, Aquarium, 2006, Pawel Wojtasik makes a powerful statement about the devastating
impact man has on the environment. Filmed in Alaska’s Resurrection Bay, near Prince William Sound (where the Exxon
Valdez dumped eleven million gallons of heavy crude oil in 1989), at the Alaska SeaLife Center aquarium in Seward (built by
Exxon in 1998 in an attempt to repair its public image), at Mystic Aquarium in Mystic, Connecticut, and at the New York
Aquarium, The Aquarium hauntingly examines the domestication of marine life.