March 16 - April 22, 2007

Artists present two- and three-dimensional works in many
different media, playing with the concept of scale as it
relates to their usual work, and as it affects the relationship
between their objects and the viewer.

[click on thumbnails for larger view]

		JAY BRIGHT Livingston Street #7 Pastel on Pastel Board "As I pass through the years and familiar landscapes, I find richness in a nearby park and the looming presence of East rock in all seasons, weathers and times of day. This piece is the February 2007 view, a chapter in my monthly series from the same viewpoint. It is unusual for me not to have lots of sky and water, enjoying the physicality of the land and trees, instead."
		DAPHNE BYRNE Doll House Rug Mohair Yarn Byrne has created many dollhouse items in the past out of a variety of materials including wood, fiber, etc. However, her recent work consists of accessories on a larger scale and using her skills in needlepoint and crochet.
		JENNIFER DAVIES Long Island Sound Handmade Linen & Cotton Paper, Acrylic & Watercolor Paint, Bark "Ocean and beach imagery have reappeared often in my work. Living on Long Island Sound has afforded me the pleasure of daily watching the waves, the spray, the tidal advance and retreat of the beach. In addition to large scale paper pieces, I have made a number of what might be called pocket sized images of the Sound. I like the idea of miniaturizing such a large body of water so that it could fit into one's hand, as in this piece, and become a kind of portable ocean."
		TOM EDWARDS Lighthouse Series #3, 2007 Oil Paint & Pencil on Prepared Paper on Wood Panel "When faced with the limited space of a four inch format I decided to deal with the most immense elements that came to mind, The ocean versus the encompassing darkness, with the lighthouse serving as the frail element separating those vast mysteries. The abstract qualities of the pencil marks struggling in and out of physical thickness of the paint activate the surface and become part of the symbolic and physical struggle. The scale and movement of the marks within the restricted area of the painting create the tension and activity of the space."
		HOWARD EL-YASIN Untitled Mixed Media: Encaustic, Tea Stained Paper, String In works that utilize and sometimes combine such techniques as printmaking, weaving and Xerox transfers, Howard el-Yasin hopes to inspire viewers of his art to examine their own beliefs and perceptions. In fact, stirring thought about--and sometimes challenging--cultural traditions and beliefs is far more important to the artist than "creating works that are pretty," says el-Yasin. The lynching of African Americans and human violence are some of the subjects he explores through the imagery in his art, which he also creates using materials he has found in the homes of relatives and along his travels. More recently, el-Yasin has incorporated weaving into his artistic creations, which, he says, is an unconventional technique for male artists in the Western world. "I want to explore things that are not traditionally acceptable for men to explore as a way to overturn the idea of domestication."
		PAM ERICKSON Ninth Lizard Shed Sloughed Iguana Skin "In 1991 my son acquired a baby iguana. As he has grown (presently a quite formidable five feet long) he has shed his skin, not like a snake, in one large piece but bits at a time. Being one who collects and saves everything, I started collecting these little curiosities. After a few years of admiring the variety and quantity in the mason jars amounting on the shelf, I constructed my first 'Lizard Shed'. I usually make Lilliputian environments for them to live in with the exception of the piece being exhibited in this show. It has been the subject of hundreds of photographs that I have taken of 'The Shed' in different situations and locations over the past year."
		LAURIE FLAHERTY Seedling Acrylic on Wood "The imagery in my paintings is derived from bromeliads. My interest in these plant forms originates from what is surprising and dazzling in the natural world. The focus on bromeliads leads to form articulated by clean color and, at times, remarkable patterning. In this group of paintings, I continue to explore the theme of life cycles, now focusing on the stage of growth. Form and pattern are observed then serve abstract means to suggest movement upward from bottom to top and outward to center. These paintings provide the sensation of radiating outward and rising upward. Elements from the natural world become metaphors for the inner world of thought and emotion. It is my goal to create paintings that show the brilliance of nature while revealing the human experience."
		KATHIE FLOOD Banana Split Acrylic on Wood "Three scoops, three toppings, whipped cream, a sunny day - sweet perfection! So, what was I thinking when I added nuts? I don't even like nuts and this dinky piece nearly made me so."
		NICHOLLE FLOOD A Brush with Whimsy Acrylic on Wood "I used the same wood-burning and painting techniques on this tiny hope chest that I use on full-size furniture pieces. Although it was not quite as time-consuming, it was certainly challenging working on something of this scale! I love functional art, so I'm hoping this is used as a hiding spot for something small and precious."
