Richard Vaux says his work is an ongoing process, one composition leading to the next. In searching for the harmonies and balances of nature, the works parallel and emulate natural phenomena. With each painting there is a new sense of harmony with nature, a coordination and synthesis of the physical and the spiritual. Each composition is a visual poem about light and illumination… The visible and the invisible.
Beth Lindenberger is is a studio artist who primarily works in clay. She is not so interested in copying nature, but responding to it. Structures, fragments, systems, referencing objects large and small; microscopic, telescopic, and that which can be viewed by the naked eye. Shapes and forms relating to the real world, symbolic of the microscopic world, suggesting their ecology and morphology. Her forms and surfaces are based on microscopic organisms and objects of pro-generation; engaging, interacting, effecting and suggesting potential. Cells, seeds, and the pods from which they emerge, are the connection to the continuation of a species. Some sharp and foreboding, others voluptuous and inviting, they create a narrative in the stages of their process. They change and are effected by their environment and each other. They are fragile, yet have delicate strength. Their mystery and attraction elevate them to a higher status, both in reality and metaphor. Forces are applied, relationships created. Whether seen as individuals or part of a system, not animal or plant, I think of these pieces as part of a larger environment.
