Jerry Kearns
Pumped, 2006, acrylic on canvas, 84 x 84"

Peter Caine
2006, Washington Crossing the Delaware
mixed media animatronic sculpture, 12' long

Russell Nachman
Asleep in the Garden, 2006, watercolor on paper
48 x 132" (pictured above: detail of Lethe)

Chris Bors
Leaving my Boots in the Mosh Pit, 2005, digital print on
vinyl with Doc Marten boots, 51" diameter

Guerra de la Paz
Tree of Life (variant of Oasis, pictured above), 2006
recycled clothing, 11' high

Matthew Lusk
Untitled Encampment, 2006, mixed media tentings
dimensions variable

Kelly Sturhahn
Urge for Going, 2004, shadow projection through inkjet heat transfer
sequins on fabric, 3 sections, 16' high x 6'

Shawne Major
Sub Rosa, 2006, mixed media, 95 x 72"

Ben Trautman
Unfolding 3, 2006, wood and steel, kinetic sculpture, 42" high

Eric Michael Jones
Rival Catholic Gangs, 2006, lambda print, 30 x 84", ed. 1/3

Eric Lindveit
Beech, pigment, recycled paper, flocking, and burlap ,
78 x 35 x 10", 2006

James A. Brown
Memorial Poles
For the past fifteen years James A. Brown has been exploring themes of reversals and perception by reversing the stereotypical imagery of black people and then expanding it to include other cultures. While the work sometimes embraces a humorous edge, it is deadly serious. His intent is to create an awareness between cultures and to explore the elements at war with one another in society. The works incorporates gathered not found objects. He doesn't come upon these objects. He knows what they were and transformed them into visual stories, beginning with an understanding of their visual and cultural history. This process of transformation is sometimes looked upon as an act of evaluation or subverting pop culture.

German Pitre
Paintings
The work includes found objects in the form of "stuffed animals" that have been used as toys. These animals are contorted, painted, and rearranged until they have lost their innocence and take on deeper meanings that examine our relationship to childhood and our own feelings about that innocence. The creatures are used as a vehicle to engage the viewer in a dialogue, and the image creates a physiological longing with a sense of inaccessibility. The titles are important in staging a social and political dynamic.   Mr. Pitre's work forces us to deal with what are often uncomfortable realities in society and our relationship to them.

Matt Gosser
Pabst Blue Ribbon
The post-industrial landscape of the East Coast has provided ample opportunity for his dual careers in architecture and art.   Matt Gosser established a new art form known as "Ar+chaeology". What started as exploration and photo documentation of buildings in ruin gradually evolved into the making of collage, sculpture and furniture from artifacts salvaged from these abandoned structures. Endangered, culturally significant sites are selected in order to preserve and bring public attention to our constantly vanishing heritage.

Les Ayre
Surfboards
The mystification of burial objects. Les Ayre derives inspiration from after life sites and incorporates them into her work. Overall, the works appears as minimal painting or sculpture but on closer inspection we find the objects are personal, objects of desire, lust and emotion locked within. Les Ayre communicates in a highly personal reservoir of subjective notations. Her lead objects are unique in that they are used to map out what the artist calls an internal symmetry. There is a balance in the work between architectonic forms and ephemeral landscape. The effect is not unlike that of an aura that has been miraculously captured and pinned down for a fleeting moment. The metal has a radiant glowing quality that gives these works their dynamic quality.

Patrick Doyle
Sphericity

In the course of his studies in sculpture and classical architecture, Patrick Doyle discovered the Platonic polyhedra (the basic archetypal building blocks of three dimensional geometry). The fascination with the historical evolution of geometry as an art/science continues to inspire these classic spheres and their frequency of shapes.