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Figurative Expo 2010 -


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Best in Show - Richard A. Moore, III

I'm So Hungry
I absolutely love this sculpture by Richard A. Moore, lll. I am fascinated by the unique stories that this part-human, part-creature can invoke. The primitive tools in his hands give voice and symbolism to the intense primal urge and agony of his wanting, inherent in this composition. I'm captivated by the level of skill and beautiful realism that Moore achieves through this pre-bronzed clay; it screams of flesh and makes one wonder what is he hungry for? ~
K. Mosley
1st Place - Edward L. Rubin

The Annunciation
~ Rubin has manipulated technique and subject-matter in such a way that it causes the viewer to feel as if they have walked into a moment that can never be repeated in time. The word annunciation typically signifies an exciting announcement that is about to be made, however in this painting, there is a feeling of both loss and rebirth at the same time. This is a very spiritual composition which requires the viewer's attention. A situation which we have all felt, in some way, and the compositional elements masterfully move your eye around it. Rubin has included the viewer in the space without physically being present. As a participant looking at this painting, a sense of warmth flows over me as a glare from the sun shining through the window flashes in my eye and I can't but wonder "am I now the observer or the intruder?" ~ K. Bond

2nd Place - Marcella Gillenwater

Family Reunion's
composition is impeccable, particularly the perspective, which directs the eye to the detail of the subject's faces and the expression contained within. The concept of family reunion is a familiar one. I could easily relate to the couple sitting uncomfortably and slightly defensively while carrying out their duty of attendance. The skill displayed is in the economy of line and colour and the ability to capture the moment simply. However, it is the 'emotional response' that is the strongest element of the work and is the reason that I keep returning for another look. I was genuinely intrigued by it's intimacy, charm and subtle humour and that willed me into my own self-constructed narrative of the piece. That is what makes this the work of an 'artist', the intangible skill of capturing emotion. ~ D. Chapman

3rd Place - Alina Poroshina

Coy ~ I'm truly wowed by the emotional fluidity of Alina Poroshina's work. The foreshortening, the figure's complete abandon countered by the breaks in the surface, and the passion and sensuality of her brush strokes, successfully execute the composition's circular dance. ~ K. Mosley
Founder's Choice
Iana Amauba

The Placed Displacement feels like a living portrait of a society of women. Iana Amauba's figure emerges from pure paint as she captures the form, light and raw attitude of a woman who confronts us confidently with off-set jaw and tired, yet determined eyes that challenge us to see her and know her truth. ~ C. Swing

Gallery Director's
Agnese Kurzemniece

The Canons, is elegantly disturbing and beautiful. Kurzemniece's composition captures this juxtaposition perfectly. The figure can be standing comfortable in her own body or posing indifferently to the objectified view. The mother and child image can represent happiness and fulfillment or expectation and rules. The intense eyes of the dog can be asking us - is she bound by impossibly beautiful standards or free to be herself? ~J. Weismann

Art Director's
Marydorsey Wanless

Acceptance's tin-type perspective reminds me of my Grandmother's very old hand mirror, obscuring the edges, leaving only the center clear. The old lady I see is not her, but me. This brings to mind all the emotional layers of a woman who long left her youth and is now traveling the still unknown path of the Crone. In viewing the journey, I find wisdom and strength within. ~M. Hansen

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