Aug. 13 - 16
opening night reception Thursday, August 13, 5-8 p.m.

PATRAJDAS Contemporary Booth #A9

Complimentary pass for two

Chris Trueman Abstract Painting DMDW Chris Trueman

In his exuberant, large scale paintings, he encompasses the entire history of abstraction, emerging Color Field Painting, Abstract Expressionism,
and Hard- Edged Geometry in his allover compositions. Intermingling passages of pixelation and color gradation based on computer graphics, his acrylic - on - canvas works seem to be formed of layered scrims. He often begins Abstract Expressionist - style, with bold, lush brushstrokes and generous smears of pigment. Onto this ground he overlays stripes and undulating lines recalling Op Art illusions and screen savers. more
email alzamora - Venus of Venus ceramic sculpture Emil Alzamora

Sculptor Emil Alzamora, born in Peru and educated and working in the US, brings a unique affinity for the human form, which is a constant in his work.  He is interested in exploring what it means to inhabit one, often exaggerating or distorting different aspects of the form to reveal an emotional or physical situation, or to tell a story about a predicament or an occurrence. Limitation and potential are as human as the flesh, yet hardly as tangible. In his works, this interaction is rendered visible.  A rising star, Emil has exhibited widely in the US and in London. more

Brad Greenwell

I use representational methods to achieve non-representational means. I want to seduce the viewer with the possibility of objectivity, but in the end, deny it. I do not want to perpetuate the sanctity of iconography but deteriorate it. I want the supposed "objectiveness" of the symbol used to break down. Any meaning gleaned is a reflection of the viewer, and obviously so. It is a collage of empty iconography and symbols, empowered by the viewer, meaningless to the painting. more

Matthew Choberka

My paintings begin, as many others do, with something close to what Frank Auerbach once described as “ a lump” in the mind…something vague, unformed, but unyielding and demanding to be paid attention. Though it can cause some anxiety when beginning new work, I am pretty used to this state of things. Until I begin to work with that first gnawing impulse, nothing is going to happen. Once that first set of structures is there, I know that a big part of the process is going to be to undo, to cancel, at the very least to push around most of the early decisions in the painting, leaving them basically unrecognizable. Strange to think, but what this process amounts to is a kind of falling backward into an image. I guess I hope that, while nothing about this way of working is straightforward or constructive (in the sense of creating a skeleton and building upon it), there is still a meaningful way in which the history of what has happened with the painting has had purpose, although that doesn’t seem the right word. more

Tim Tate

Tim Tate is Co-Founder of the Washington Glass School and Studio. Tim’s work is in the permanent collections of a number of museums, including the Smithsonian's American Art Museum and the Mint Museum.   He was the subject of several articles in American Style, American Craft, and Sculpture magazines, as well as the Washington Post and Times newspaper reviews. He was also the 2010 recipient of the Virginia Groot Foundation award for sculpture. more

Manabu Hasegawa

Hasegawa creates real to life three-dimensional works using pencil and paper. With the theme of ‘weapons’ pistols and automatic rifles are displayed as if they are in a gun shop. One of the attractions of these works is that they look both three-dimensional and also like a flat picture.

The insides are hollow so the serious atmosphere associated with them being weapons is only superficial. If you imagine crushing them you realize that they would smash into pieces in one go. Because the fragility of Hasegawa’s artwork it is fleeting one cannot help but feel affection for it. more

