Monika Goetz
My work deals with consciousness and the limits of our perception. I am creating artwork that questions and challenges the perception of the viewer, in particular the act of seeing and his/her sense for space. Most recently I’ve been increasingly working with light, mirror glass and space itself. These media deal with perception and used in the right, or purposefully wrong way, they intensify the awareness and alter the consciousness of the viewer in terms of the surrounding space.

DESCRIPTION OF PROPOSED WORK
I am planning on cutting a thin horizontal opening/line into a wall. This could be an already existing wall or a created "false" wall. The cut out line should cover most of the wall, not only a small section. Behind this opening I will install several 500 Watt reflectors (the kind used on construction sites) which will shine through the thin line creating the impression of a glowing horizon. The viewer, standing in front of it, will find it hard to look at the horizon due to the sheer intensity of the light.

Rebecca Herman
website: www.groupc.org

Shin Il Kim - Artist's Statement
I draw objects using no color but a single pressed line on paper, a minimal gesture on a white page, so that the drawing can be seen or not according to the angle of light. The pressed line on paper embraces visual emergence and disappearance simultaneously with the angle of light. After making hundreds of pressed line drawings on paper, they are animated at 30 drawings per second. For this animation I start with a video image that is then traced frame by frame. I go from video to drawing back to video.

It is a way to transfer to objects the idea of existence and non-existence together at the same time, based on the idea of Buddhism and ‘the golden mean’ that is one of the eastern philosophies. The definition of ‘the golden mean’ is a balance between two extreme positions, ideas, etc.

These ideas can be expressed in artwork by drawing human’s movement in relationship with other entities, the most common thing between us, because the philosophical ideas behind my work should remain within the most common details of life. Therefore, I observe relationships between people and people, people and objects, and myself and other.

Hyungsub Shin - Artist's Statement
Me Tamorphosis
The dendritic similarities between root structures and neural networks suggest that nature has evolved efficient structures for matter, energy, and information distribution that transcend species level distinctions.

My body of work is a reflection of these elemental threads that run throughout nature.

The process of my art is fueled by a constant search for exceptional function in ordinary objects. These objects are disassembled, displaced or combined in a manner predicated by their singular function and appearance.

I create organic forms using industrial objects, thus blurring the boundaries between current form and past utility.

Andrew Zarou

Robert Walden
Selected group exhibitions include:
Emerge 2002, Aljira, A Center for Contemporary Art, Newark, NJ; The Atlanta/New York Connection: Atlanta Artists Living in New York City, Swan Coach House Gallery, Atlanta, GA; Maps and Charts, Penrose Gallery, Tyler School of Art, Philadelphia, PA; 1994 New Works, Gallery 100, Woodruff Arts Center, Atlanta, GA

Work included in the following collections:
Carter Presidential Center, Atlanta, GA; Trammel Crow, Dallas, TX

Education:
The Atlanta College of Art, Atlanta, GA - B.F.A., 1994 (Emphasis painting & printmaking) and The University of Southern Mississippi, Hattiesburg, MS History, Art & Music 1986-1992

Chuck Webster - Press Release from 2003 show @ ZieherSmith Gallery
website (gallery): www.ziehersmith.com
ZieherSmith is proud to present the first solo exhibition of the drawings of Chuck Webster. Lining the gallery's walls with a single row comprised of hundreds of works on paper, Webster gives ample evidence of his impulsive and compulsive style of abstraction.

After completing a rigorous series of large-scale collages and a woodcut measuring over eight feet, Webster began work on this current collection of diminutive and intimate reflections in late 2001. Initially inspired by a whale watching trip off Provincetown, Massachusetts, the artist returned to his childhood town of Binghamton, New York, where he continued to expand upon the present body of work, combining an immediacy of process with careful and considered editorial methods.

Sometimes taking as long as nine months to finish one of these seemingly off-hand sketches, Webster summons elemental references of flame, water, sky and ground, channeling unique stylistic approaches to investigate the transcendental ecstasy possible through art's most basic processes.

Bill Westheimer
website: www.billwest.com