8 April - 13 May 2006
	North Gallery:
	Gina Magid Paintings	Gina Magid makes paintings on tightly stretched satin or wood panels. Much of the subject matter is derived from the popular culture, while the form of the paintings is strongly influenced by her interest in the abstract layering of imagery to create psychological, rather than perspectival, depths. She seeks to engage, address, and express the non-verbal, seemingly illogical undercurrent which connects all things. Ideas or images may be born from magazines, film, books, fashion, dreams, the natural world, and other artists' work. Her personal history, relationships, and experiences significantly inform the work. Gina Magid would like the viewer to feel that he or she is being allowed a glimpse of the psyche when standing before one of her paintings. "I would like to induce the feeling one has right before waking up or falling asleep, embracing a realm of time which exists between two worlds: conscious/unconscious, chaos/structure, abstraction/realism. I consider these polar relationships when creating the internal logic of a painting. My intention is to unite them in a seamless, sensuous reality which is capable of resonating meaning on varied levels of perception."
	South Gallery:
	David Moreno "Television Noise"	The artist is photographing the screen of a normal analog TV using black and white film and a 35 mm camera. The camera is mounted to a rotating camera mount designed by the artist which allows the camera to spin 360 degrees around the center of the lens during a one second exposure. The TV is tuned in-between stations where there is only noise on the screen, however, by touching the television antenna at various points with his fingers and other objects, the artist exerts some influence on the image. Because the camera is rotating during the exposure of the film, it is capturing these patterns at completely random spatial orientations creating abstract compositions in light that are mostly the result of chance.
	Mezzanine:
		Combing disregarded and archaic cultures for icons, Jesse Bransford removes images from their context and allows them to resonate obliquely in the contemporary, democratic flatness of his diagrammatic, illustrative, and graphic drawings and wall paintings. A circumnavigation of some unnamed idea unites each work, and the tangential images prop up the dominant images yet also diffuse any singular read.
	Jesse Bransford Wall Painting