undertakings composed of a hundred thousand meticulously drawn circles. For Matt Krawchek, it is a mission to paint an epic personal
narrative that ricochets from Big Bird to the boom box, from Mini Me to a new take on PowerPoint. For Neil Bender, it is a sexploration of eros in hot gummy pink flashes through the lens of pop culture and cutouts of wandering pheromones.
The mallard’s smooth green head moves left, then right, as though it is searching for something along the shore. The woman holds an umbrella in the crook of her arm, convinced the rain will return. She also is convinced that the swollen river has swept away the other mallards and he alone is the sole survivor, now looking in vain for his loved ones.
Brent Fogt Longshore Drift ink on paper, 60” x 96” 2007
As creators, we must experience juxtaposition in order for a
connection to be made. For within these seeming bifurcated spaces lies the gift of connectivity. In recognizing that the links between objects and ideas can be as important as the objects and ideas
themselves, we are able to experience the nature of relationships. We are able to see within ourselves how juxtaposition can reside, how that which we view as “other,” as “not me,” can become me with a
little thought and compassion. It is in the recognition of the energetic interface of two seemingly separate entities that enables us to care about something “other” as our own, and to make it ours. Matt Krawcheck Gear-synchronized Pixadigigiga-Mitigator Plywood, hardware, lenses, lights, etc, ink on acetate 2009
The woman on the bridge continues to watch the mallard maneuver through the swift, swollen river. His yellow webbed feet kick and kick against the current, the sheen of his green feathers gives a blueish hue. They are both waiting for another mallard to show, she thinks. But none do. After a time, it begins to rain. She opens her umbrella and crosses the bridge for lunch.