Jose Naranja, a self-described “notebookmaker,” creates works of art out of the typical writing pad. He sells these notes in the form of “The Orange Manuscript,” an elaborate, multilingual exploration of the writer/artist’s mind and observations. The artist considers the work “a love letter to notebooks, a flight of fancy and also a part of me.”
In works that “explore our notions of contentment and security,” artist Dietrich Wegner creates surreal images that bring clouds closer to the earth and explores identity through logos embedded onto children. These are works full of contradiction, both humorous and sobering, whimsical and harrowing. The ideas are conveyed in both sculptural works and prints, offering several points of entry into the mind of the artist.
Fantastic architectural settings, statuesque-like human figures staged in dramatic poses and a prevailing mood of impending catastrophe; it should come as no surprise that printmaker Victoria Goro-Rapoport began her career in the theater. The recipient of an MFA in set design, Goro-Rapoport was once professionally employed creating backdrops for theatrical dramas. Eventually the artist decided to devote herself fully to her two-dimensional artwork in order to give her imagination completely free reign. In her intricate engravings and etchings, this theatrical background translates into an often dark and moody ambience. Lone figures are silhouetted against tempestuous and overwhelming skies or are caught in the midst of impossible feats, calling to mind Biblical figures, as well as both the heroes and victims of Greek mythology. As with the stage, where the illusions of a play have the power to transport us, so do Goro-Rapoport’s prints create an imaginary universe where the possibilities are seemingly infinite and the actors larger-than-life.