The Architecture of Space

JUSTINE REYES

In Her Own Words

©Justine Reyes

Series: Vanitas
Title: Still Life with Banana, Purse & Change, 2010
Size: 16" x 20"
Medium: C-Type
Edition: 10

Price: $1,500

“Taking inspiration from the Dutch Vanitas paintings, these photographs incorporate personal artifacts within the traditional construct of still life. Pairing objects that belonged to my grandmother with my own possessions speaks to the concept of memory, familial legacy and the passage of time. The incorporation of modern elements, as well as the use of photography itself add an additional layer of nostalgia and irony when viewed within the historical framework of Vanitas painting. Both the decomposition of the natural and the break down of the man-made objects, reference the physical body, life’s impermanence and the inevitability of death.”

The Architecture of Space

SEBASTIAN LEMM

In His Own Words

©Sebastian Lemm, courtesy Michael Mazzeo Gallery

Series: Subtractions
Title: Subtraction No. 2, 2006
Size: 60"x48"
Medium: C-Type
Edition:  3

Price: $6,000

“My work is informed by nature in a broad sense. Visually, I am fascinated by seemingly random structures in the natural environment and I see parallels to patterns or events in my own life. Taking a more wide-ranging definition of nature, I am attracted to subtleties of human interactions, the subconscious and physics’ theories about dimensions that are outside of our perception. Although these ideas may not be inherently obvious in my images, they do have a significant impact on my artistic process.”

The Architecture of Space

MONIKA SZILADI

In Her Own Words

©Monika Sziladi

Series: Wide Receivers
Title: Pledge, 2010
Size: 20"x36"
Medium: Pigment Print
Edition:  5

Price: Contact gallery for pricing

“In Wide Receivers I am interested in how society and human behavior are becoming simultaneously tribalized and atomized amidst the ever increasing noise of mass (over)communication, digital media, and self-broadcasting. My photographs are digital collages constructed from images that I shoot at public relations, networking events and at meet-ups of subcultures that were formed and (or) are operating as a result of social connectivity on the Internet. 

Compositing and cropping the source photos heightens the intragroup dynamics and throws off the viewer's ability to find a primary point-of-view, thus generating an underlying disruption: the participants, while appearing connected within a social network, also appear atomized in a contrived pose or uncertain gesture.”