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Brett Osborn

Michael Freed

In my paintings, installations and etchings I invent places that are rendezvous for myself: who I am now and for whom I was in the past. The iconography I select helps to intersect both a present sense of place and past memory. I oftn juxtapose elements from multiple seasons into a single work in order to create a sense of place without the specifics of time. The ghostly images are my relatives who I position into a landscape I create through memory and imagination. They function as markers in time without place. Thus the timeless place and placeless forms in a specific time form a world that is familiar and yet not specific. I want viewers to be able to project their own experience, memory and history onto my work. I am not trying to create a place of beauty, although I have a specific aesthetic, my use of color and form function to represent a sensation. The form and color I select have an inherent beauty that is expressed but is incidental and not the core of meaning in the work. Iíd prefer to elicit a deep haunting familiarity in the viewer to the cursory sensation of visual pleasure. I like to create tension points in the work such as in the horizon line where sky meets earth and between light and shadow. The sensory vibration through value and color at these junctures are both symbolic and reminiscent of two worlds. I want to express chill and warmth, fall and spring, light and shadow in a single work.

Represented by Lyman-Eyer Gallery, 432 Commercial Street, Provincetown, MA 02657, tel. 508-487-3937,




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