~ AWARD WINNERS ~
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Touch ~ This is a beautiful execution of a theme common to many artists: finding connections between dissonant subjects. In this case the subjects have been disguised almost beyond recognition through the choices of cropped edges, allowing the textures and forms of these two articulating appendages to interact and create visual connections. Similar shapes and colors offer harmony, while their opposing directions create tension and maintain the dissonance.
2nd Place - Carolyn Ryan
We Walk the Line ~ "Lightning flashes" breathe life into an otherwise mundane composition. That is the meaning and the beauty of "We Walk the Line". What may be at first mistaken as negative space (the flashes) have been transformed by clever stitching into positive forms set against the color field of everyday life. These forms represent the moments of genius that punctuate the mundane, and where the artist finally feels the excitement, tension, fear, doubt and pride that accompany creation.
Opulent Dreams ~ Amorphous globs and blobs are revealed through peepholes into the microscopic. Or are these forensic specimens in a separation plate? Each is an interesting organic composition in its own right, with a beautiful range of values captured by the subtle burnishing of the mezzotint. The grouped format of the plates within the composition, however, is not organic. It brings structure and therefore a sense of voyeurism as we separate and analyze the samples. The separation plate idea would become even more evident when viewing the physical print because the intense pressure of the printing process creates plate edges, or recesses, around each piece of copper, further containing and separating each sample.
Kayenta's composition is grounded by the horizontal along the bottom of the image, defining its landscape. The strong vertical thrust breaks the paper edge at the top, giving enormous height to the "monument", and most of the activity (I assume the town of Kayenta) is contained where the two meet, possibly alluding to its diminutive size and vulnerability to its environment. The other broad strokes give a sense of a wide expanse and deep space. The palate is subdued and the colors create a mysterious, desolate mood. The type of spooky, ancient beauty found in the desert.
Going Home, is reminiscent of the multiple color woodcuts (nishiki-e), invented in the Japanese Edo period, called Ukiyo-e which translates as "pictures of the floating world" and refers to the freedom that Japanese urbanization brought to their culture. Going Home represents a common moment in time for many travelers. How much further is home? Is it just around the corner? Or are the motel signs good news? As the sun sets, will the road weary traveler continue on home or rest and begin again tomorrow?
Brother Mine, features a man strong and unafraid, but somehow injured. Maybe he has been hurt by somebody, or life has simply mistreated him. The layered background texture gives the impression that he is up against a wall, both literally and symbolically. His body faces the wall, and the shadows tell us that he is very close to, or possibly even touching the wall. This is a position of vulnerability. He looks back with a sense of inquiry in gaze, but strangely he already knows the answer. He is wise and has been through this before. Dramatic lighting and deep shadows add to the mystery.