We are pleased to present our first painting exhibition. Thank you to Atelier Omiros and La Galleria.
In the late 50s, Omiros became fascinated by the infinite expanses of space in the universe. At this time, he called his paintings “Mon Espace Libre”: “My Free Space”.
He wondered: “what happens to perspective at the end of space?” He began to minimize and reduce the pigment in the paint in order to see. He realizes that perspective needs a concept to be perceived and when you add pigment back, the perception of perspective becomes real. But where does perspective go when you can no longer perceive it? Is it still there in space?
Thus began his quest between abstraction and figuration to see perspective in and out of space like no one has done before. At the juncture and conjuncture of space in abstraction and in figuration, he began to create his Espace Libre, a new scale, a new definition of surface, a new syntax of relationships among the space, pigment, edge, and figure; displacing the hierarchies of figuration with an unprecedented and powerful intricate self-generating structure, forever extending the syntax of his pictorial language, in his “free space”.
Free Space became Omiros' calligraphy and by entering Omiros’ free space, and thus discovering the harmony in the midst of it, we become free too.
We are pleased to present our first photography exhibition. Thank you to our client Peter Daitch.
The camera is a tool I use to create my view of the natural world. My intent is to reduce the subject before me to its most simplified elements of light, color, and composition; whether it is an abstraction from the side of a building or a unique and painterly blend of colors from the landscape. I use the camera itself to produce my images; they are not the product of a digital after-effect.
This statement by Gene Thornton beautifully captures the delicate nature of my responsibilty as an artist in the creative process. “I believe a certain input from the artist is a necessary component as a work of art. The input may not be very large, but there must be someone behind the camera who is an artist, and whose vision is somehow reflected in the photograph.” (NY Times Jan 14, 1979)