		GAIL FRIEDLAND Abandoned Chairs Antique Wood Box, Ceramic Chairs "I see these little chairs as a metaphor for the life abandoned by displaced people. At one time the chairs were an integral part of a vital life. Now they are lonely abandoned ghosts." Friedland's interest in ceramics began at The Boston YWCA where she took classes and taught. During the late 60's and early 70's the "Y" had a vital creative atmosphere fueled by several instructors who had at previous affiliation with The Bauhaus in Germany. A later career in clinical social work and child therapy added a depth of emotional introspection to her life and to her artistic work. Recent projects include a retail ceramic shop in Guilford with three other ceramic artists and a continuing apprenticeship at the Guilford Art Center under the direction of Lisa Wolkow.
		CINDI GARDNER Romance in the Barn Watercolor on Watercolor Paper "My challenge with the miniature scale became one of the most frustrating experiences. I had an incredibly hard time meeting the restrictions. Yet, once I let go of any ideals, and opened my heart, I found myself water painting roosters that my Grandmother had left me when she passed away. The heartfelt images reached out to me and I began to paint a series of roosters with hens in loving poses. The images to me are whimsical and dreamy. I hope the love is felt by others who catch a glimpse of Romance in the Barn."
		ROBERT S. GREENBERG Shopping Madison Driftwood, Monofilament Line (6lb test), Coat Hanger Wire "The material that is used in these pieces has drifted from some part of the 315 miles of Hudson river that extends from its source in the Adirondacks down to New York Harbor and out to the Atlantic ocean. Thousands of varieties of trees and plant life compose this timeless matter. A great influence on my work is Alexander Calder, especially the "Calder Circus" c.1926 which was a miniature reproduction of an actual circus. As with Calder, floating, motion, and shadow are important aspect of my sculptures. For me they represent natural theatrical events, the transition of drifting in the river current and then in the breeze of air. The kinetic sculptures that I usually create are 2ft--10ft large and quite heavy. This experience was quite challenging and fun and now I am working on my own "Circus" with many small sculptures to form a larger diorama."
		BOB GREGSON Screen Play Plexiglas, Spray Paint, Wood Gregson considers himself an artistic hybrid--connecting art, architecture and games. He is a painter, photographer, author and illustrator but he may be best known for his large-scale community events such as the Special Olympics World Games and Planet Play for the International Festival of Arts & Ideas, as well as small participatory activities for museums such as the Wadsworth Athenaeum and the Art Institute of Chicago. "I enjoyed creating a small-scale piece that forces people to get intimately involved with the artwork. It's great when two people look through either side of "Screen Play." There's only one small area that provide an uninterrupted view straight through--big enough to peek." His work has been exhibited widely throughout the region. He is the current creative director for the Connecticut Commission on Culture & Tourism.
		THOMAS HOLZHEU East River Watercolor & Pen on Watercolor Paper
		MICHELLE KAUFMAN Reaching Out Acrylic on Canvas "I use intense color to express the energy and power that is generated by life." In Reaching Out, the forces of nature are seen on the left side of the painting. Their size overpowers the manmade city of skyscrapers on the bottom right side. Although the city sparkles and stands upright, its fragility is manifest.
		WILLIAM P. KENNEDY 191ST Street, 2007 Oil & Acrylic on Museum Board "191st Street, 2007 was painted for the show at the Guilford Art Center based on larger version painted in 2003. When taking the subway, on the 1 line, from the Bronx to Manhattan 191st is the first underground stop so for me it marks a transition from the open feeling of the elevated train to a more dense, urban feeling. A small group of people is shown waiting on the platform next to one of the subway station's supporting columns. This painting is a study in the use of related color values as a gradation of light on massed form."
		JOAN KILLION Untitled Glazed Clay Killion doesn't consider herself a miniaturist, and indeed not all of her work is small. But scale influences the way she sees things and what she is drawn to create. Inspired by Joseph Cornell, many of Killion's works feature small and/or found objects gathered in containers or boxes. Her clay pieces resemble Egyptian figurines or other ancient sculptures. She finds herself drawn to the "handheld" and feels that small works can have just as much power as large ones.
		DEREK LEKA Electrochemical Nano God Acrylic on Wood "I am a painter working at a medium scale, in Acrylic Paint on canvas. I am interested in the beauty of color, geometry, cleanliness, and accuracy. I use flatly colored rectangles and lines to create both sparsely simply, and highly complicated works. I make reference to circuitry, architecture, microprocessors, and micro universes which express hierarchies of service, dependency, and interpersonal relations. The paintings are snapshots of the forms moving through space, implying from where they came and suggesting where they are going."
