Seduced by the excitement of travel abroad, influenced by the history of great stone formations found in Malta and Egypt, driven to continue the process of developing his personal artistic style throughout his entire life, inspired by many of the world’s great artists, Gene Anderson brought the world to bear in the art he created.Working in stone, cement, iron and laminated Styrofoam, Anderson’s work evolved around simple and natural forms, whether of the earth or the human figure.
SARA SLEE BROWN
About a year and half ago, after many years of oil painting, gauche and mixed media work, I discovered the power and beauty of digital imaging. This opened up a whole new world of imagery for me. These works have all been created by laying some of my favorite objects down on my scanner and using the scanner as a camera. After I have created an image which appeals to me, I refine it in my computer. Sometimes this work is very simple and little alteration occurs. Other times the image is reworked many, many times, often at the single pixel level, to achieve a sense of completeness. For me the works evoke a sense of quiet and serenity that I find very satisfying.
While studying architecture I pursued conceptual design as a manifestation of my vision. In my early experience the expression of art was not a traditional practice in architecture; the guiding principle from which I rebelled was that of form following function. As I progressed in my education, I increasingly focused on the art in architecture. When I moved into my own realm of work, I became more committed to both my expression and to the experience of those interfacing with my work. This evolved into a somewhat less formal combination of art and function. The buildings and spaces I designed became in part a palette and a place of expression. Buildings became statements designed and constructed as presentations. I experimented with the use of innovative concepts, unusual spaces, bold color and deconstructionist principles.
As my interests turned more in the direction of pure artistic expression, I found that my underlying principles did not change. I continue to be intensely interested in the singular and unusual. Within my body of work in photography and image making, I seek to present the unique elements that I observe – such as the art of the environment which surrounds us. Details that may have become a transparent background to many become paramount in my interpretation.
I was born and raised in Iowa City, Iowa. In high school and college I enjoyed sports and being outdoors. Current hobbies include photography, large format printing, and digitization of artist's works. I am currently trying to expand my operation with the goal of having a creative studio with large scale projects and endless possibilities.
Ulfert Wilke was born in Bavaria, Germany in 1907. He immigrated to the United States in 1938 and died in Solon, IA in 1987. Wilke received his MA from the University of Iowa and later became the University of Iowa Museum of Art's first director. Ulfert Wilke was director from 1968- 1975. Wilke had a passion and fascination for the written language, drawing most of his inspiration from it to create an abstract view of shape, color, and texture. Wilke found inspiration in the calligraphy of the Japanese Zen masters and in the numerical symbols of ancient people. Studying each writing style to further develop his own from of calligraphy, Wilke saw beauty in all forms of written language, whether it was found in poetry, on plates, or as engravings. He utilized acrylics, ink and watercolor to represent his abstract view of language, space and time.
My work is a collection of collages evolving around capturing disjointed elements, deconstructed and brought back together by chance. Each work is enigmatic with an open-ended subtext, communicating a bond between the tangible and the unseen.
Working through collage allows for the creation of a new meaning. The viewers are unaware of the origin of each material allowing for an entirely new coexistence.Influenced by death, memory and patterns, man-made and natural, each collage beings with a seed. A delicate balance between soft ink marks and dense areas of paper are created, paying close attention to spatial relationships and intertwining forms.