Darrel Roberts - oil paintings on canvas Darrell Roberts

The ever-changing landscape and structures of the metropolis inspire my work. Over the years I have documented Chicago; the lake, the gardens, the skyline, its people and construction sites. All these elements and textures influence my work. My interest is in sensory overload and stimulation. Today I live and make art in Chicago. I go for long walks, through an ever-changing environment, which influences my art making. The pace of people, traffic and hectic life make it easier for me to notice the subtle changes of textures, colors, forms and light as I move through the city. These changes quickly catch my eye and give me a moment to rest. more
sangSik Hong - green mouth SangSik Hong
Sang Sik Hongs' work is all made by hand; each straw is hand placed, a contrast to the technology we live in today. The softness of the acrylic he paints behind the straws creates a precise beauty that embodies Hong's work.  His emotions and personal desires go into making each piece:
"Although every one desires power, only a few of people can have it. Power is the symbol of strength and the object for one’s wish since it accompanies many interests. Power is strong, scarce and heading toward eternity. However, the straw, contrary to the properties of power, is a weak structure, easily available to anyone
for it is produced on a large scale and a disposable material.” His wit symbolizes semantic relationships and the structure of desires connotes the pathos of reality.
Dan Lydersen - Big Girls Dan Lydersen

My recent paintings are a reconciliation between past and present, particularly in regard to Western culture’s notions of spirituality and the relationship between society and nature. Drawing from a variety of contemporary and historical sources, from the Renaissance to modern cinema, literature and popular culture, the paintings are an attempt to come to terms with the present through the immediate marriage of today’s visual culture with that of the past. Both theatrical and satirical, comical and somber, the paintings pose a view of humanity that is steeped in the existential turmoil that lies between materiality and spirituality, where society trudges persistently forward into the future while the human search for meaning and purpose as mortal animals remains unresolved. more

Chris Martin

I create because I have to. It is as essential to my being as the food I eat and the air I breathe. My process begins with visions of shape and line. As an object begins to take form, I draw loose sketches of my vision. The forms then begin to take on more distinctive characteristics, and I go over the original drawing with heavier, more defined lines. Once this design has taken form on paper, I chart out the journey I will go with the raw material. It is important to me to leave openings in my plan for spontaneity and I navigate through the process trusting my instincts as I go. While I keep an eye on the map, I retain the right to be impulsive, to change, and to improve my route along the path of reaching my final destination. more

David Nakabayashi - "Melt" oil and acrylic on canvas

David Nakabayashi

I move through time and space as a visitor. I linger. I observe. I never stay. I stumble upon situations and strangers: innocent or not so innocent, perhaps dangerous, mostly benign, and from all walks of life. Each unique encounter starts with a mysterious feeling that something is about to happen. more

Charles Clary cut paper sculptures Charles Clary
I use paper to create a world of fiction that challenges the viewer to suspend disbelief and venture into my fabricated reality. By layering paper I am able to build intriguing land formations that mimic viral colonies and concentric sound waves. These strange landmasses contaminate and infect the surfaces they inhabit transforming the space into something suitable for their gestation. Towers of paper and color jut into the viewer’s space inviting playful interactions between the viewer and this conceived world. These constructions question the notion of microbial outbreaks and their similarity to the visual representation of sound waves, transforming them into something more playful and inviting.
Joe Wardwell - Stupid Fucking Words - painting - oil on canvas Joe Wardwell

... is interested in the historic link between landscape painting and the shaping of national identity, a lineage that can be traced back to the early imperial advocates of Manifest Destiny and the Hudson River School. Today, this sentiment is seen in advertisements where rugged terrain is a stand-in for American-ness. By conflating a 19th century painting style—made famous by landscape painters Thomas Cole, Frederic Erwin Church, and Albert Bierstadt—with the lyrics of American music, Wardwell creates a singular vision of contemporary America. more
Craig Cleveland

Interdisciplinary Conceptual Artist
Painting, Drawing, Installation, Sculpture, Design, Multi-Media, Performance. Utilizing new and traditional mediums, I am focused on concept and process, looking to expand the ways in which art is created and perceived in our evolving contemporary culture. more

PATRAJDAS Contemporary celebrates creative excellence in contemporary fine art, objects and design. We are focused on conceptual, rigorous, innovative, and serious work, and are committed to nurturing the achievements and evolution of emerging, mid-career, and established contemporary artists in all media. The gallery embraces the artist who challenges conventional expectation in concept or design yet excels in formality, technical expertise, craftsmanship, and originality.


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Until next time...

PATRAJDAS Contemporary
2420 wall avenue, ogden, ut 84401  |  917-737-2784 

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