		LADY MCCRADY fFunomena 360, Traffic Cone Silk, Wool, Metal Thread "I am a NYC painter who makes installations that are always under construction. They stream, burn and flash. I work in steel, cotton and stoneware with charred sticks, rags, and primal materials. The Sublime, Phenomenology and Feminist practice are my thesis. I am a gestural, exuberant artist who works very large, and very physically. To make this miniature traffic cone I had to sit still and wear glasses. It wasn't altogether pleasant; but the result is, and it's amusing. I feel a fondness for this object I can look down at, whereas usually the art I make really gives me a fright."
		MOLLY S. MCDONALD Mother Nature #13 Oil on Primed Paper "Painting is a direct, vital experience for me; it comes from the blood or the breath. A structure begins with my response or remembrance of the sea, the light of the sun, or the birth of my child. Then at a certain point, the color of the paint itself leads me. This generative conversation with the canvas, the oil, the modulated line, the hard and soft edges, and ultimately myself is my meditation. Whether working large or small the vision is the same." McDonald's work shows an affinity with Abstract Expressionism, although her approach is more harmonic and grounded in her observations of nature and her consciousness as a woman. Molly is also exhibiting a collection of forty-one additional miniature scale paintings at the Guilford Free Library March 1-28, 2007.
		SARA DROUGHT NEBEL Wharf Storm Acrylic on Mat Board "I seek to live 'plainly', write 'plainly', speak 'plainly' and paint 'plainly'. I am in love with the ordinary and want to portray it as 'extraordinary'. I would like for my work to encourage others to not only stop and smell the roses, but to consider the beauty in a dandelion, bone or shell, the solitude of a winter beach and the romance of a rainy day in the woods. Every day, I observe nature, and if I am not mixing colors on a palette, or words on a piece of paper, I am mixing them in my mind. The lavender in the wet bark of a tree, or the indigo shadow of a rock bathed in sunlight, or the deep green foliage hiding the secrets of an offshore island... all ignite my romantic imagination! If I can communicate the plain truth and romantic drama that I see in nature and ordinary objects, then I have succeeded and made a connection with the viewer!"
		CRAIG NEWICK Froth High Density Polyethylene This piece is intended to hang in direct sunlight, resulting in a blue cast that emerges from between the pieces. It is composed of a high density polyethylene, a material commonly used to make milk jugs.
		PETER NEWMAN make a little noise Acrylic, Foam, Metal, Paint, Wood, Foil, Wire, Electrical Tape, I-Pod Shuffle, 4 Speakers, Prebuilt Mini Drum Set from EBay, I-Tunes drum solo, 2-AA Batteries The irony of this piece is intentional; drums are loud and, fundamentally, want to make "big noises". Fully embracing the concept of miniature, this drum set explores the idea of making something large and loud, small and quiet, while also incorporating miniaturized components of modern technology. Each item within this piece, the I-Pod Shuffle (the smallest mp3 player available), mini amplification devices, and a miniature model drum set provide a commentary on nanotechnologies today. When the I-Pod Shuffle is turned on, the viewer can press the play button at the back and hear a 26 second long jazz drum solo. This interactive component helps to bring the concept of miniature full circle for the viewer. Newman is an architect in New Haven, CT who continues to search for the differences between art and architecture.
		PETER OTIS Happy Wedding; Holy Feet Color Photography, Double Matted & Framed "Last August, The Rev. Teresa Gocha married our daughter Casey and our new son-in-law Jeremy on Squam Lake in New Hampshire. Both for the rehearsal and for the wedding Teresa was decked out in these colorful feet (as well as the vestments for the actual service). I captured this shot as the wedding party was standing outside the church after the rehearsal. I photographed the crocs for their color and knowing who was wearing them. The shadows on the asphalt only became apparent later. Chance, lucky timing, serendipity and the Holy Spirit are extremely important inspirational elements that I always try to respond to. When I work with images, I try to do little more than clean up specks, crop, and adjust exposure and color. I want my finished products to reflect what I personally saw."
		ROBERT REYNOLDS Birds Oil on Poplar "Like a trance a painting will wash over me. Taking control of my mind and body, an idea will fill all the space of the air around me, and I don't see the brushes or the canvas in front of me, only the image and the feeling of creating. I hear only the sounds of the bristles against the canvas as they mix with the ambient sounds of the studio; the rustling of the canary in his cage, and hum of automobile engines as drivers idle by. My paintings are a mixture of past, present, and imagination and my subjects originate as reflections of life. Each painting poses questions and provides answers, giving clarity that may linger for days."
