We will exhibit all the dnj Gallery artists’ photographic project individually in Gallery II
for a two-week period. Specifically,
Annie Seaton (September 8 – September 22) begins with her series “Hauoli.” Hauoli is
Hawaiian for Happiness. Her hand-sewn and hand-dyed quilts are story quilts, continuing
her artwork’s mission of portraying her memories. Seaton portrays a greater feeling of
total contentment in her new pieces.
Suda House’s (September 24 – October 6) “Women Bleed” continues to explore the
feminine world, while establishing a vivid comment on women’s suffering in the face of
current political unrest, and a further statement about ‘blood’ (“We weep a deep primal
loss that words cannot console when we bleed”).
Ray Carofano’s (October 8 – October 20) project, “Close at hand,” again highlights man’s
participation in his environment, specifically depicting how that region is perceived.
Carofano employs graphic elements, playing with the strange visuals created by the
photograph’s geometry, colors, and reflections.
Catherine Asanov (October 22 – November 3) works as a professional fashion
photographer; and her personal work expands her images into pictures discovering
identity and stereotypes. This series, “lightness through Dark,” was commissioned by
the Badgley Mischka for an advertising campaign set at the historic Chelsea mansion in
East Norwich, New York.
Ellen Cantor (November 5 – November 16) examines light and time, and their fusion
with an object through interplay. She looks at colors and shapes, and, accordingly,
notices the passing of a period. This body of work, “Dichotomy” focuses explicitly on
light as a meaningful element her artwork.
Corey Grayhorse, (November 17 – December 1) as always, designs vivid, colorful scenes
full of the absurd and silly evoking a made-up reality. In a sense, she’s recreating
dreams. In her series, “Artificial Memories,” she continues to describe a kind of “human
Melanie Waker (December 3 – December 15) continues the legacy of her deceased
father, Todd Walker, Melanie Walker evokes feelings of mindfulness, thus generating a
kind of personal expression by combining and manipulating images. As Todd Walker
mentioned, “Upon closer examination of the photographs I have made over the years, I
now see a few that reveal moments when my camera saw far more clearly than I did.”
In “Artifacts of the Anthropocene,” Melanie Walker creates a ‘posthumous
collaboration’ with her father’s old negatives.
Dylan Vitone (December 17 – January 5) combines numerous shots from a single location
to create panoramas up to eight feet long, using a storytelling format that portrays the
daily lives of various communities. “Public” illustrates that our space “ … is all too often
dictated by factors outside of our control.”
Gil Kofman’s (January 7- January 19) project, “Formally Yours,” resumes attention of the
placement of images in a rectangular field. Much like a stage does for a play, Kofman’s
work creates an atmosphere for people to enter into his photographs, capturing a scene
of their lives.
LA Marler (January 21 – February 2) photo-based mixed media pieces, in “Vintage
Camera Art,” comments on the significance of words and communication in analog
media. She shows the differences leading up to the digital age.
Sia Aryai (February 4 – February 16) defines beauty in his pieces. He explores not only
the outward appearance of an object, but also the spirit and passion. The images in
“Moonlight” describe not only the color and shape, but with the appearance of the
personality and gesture too.
Darryl Curran ( February 18 – March 2) began participating in the camera-less practice in
the 60s and 70s, working with Robert Heinecken, creating the Los Angeles art scene.
In, “1965,” he constructs his images using color projection experiments, making a
comment on our cluttered (or unnecessary) surroundings.
Rick Risemberg (March 4 – March 16) studies communication. His images hint at the
making of meaning. His artwork shows a conflict between representations.