June 15th to July 3rd 2010 – Gallery Gora

Madeleine Aleman  (SWEDEN)
Integration is my mission. In my art practice I want to integrate things that usually don’t go together. My work often consists of elements either from different cultures or other opposites, such as reality in juxtaposition with fantasy or profanity with the sacred. I believe that integration is a way to make a better world and for the individual to reach a more harmonious life.
Maybe my need to integrate emanates from my background: My grandfather was a Swedenborg pastor, a kind of mystic, philosophical school that for example pays attention to night dreams. He and my grandmother worked in Egypt for 9 years and my mother and her siblings were raised there. In my grandparents house I explored the wonder of Arabic handcrafts and patterns.

Larry Rich (CANADA)
2009 has seen many changes in the evolution of my work in both abstract and image based pieces.
In my abstract work, I have been moving more into almost a fantasy inspired landscape of sorts, producing pieces that look, and more importantly, feel like a safe and quiet place to go. I never set out to make my abstract pieces resemble landscapes, however, although I believe I have been trying to capture something that looks foreign yet still feels close to home and the heart.
In my image based work, such as the Jazz series and Treescapes, I attempt to paint images that make the viewer feel a part of what they are viewing. In Images, as well as abstract, I prefer to keep the image close and intimate… more of a slice of life. It may be a simple player in close up as opposed to a whole band or a few trees as opposed to a whole forest. A mood and feel of being part of it without the remoteness and disconnectedness of viewing a “scene”.

Ken Prescott (CANADA)

Collage, with all the tangible textural qualities I so enjoy, has become my chosen medium. The excitement of papers of every colour, texture and pattern, the suggestive qualities that allow me to “build” my paintings, the juxtaposition of these elements which creates the sensuous interplay of form and colour – all this gives me the freest, most spontaneous expression I know and a much greater pleasure as a painter than pigment on a palette.

Ken Prescott achieves his effects by applying acrylic polymer paints directly on paper, using almost any means that will give him the texture he is looking for – brush, knife, sprayer, trowel, roller. The results are mounted on either 4-ply rag board, _” masonite or stretched canvas using acrylic polymer adhesive. Two coats of acrylic matte varnish permanently seal the work.

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