Exchanges on Paper

Exchanges on Paper

Curated by Nadia Martinez

March 20th to April 28th, 2017

Miranda Arts Project Space

6 N Pearl St. Suite 404-E

Port Chester, NY 10573

Reception: Saturday, April 15th, 2017

6:00 - 8:00 pm

Exhibition Catalog HERE

Teresa Waterman

Elsewhere is a conceptual response to an ever-changing world filled with displaced people and lost pasts.

It marks the exploration of the unknown. Filled with perpetual shift, the drawing is movement, emotion, and family on one plane. The markings are recordings of emotions and transition. Ambiguity and space extend in many directions. Blurring the landscape expresses light, dreams and, countless days of daydreaming. The absence of color expresses flashes in the mind of home and nation, unforgettable memory.

Teresa Waterman, Elsewhere, 2017, Mixed Media on paper 42 x 110 inches

Teresa Waterman

Esther Rosa

We are dawning every day in the hope that a day will come and we will be fully happy. The pursuit of happiness is our vital goal. To achieve happiness we must enjoy the small things; The success when it arrives, appreciate it, and thank it; We must learn from failure and accept that life is change and constantly transforming; We must stop pursuing perfection, simply because perfection doesn't exist and it is in the imperfection where we find singularity.

I believe in these ideas of positive psychology, which focuses on the optimum and I am really convinced that if we learn to analyze life with this perspective we will achieve that inner balance that we all need to feel fulfillment. In these drawings, I explore organic forms with mineral pigments, iron, and bronze. Bronze symbolizing transformation and iron symbolizing strength. If we understand that life is change and transformation we will have more capacity to achieve that inner balance.

Esther Rosa, Veil, 2011, Acrylic and collage on paper, 20 x 14 inches

Esther Rosa

Michelle Bratsafolis

Passages is a series of works on paper about time, change, memory, and renewal. The works in this series represent conversations across time between the age-old methods of cyanotype (a camera-less photographic process that originated in the mid-1800s) and metal leaf gilding (a process dating back to antiquity), and their current applications in contemporary abstract compositions. Cyanotypes depicting strange and unrecognizable geographies created with digital negatives cut apart and rearranged are meant to conjure memories of places once familiar but left behind, and drive home the realization that change and renewal are as necessary as they are inevitable. Similarly, collages incorporating cyanotypes or metal leafing and Thai Kozo plant fibers that have been beaten, pulled apart into lacy organic forms, and at times themselves subjected to the cyanotype process, are reminders that change and renewal are inextricably intertwined in the evolution of time and artistic expression.

Michelle Bratsafolis, Passages I, 2017 (detail), Cyanotype and Kozo paper fiber extraction, 8 x 8 inches

Mitchelle Bratsafolis

Kathryn Cameron

Whatever exists at any point in time is inevitably subject to temporal change. Through a journey in the ephemeral nature of all things, I explore the subtle manipulation of the materials. In this process, all the secrets that lie within the structures reveal fascination and surprise. The rich textures of our earth’s surface are translated by natural elements of sand, paper, wood, and metal. Sensations emerge through alteration and temporality, and the interaction between the materials facilitates a deep connection with our environment, indicating a small path in order to try to understand ourselves. My work relies on the paradox of revealing and concealing, hiding and uncovering, and in the dichotomy of awareness and uncertainty, I can manipulate and expose.

Kathryn Cameron, Distant Traces, 2017, Handmade abaca paper, thread, Dimensions Variable

Kathy Cameron