		HARVEE RIGGS A Conjurer's Trick Cigar Box, Assemblage of Watch Parts, Sea Life, Vintage Newspapers & Book Clippings "My mixed media works are attempts to create intuitively. Juxtaposing objects, typically within a box, I explore and discover what is possible and create the jamais vu, the never before seen. Unrelated objects acquired at different times and from different places, seemingly by chance, can be assembled into new, dynamic apparently inevitable relationships. The medium allows for an unconstrained freedom and produces a mystery of coincidence."
		VLADIMIR SHPITALNIK Old Town Watercolor on Arches Paper Following the same style used in his illustrations for children's books, Shpitalnik painted this miniature watercolor of an old town conceived from his imagination, and loosely based on his memories of Poland, Czech Republic and his native country of Russia. He has been influenced by the theater all his life. The beauty of the imagination inspires him, and he sees the world as if it were a space in which to create theater. Because he looks at the world through a theatrical lens, it does not matter whether he works in theater design, illustration, fine art, installation, or interior design --all evoke a sense of the stage for him. He also works in many different mediums, from huge wooden sculptures to tiny illustrations. Each medium "performs" in its own way, creating unique scenes, environments, and stories for an audience.
		MARK SIMON Egret & Fish Cast Resin This is a study for a larger bronze fountain I did. It is an unusual 'pose' for an egret, which is usually seen with its neck fully extended, or coiled back. I wanted to portray it mid-motion as it snagged a fish from the water below. I like the semi-translucence of the plastic; it is like some fish and turns the diner into its food.
		MAUREEN SQUIRES Letters & Marks Etched Brass, Arches Text Cover, Gesso, Gold Leaf Working small is an entirely new discipline for me. For solving the problem of designing a successful layout, I first cut a piece of 5"x7' black Arches Text Cover. Since I have been doing assemblages the past six months, I decided to proceed in that vein. A piece of 2"x4" etched brass was to be the key component. An accent of a sliver of paste paper was second and then a gesso/gold leafed triangle, third. A freely written alphabet done with a fine Sumi brush was the last component. The key components fit within a 4"x4" space per the exhibition requirements.
		BARRY SVIGALS Steinberg's Caryatid Fiberglass This piece is a maquette* for a larger-than-life building caryatid*. A vertical internal column, perpendicular to the ground, runs from the head to the foot of the figure. *Maquette- A small scale model for a finished sculpture or architectural work. *Caryatid- A sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head.
		KEVIN VAN AELST Apple Globe Photograph "My photography consists of constructing and arranging everyday materials into mathematical, scientific and graphic illustrations. I responded to the idea of a show on Miniatures by shrinking the entire globe into an apple. While the apple remains close to life size in the photograph, the Earth becomes a 1:159 million scale model. An apple was chosen for this project not only because of the appropriate shape and physiology (being round, having a 'core,' etc.) but also because of what an apple represents, having the burden of being the "forbidden fruit," and also commonly representing knowledge as well as being a symbol of Americana."
		REX PRESCOTT WALDEN Zacks Bay Acrylic/Collage with Found Objects "The making of art is nothing but a series of highs and lows. It is the search for the highs that enables the painter to continue. There is nothing more beautiful, or frightening, than the minimal perfection of a white canvas. Each mark one makes is a risk. The elusive and sometimes forgiving attributes of any medium coax me to continue. Keeping paint friendly is my goal; I know it can turn on me at any moment."
		LINDA KNUDSEN WESTGARD Untitled Earthenware "I enjoyed the challenge of creating a miniature piece. Some aspects of this were more difficult than working with larger forms. I found myself wishing that my hands were child sized to make it easier to work with the smaller flowers."
		STEWART WILSON Portal Mixed Media "I made this piece, Portal, as an invitation to myself to re-explore the 'Persona' world in which I have been visiting through creativity for the past 28 years. To me, size, time, space and matter are all relative and illusionary."
		LINDA CURTIS ZIMMERMAN Autumn Cotton Batik, Cotton and Wool Yarn, Glass Beads "Scaling down to 4" x 4" was both a creative experience and a challenging one. I enjoyed designing this piece and paying attention to the small details, but finishing the piece was challenging. I am used to framing larger pieces and not worrying when one side is 1/6th of an inch different from the other. I have learned through the years that when working with fabric one cannot be as precise as with paper. Firmly pressing with a hot iron usually solves measurement problems. When squaring up a 4" x 4" piece, though, there is not much room for discrepancy. I replaced three sides of the square three times. In the end, I am very happy with the outcome."