3D INTERACTIVE GALLERY WALKTHROUGH
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Tom Fruin, originally from Los Angeles, CA, is a New York City based artist whose work with plexiglass, steel, plastic, and scrap material takes on recognizably urban objects (houses, billboards, flags and the like), and elevates their form to emblematic status and architectural scale. Sourcing sign shop offcuts and brilliantly-hued plexiglass scraps throughout Chinatown, Fruin weaves patchworks of primary colors into striated grids, recalling not only his earlier drug-bag quilts but also the energy and syncopation of New York City itself, very much in the vein of Piet Mondrian. At the age of 40, he has already exhibited in over 25 solo shows and over 30 group shows including ones in Los Angeles, New York, Texas, Argentina, Switzerland, Israel, Austria, Denmark, among others.
He has been written up in various magazines from Sculpture Magazine, Architectural Digest, the New York Times, Juxtapoz, the Huffington Post and Flash Art. His works are in various collections such as The Margulies Collection (FL), the Richard J. Massey Foundation for Arts and Sciences (NY), The Hanck Collection at the Museum Kunstpalast (Germany), The Buenos Aires Design Center (Centro Metropolitano de Diseño, BA), The Eileen S. Kaminsky Family Foundation (NY), among many others. His Watertower now graces the Brooklyn skyline, as a beacon for passerby’s crossing the Manhattan Bridge.
Growing up by the sea in Guyana, South America, I often wondered about the horizon line, what happened where water and sky meet to create a sense of limitless distance. I remain intrigued by this enigmatic phenomenon and its resemblance to pictorial space. It has driven my visual inquiry and practice for more than forty years, during which I have physically Deconstructed, altered, and reconstructed the picture plane, the frame, and the compositional elements within that frame to better understand the dynamic nature of pictorial space. I have grappled with the spatial significance of line, plane, volume, and color, placed the viewer within that pictorial space and explored the limits of the eye.
Air Rights NYLyght NY, a recent series of conceptual architectural drawings continues this exploration. New York City is its subject with streets and walls providing the backdrop, and the skyline a staging area from which to create. Based on the spatial dynamics of photographic images, digitally rendered forms are inserted and anchored with a web of hand drawn lines. Like hot air balloons, the digitally rendered structures both stand apart and simultaneously become part of the city, adding an element of surprise to the urban environment.
SUSAN SPENCER CROWE
Susan Spencer Crowe has exhibited widely in the Hudson Valley region and in New York City where she lived for 38 years before moving to Kingston, New York in 2005. She holds an MFA from Vermont College of Norwich University, a BFA from Pratt Institute, New York, and is an Adjunct Assistant Professor in the Arts Department at Queens College in New York City. She teaches sculpture, drawing, and fundamentals of art courses. Over the last three years, Crowe has had several one-person shows in the Hudson Valley, including Cuts and Foldsat The Painters Gallery in Fleischmanns and Birthing of the Ethereal at Kingston’s ARTBAR Gallery in 2016, Encaustic/Form II at R & F Handmade Paints in Kingston and Encaustic/Form at the Woodstock Artists Association in Woodstock in 2015.
Her work has been featured in many group shows in the area and New York City, including Logic and Structure II at the Painters Gallery in Fleischmanns, The Ritual of Construction at the Byrdcliffe Kleinert/James Center in Woodstock, and The House of Sky at the Westbeth Gallery in New York City in 2017. She also participated in Staying Power, a 2016 exhibition of eleven artists in the Hudson Valley region who had maintained an active studio practice for more than four decades, at the Albany International Airport in Albany, New York.
Jeanette Fintz is a Brooklyn born painter, art writer and independent curator who resides in the Hudson, N.Y. She is the recipient of the Ingram Merrill Award for Painting, the New York Foundation for the Arts Artist Fellowship for Drawing, the E.D. Foundation Award and the Ludwig Voglelstein foundation Award for Painting, and the Emil & Dines Carlsen Award in Painting from the National Academy of Design.
Jeanette’s recent solo exhibitions have been at the Carrie Haddad Gallery, Hudson, N.Y. (PULSE, July 31-Sept. 7, 2019) and at
GarveylSimon, NYC (WORLDLINE SCHREIBER PAINTINGS, PLUS…Sept. 7– Oct. 7, 2017).
Her most recent curatorial project has been “The Ritual of Construction” exhibition and catalog, presented at the Kleinert/James Center for the Arts (Woodstock Byrdcliffe Guild May-July, 2017).
Ms. Fintz is a former Assistant Professor of Painting and Drawing at SUNY, Purchase (1986-1999), and a former Assistant Professor of Design & Drawing at Parsons, the New School for Design (1997-2015). Her work has been informed and inspired by two sabbatical travel grants from Parsons to Andalusia, Spain and to Turkey where she was investigating patterning systems.
