1999 Painting
Jaq Chartier
Working in oils and acrylic combines with wax, Jaq Chartier creates surfaces described as elusive, experimental, poetic, quiet and sublime. Beyond evoking beauty and mood, she is driven by the visceral qualities of the paint itself. Chartier has also recently become interested in all aspects of DNA research, especially the images produced by gel electrophoresis, and the idea of "testing" as it related to both science and painting.
Denzil Hurley
Denzil Hurley describes his painting process as "rigorous, extended and open, and grounded in abstraction." Pursuing the challenges of visual invention and clarity, Hurley is "engaged with responsiveness involving variation, repetition and specificity," realizing his intentions in a given work by resolving issues of color, scale and surface.
Maxine Martell
Maxine Martell cites many influences in the development of her work, and she has evolved a highly personal style that is both abstract and narrative.
Jeffry Mitchell - 1999 Fellowship Recipient
Jeffry Mitchell is an artist without boundaries. He is a painter, sculptor, printmaker and installation artist. He makes art with the broadest range of materials and reaches audiences and influences fellow artists in profound and unique ways with messages of love, passion and loss. "The trajectory of my work is an arc that moves from the outside in and back out again, from the bottom to the top and back down to the bottom, from the plain to the fancy and back to the plain. This arc which mirrors the arc of transcendence is in fact the arc of pathos which in my case is one that is gay, working class and Catholic. It is like the pathos of paint: the skin that means to transform, elevate, and redeem that which it tries to conceal or contain, but never can. In fact, more often than not, it reveals and amplifies the quality and character, the 'class' of the stuff it is meant to cover."
1999 Photography
Doug Keyes - 1000 Fellowship Recipient
The underlying theme in Doug Keyes' work is the scientific principle that all things in our universe are connected. Specific to his current work is his belief that everyone's ideas are interconnected and that each idea is built upon others' ideas throughout time. His work explores the individual expression of ideas from science, technology, philosophy, religion, art, culture and nature. By layering multiple exposures of pages from seminal texts, Keyes creates a sophisticated visual manifestation of contemporary cultural information and philosophical discourse; resulting images are ethereal, luminescent, radiant.
Richard Lewis
Richard Lewis describes his early work as anthropological in scope and approach, a record of individual lives and stories. Recently, he has been creating and recording events, employing the camera and the picture making process as a catalyst towards "vibrating inter-subjectivity," a term coined by anthropologist Emile Durkheim to describe the palpable emotion that a tribe experiences during unifying rituals. Lewis creates a context for such ritual inter-subjectivity by using unusual and unwieldy cameras and techniques to photograph friends and collaborators in moments of tribal communion.
Robert Lyons
Robert Lyons is an accomplished photographer whose work inspires empathy and a sense of social unity among people from far-reaching corners of the world. He carefully constructs images by capturing "that moment, that light, that gesture, and that framing which, taken together, represents a specific style of seeing." Lyons brings an especially refined sense of composition and color to his subjects and their surroundings, which, while frequently stark or severe, are presented with clarity and dignity.
Glenn Rudolph
"Glenn Rudolph's photography springs from his love for regional history and the wake it leaves behind. Focusing on the people, environment and land of the Northwest, Rudolph conveys a vision which is often romantic, sometimes dark, and always captivating. He describes his projects as intersecting with one another, encompassing subjects such as vanishing farmlands, suburban Indian tribes, rural communities and transcontinental railroads, and considers his work to be "nonfiction, closer in spirit to documentary film than to 20th Century two-dimensional art."