In 2000, Cheryl Griesbach began creating a body of paintings based on her interests in European 18th and 19th century still-life, botanical and landscape art. Her method includes the
manipulation of segments of Northern European paintings and incorporating that imagery in building a new landscape, like a stage. Following
in her parent’s footsteps Claudia Griesbach also attended the School of Visual Arts and with her background in illustration and oil painting, a
skill she learned from her mother, each of her paintings tells a story. In her most recent work she explores the notion “that behind every exquisite thing that exists there is something tragic,” a quote from Oscar Wilde’s Portrait of Dorian Gray.

Oceanids are some 3000 nymphs in Greek mythology who watch over fresh water: rain, clouds, lakes, springs and rivers, as well as pastures, breezes and flowers. They are the daughters of Oceanus and Tethys. Coscia, the Chief Photographer at the Metropolitan Museum of Art has spent countless hours with classical sculptures, photographing them in various settings and seasons. He focuses on the qualities of light on sculpture in changing conditions, and the shifting effects of natural light on stone surfaces. His photographs of museum pieces explore elements of the art outside the context of the museum setting.

His recent work draws on Man Ray’s solarization techniques. This effect reverses the shadow areas and transforms the sense of weight and volume of the objects, so that they appear suspended in air or water. The forms are evocative of earthly creatures or fossils; photographing and printing them using recreated old photographic techniques removes time specificity, so that they also are suspended in time.

In this exhibition, artist and Monmouth University Art and Design faculty member, Tonya D. Lee presents a collection of multi-discipline work that explores the abstraction of nature and environment through the combination shapes, patterns, moments and pauses that are derived from passive spaces, fleeting thoughts and changing winds. Location and process are in a conversation about ephemeral moments of beauty. Using a multi-disciplinary process of combining painting, drawing, collage, construction, and digital media, the obsessions with materiality explore form and color as an echo of the present overlapping past presents — form and color negotiating to exist as object and subject.