Urban Landscape III in Blue and Green
XOXO Orgasm
Sandy Candy
Storm #3
 “It is not down in any map, true places never are”— Herman Melville,  Moby Dick      Recently my studio practice has been about witnessing landscape without physical presence. Using open source satellite technologies, I have visited the Taj Mahal, I have cruised the entire western coastline of North America and I have examined what the family who bought my fathers' house has done to his rose garden. The digital age has given us access to a wealth of questionable knowledge; it has made private land public—at least to a high-resolution camera lens shooting from outer space.     But there are integral details of landscape that Google doesn’t know: the way the wind tastes in fall, tire grit on a hundred degree day. It is this information, these questions that are not immediately apparent, that are what I am interested in pursuing through painting. As humans, we are still analog and that has to mean something. I am primarily concerned with the continued pursuit of the analog record. I am interested in the physical evidence of human life on this planet and its repercussions. What do we leave beyond the digital trace?   http://suzykopf.com/home.html
  Fisk is an award-winning graphic artist who resides in Brooklyn, NY. Receiving training at The Art Institute of Seattle, he has over 10 years experience and is featured in Graphis, Creativity, and Really Good Logos Explained. With clients such as Disney, SiriusXM, and Mattel he pushes forth creativity utilising hand crafted mediums with a digital finalization.    http://www.fiskofury.com
Peaches and Knives
It's Our Service to Pleasure You
Church 3
The House is Burning
 Jen Dwyer's work analyzes human connections and our fear of the unknown. She uses a broad variety of materials to continuously expand and evolve different bodies of work that include ceramic sculptures, printmaking, photography, drawing and found objects. She is drawn to human emotion in regards to both the attraction to the ephemeral natural world and seemingly ever-lasting technological one. Why people intentionally and subconsciously  accumulate objects and how these relate to our propensity to fear death and our demise, provokes most of the questions in her work. The variety of materials she chooses are used to investigate human predisposition to collect and the anxiety of our own demise.   www.jendwyer.com