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"The Arts Project operates one of the best art galleries
in the area…” - The Chronicle, Glens Falls, NY.
2006 Exhibition Schedule Carrie Scanga and Eugenie Tung January 21 – February 24
Carrie Scanga
Eugenie Tung
Carrie Scanga’s drawings and prints come from “an internal catalog of environments”, memories of spaces she has mentally filed away. She is interested in how spatial layouts and the physical presence of human-built places serve as metaphors for human desire as well as the ways that they directly impact individuals and societies. She says buildings “affirm the materiality of our bodies with their presence, by defining our interior spaces and exterior horizons and by sheltering us… I think of drawing as trying to get my finger on the feeling I get from the space, as if I am trying to remember the perfect word to describe an elusive feeling.” Eugenie Tung has lived in ten apartments over the last ten years, in places as diverse as the desert, to the Pacific Northwest, to New York City. Her work “explores non-conventional ways of expressing the complex feelings associated with the act of moving out”. To document her life in transit she uses a mix of mediums. Often the space is recreated in the form of floor plans, layered with photographs, colored pencil on vellum, or paint. Through a process of layering images, and allowing the viewer to detect bottom layers, she reveals the discrepancy between how she remembers and felt about the place with the way it actually exits objectively. Susan Heideman March 18 – April 21
Susan Heideman describes her recent large scale oil paintings: “Rubbery things dissolve into the diaphanous, filmy substances penetrate thickly solid planes. Regardless of density, scale, or structure, these object/beings swim fly, hurl, creep, ooze, or ride geyser-like spouts through their plastic contexts. Fingers and feet, knobs and tubules, organelles and auras sprout from or retract into matter of uncertain composition as these beings thrust, twist and fold themselves over and into each other. Although their interactions chart something I can barely name, ‘nature’s insides’ comes close. These beings come and go within a geography whose unpredictability challenges their mobility. Holes and mounds, crevasses and mazes trap, encumber or send flying. A cavity good for hiding may prove to be something’s mouth. I try to convey an otherworldliness that is weird and familiar, as full of pratfalls and belly flops as of wonder.” Susan Abrams May 13 – June 16
Susan Abrams is a photographer and papermaker. Her photographic images capture the patterns and textures of plants in the natural world. She is also inspired by the unique structural and textural qualities of handmade paper, and the many variables inherent in printing a photograph on handmade paper. She uses various natural fibers that impart a unique texture and character to each sheet of paper. The handmade paper is then coated with silver emulsion, exposed and developed using traditional darkroom techniques. She says “Both my mixed media and photographic work focus on natural patterns and textures. I search for images that capture unique qualities in my subject – a photograph of that specific leaf or flower or tree. I select a paper and a negative that in combination will transform the image from one that is generically pleasing to one that is singular and often abstract. I am looking for an essence not easily defined. ‘Pretty’ is not it, although the work is often elegant. I am interested in the natural cycles that are part of life, capturing the universal forces of generation, growth and decay.”
This exhibition
is partially underwritten by
Iona Park
Aimee Tarasek
Iona Park uses both traditional and non-traditional materials in her work, such as casein, calcium carbonate and gypsum gesso, East Asian papers, wax, fire, and soldering tools, with wood panel as a ground support. Layers of paper, gesso, soot, and casein are painted, sanded, polished, drawn, burned, and incised to arrive at a final image. She says: “While these combined methods are unique to my working process, my choice to use many of the mediums is informed by their historical significance. Casein, gesso, and handmade Asian papers are materials rooted in the centuries-old traditions of Western and East Asian art. I am interested in how I may combine different influences in a way that relate to my own Korean-American background.” Aimee Tarasek bends strips of wood to create massive, voluptuous forms, She often incorporates a variety of other materials, such as pantyhose, latex, nylon, and steel. "Natural forms are recurring elements in my work. The free flowing forms invite the viewer to experience both the interior and the exterior of the structures. Both are relative to the overall experience of the sculpture. My emotion and personal reflection feed the work, creating forms that become more connected to myself - as representations of the body.” Gammy Miller September 16 – October 20 
Gammy Miller creates small, intricate mixed media collages from fabric scraps, bottle caps, zippers, buttons, false eye lashes, and many other found objects. She often works with a reduced pallet of only 2 or 3 colors. The restricted pallet allows her to concentrate on formal issues of composition, enhancing particular design elements and textural qualities. Within these perimeters Miller works intuitively, improvising as she juxtaposes objects. Delicate lines and patterns are created by either stitching silk thread, unraveling old fabric, or by drawing on paper with a technical pen. She says “Working small allows an intimacy with materials and a concentration on detail… From early childhood I have been devoted to the process and the history of handiwork.” Richard Garrison November 11 – December 15 
Richard Garrison’s images and installations stem from observation and interaction with ordinary, overlooked elements of urban and suburban spaces. He collects and reinterprets data from man-made landscapes such as parking lots, department stores and housing developments with the use of various tools and methods such as color matching, architectural measuring, and GPS (Global Positioning System) surveying. He says “Through these diverse formulaic processes, I attempt to create abstractions that reflect a transformed and intimate encounter with pervasively indifferent spaces.” Garrison’s work challenges traditional notions of landscape. In a rapidly developing world, his reconfigured suburban consumer centers and urban landscapes serve as metaphors for exploring societal contradictions and consumer culture.
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