(HUDSON, N.Y.) – Works by five artists exploring their unique visions and interior explorations go on view at Concepto Hudson on Saturday, March 14, 2015, and remain on exhibit through April 11. Artists featured in the show include Jane Dell, Fred Fleisher, Joan Fitzsimmons, Brant Moorefield, and Meridith Passabet. An opening reception for the artists will be held on Saturday, March 14, from 6 to 8pm.

Artists and their concepts reveal themselves through an evolving process. The exterior or immediate visual impact of a work is often contrasted by the interior, with the help of titles and other suggestive visual clues you are usually led to the intentioned message. This relationship of visual impact and exploration of what it represents helps you to fully understand the work in depth.

An alternative universe is revealed in the mixed media paintings of Jane Dell. She shares her interior as “. . . a relative and curious universe, an arena that invites the discovery and unfolding of imaginative worlds that can reflect opposing forces between humans and the environment.”

An installation, “Tyranny of the Ordinary” by Fred Fleisher, depicts a typical American middle class living room as it interior confronts our life of habitual routine; “By examining my own life and the life I share with others I ask imperative, yet often neglected, questions about the coping mechanisms of the developed world. We sleep, eat, go to work and repeat the process endlessly. Much of this cycle is done within one’s living space or traveling to and from it. We live out this cycle, questioning and coping within the interior of our own minds. Are we ever free? Is our life and the cultural norms we find ourselves in a trap?”

Expressing her familiar landscape as the core element of her silver print photographs, Joan Fitzsimmons superimposed gestures contrast a familiar exterior with a phantom interior. She quotes “I was fearful of heights, fearful of unknown. Imagination came into play both then and now . . . imagined creatures and events in extreme, from Disney to dementia.”

Appearing initially as a landscape, a portrait or a domestic projection, Brant Moorefield’s oil paintings convey something deeper than a pleasant appearance. He quotes “My work is concerned with the interaction between the visual and psychological landscapes. It is an expression of the meaning that we project onto what we see around us, as well as painting’s transformative ability to reveal what is hidden in a subject. In my paintings, clusters of objects and places from the natural, urban, and domestic worlds are combined and transmuted into new, often personified forms. Some of the pieces are more about memory and imagination than present place, but the method of study remains the same. The paintings are meant to speak about our world and our inner selves in a contemporary way, while remaining freely influenced by the tradition of the practice.”

Meredith Passabet’s series of “Confetti” paintings show a stark contrast between the exterior impression and the interior expression: It is colorful paper showers on canvas, happy and party extravaganza, however the parade ends quick. She explains “My work comes from my exploration of bittersweet, conflicting emotions. I use “confetti” as a universal sign of celebration that I can paint within incongruous environments. Painting confetti gives me unlimited possibilities to investigate the formal elements that I find the most engaging: color, flat shapes, and spatial ambiguities. The question I always return to is if my paintings reflect an optimism about finding joy in the face of the terrible things that are always occurring around the world, or if the “celebration” is insincere, just a superficial prop to disguise the reality?”
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