IT IS A FLEETING INSTANT WHERE REALITY FADES AND THE ABSTRACT DREAM INTERCEDES. A SPLIT SECOND, WHICH FOR ME EXPOSES ANY SEPARATION BETWEEN SUBJECT AND PHOTOGRAPHER.  IN THOSE MOMENTS, I AM NO LONGER AWARE OF ANYTHING BUT THE POWER AND THE PRESENCE BEFORE ME, LOSING MYSELF IN AN INTIMATE DANCE OF PASSION AND DISCOVERY, WHERE THE ESSENCE OF THE SOUL, BE IT WOMAN OR HORSE, IS MOMENTARILY RELEASED TO MY WATCHING EYE.   IT IS A DANCE THAT OFTEN BEGINS SLOWLY WITH HESITATION AND LONGING, A HUNGER TO EXPOSE THE BEAUTIFUL AND MYSTICAL THROUGH QUIET OBSERVATION OR GENTLE ENCOURAGEMENT.  UNSURE OF EACH OTHER, WE MOVE SLOWLY, CIRCLING, WATCHING, PHOTOGRAPHING.  I AM A PRESENCE THAT IS PHYSICALLY NON-INTRUSIVE BUT EMOTIONALLY CONNECTED IN AN EFFORT TO EXPOSE A PRIVATE MOMENT OR MOVEMENT.  WHAT RESULTS CAN BE BOTH EXPLOSIVE AND SUBTLE, A PHOTOGRAPH WHICH, I HOPE, TAKES A STEP FROM THIS WORLD INTO THE NEXT, LIKE A BIT OF MAGIC. – DONNA DeMARI

Displacement is an exploration of primary aesthetic memories -- the fragments, tiny snapshots of color and shape that over time become elemental symbols and glyphs in the personal mythologies unique to each of us.

Havens’ work traffics in a mystery and meaning beyond its origin in the model car decals of the artist’s childhood. These slivers of memory are transmuted through scale and structure, revealing themselves as seminal totems of enormous visceral potency.

The images posit line and shape as powerful catalysts in the formation of self: the first awakening of barely-perceived aspirations, the nascent emotional response to new aesthetic stimuli.

Displacement evokes -- or, more precisely, exhumes -- a distant internal universe of memory, emotion, and desire.

In Hanno Otten’s recent work, he continues to explore the abstract with photographs that embrace an organic and personal approach to photography. This body maintains a focus on the primacy of color, forgoing any literal or narrative imagery, manipulating color and light to achieve a modern palette. Some images derive from photograms, photographed to facilitate manipulation of scale resulting in monumental images of bold strokes in vivid hues. Others are close-up details of abstract painted surfaces creating portmanteau works of fluid color and stunning beauty.

Hanno Otten was born in 1954, and lives in Cologne, Germany. His work has been exhibited worldwide.

Artist Bio/Statement: The Hope Chest is a selection of photographs from a visual autobiography populated by the photographer’s central relationships over the course of more than a decade. Through quietly stately, gorgeously colored and richly allusive photographs, Cig transforms quotidian objects that reference time, childhood, and femininity into totems that record key moments in her life. As much a document of one woman’s emotional life as it is a catalog of psychological archetypes. The Hope Chest takes the viewer on a literal and metaphorical journey conveying the universal quest for personal identity and place in the world.

Artist Bio/Statement: Steven Ford's interest in two dimensional art relies on his continuing fascination with breaking down and building up again, using just a few components. Ford maximizes the variety within these elements of color, paper choice, scale and printing technique to give each part its own character, creating works of compelling complexity. Ford works over a period of days and weeks, building up a palette of printed material to assemble on the base sheet, which is then often over printed. Each work is a unique collage of printed elements composed of saturated color on a structure opening to surprising space.

Record Picture: a highly detailed, matter of fact image traditionally commissioned by government and industry for technical documentation.

Created from 8x10 photographic negatives, Michael Collins’ monumental 4x5 foot prints yield a shockingly sharp richness of detail, chronicling historically significant landscapes around London.