She also spent more than a year in South East Asia where Ms. Fintz was founding faculty at the Center for Advanced Design in Kuala Lumpur, Malaysia (1996-97), a Parsons affiliate school.
Jeanette is an Alumna of Boston University SFA (MFA), the Skowheghan School for Painting & Sculpture, the New York Studio School and Queens College, SUNY (BA). She is a fellow of the MacDowell Colony, the Millay Colony, and has been in residence at the Ucross Foundation, Altos de Chavon, Ossabaw Island Project.
Other recent exhibitions include solo shows at Fox Gallery NY, and the Wall Street Journal, NYC. Group Exhibitions have been at The Lockwood Gallery, Kingston, NY, Cross Contemporary, Saugerties, NY, Thompson Giroux, Chatham, NY, Labspace, Hillsdale, NY, Geoffrey Young, Great Barrington, MA, Sideshow, Williamsburg NY and the Albany international Airport.
Richard Scherr is an architect, an instructor of architectural design for over 4 decades, an author on design theory, and currently practices as a sculptor in upstate Hudson Valley. Scherr has been awarded an Eidlitz Fellowship, and elected to the International Committee of Architectural Critics. He has been awarded First (Finalist) prize in international design competitions for the Salem Witch Trial Tercentenary Memorial and the Oklahoma City Bombing Memorial.
His design, theory, and criticism have been published in Art + Cinema Magazine, Texas Architect, Progressive Architecture, Architectural Record, Architecture, Architectura, Architext, Places Magazine, Journal of Architectural Education, the Journal of the American Planning Associates, among others.
MITCHELL RASOR has over twenty years of experience with all aspects of landscape architecture and urban design, and is currently an Assistant Professor in the BFA and MFA Programs at the Maine College of Art. Rasor was a Senior Research Fellow at the University of Southern Maine Research Computing Group and has been a critic and speaker at such institutions as Bowdoin College, Bates College, the University of Virginia, and the Harvard Graduate School of Design.
He writes, lectures, and curates on issues relating to economic development, environmental art, critical theory, urban design, landscape architecture, mobility, location efficiency, strategic green infrastructures, and social housing. Rasor’s artistic work bridges the gap between observational and schematic drawing, between the organic and the constructed.
My creative work explores the architecture of sacred spaces and the ways in which they leave an imprint on the human psyche. Whether entering a majestic cathedral, a modernist building, or a Native American sweat lodge, the effect that each has upon us is powerful and transformational. Sacred architecture connects us not only to the structure itself, but also to our inner sanctum.
My sculptures are an amalgamation of modernist and primitive sensibilities. I’m drawn to the organic forms found in indigenous architecture. Pueblo structures of the American Southwest, as well as solitary monasteries in western Tibet, influence many of my sculptures. In both cases, the rudimentary lines and use of natural materials speak to the primal connection to the environment. The modernist lines of my sculptures are intended to synthesize in spirit and design with native forms, creating a fusion of minimalism and primitivism.
I am interested in constructing psychological spaces into which one may enter, linger, and reflect. In my larger projects one may enter the structure and spend contemplative time within; in my smaller works the space is entered through the portal of the imagination. These sculptures contain hallowed objects collected from my travels, and they are often painted with bold interior coloring and purified with the smoke of sage. This process creates a sacred space within the sculpture or structure, thereby inviting the viewer to find his or her own archetypal narrative within.
In addition to my studio practice, I create outdoor sculptures and spaces. These are a natural extension of my interest in building in cooperation with nature, and my outdoor projects work in harmony with the natural world around them. Currently I am designing a studio on my property integrating these principals into the structure. The surrounding land is my laboratory for experimenting and creating sculptures that harmoniously merge the human spirit with the spirit of nature.
Geoff Ross is an architect whose photographs use the depth and fabric of urban settings and collapses it into single frame collages.
The juxtaposition of contexts between actual space and images of space undoes classic cartesian perspectives and creates a new world of scale and image.
David Provan - In my early 20’s I worked as a novice carpenter building and renovating traditional houses in Tokyo. That was my first hands-on involvement with architecture and that experience was instrumental to my eventually studying architecture (along with painting) at Yale a few years later.
After Japan, however, I entered a Buddhist monastery in Nepal where I tried to understand, through study and meditation, my place in the world and how I might proceed with my life.
Eventually, my interests in painting, architecture and Buddhism coalesced into a passion for making three-dimensional objects – “sculpture” – that indicate realities outside the everyday grasp of our senses. I feel that the universe is a more complex and mysterious place than we are capable of detecting and with my sculpture I try to indicate a possible reality that extends beyond that.