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This exhibit presents a cross section of the wide-ranging topics that contemporary artists use to inform and guide the inspirations behind their non-representational work. It showcases the distinct styles of four non-objective artists based in the Los Angeles area and include abstract representations inspired by subjects as diverse as: architecture, the outcome of the perseverance of the routines of daily life, an exploration of the deep impact of freeways and traffic on the human psyche and geometric studies of an infatuation of all things mechanical.

Suzanne Pratts art is profoundly meditative, focusing on the transitory yet eternal in the immediate moment. It intentionally mimics a repeated routine, habit or daily practice; a reminder that through repetition and practice we are able to elevate ourselves.

The precise but seeming infinite images weave a complexity rooted in a primal sense of life-force. Spirals, shell-like shapes, seemingly-petaled pieces compel a closer look at the world itself as filled with meaning. Her work is dimensional and riveting.

Lee Pratt’s sculpture is highly-refined and sensitive work that focuses on the vulnerable, the provisional and the process but actually achieves strength and permanence through the materials employed. His choice of forms and materials relates to the machines used to make his sculptures. He hasn’t tried to conceal the fact that most of the components of his work are machine made, but has used the aesthetics of the machine and the processes used in manufacturing to inform his work.

Balance and tension are key considerations in the works’ spatial orchestration as are the works’ mass, the linear elements and the environment. “All of this helps me to push my work toward the edge that goes beyond the traditional ways of representing sculpture.                           

Dawn Arrowsmith explores the relationship of freeways to human experience in her path/collages. Her use of cartography as a form of art extends the abstract nature of mapping beyond its more limited normal usage. In her hands, as works of art, maps and freeways become meditative, propositional and conjectural. They are used to postit “what ifs” and “supposing that’s”. These collages speak to human predicaments and how to come to terms with them. Her reconstructed maps encompass aesthetic regions, psychological territories and the global consequences of human action. If we know where we are in this work, we will know who we are and perhaps where we are going.

The fundamental focus for Suzanne Williams is the relationship between her eyes, hand and mind. In some ways, her work is more akin to the calculations and concerns of mathematicians and physicists—two subjects she voraciously studied in college and continues to investigate—than aesthetic investigations traditionally engaged by artists.

Her work is the result of irrational obsession pursued with a passion historically reserved for sacred and transcendental endeavors; the product of a level of focus and attention to detail that has been valued throughout time and is particularly rare in our culture today.

    Suzanne Pratt  
    Suzanne Williams  
    Dawn Arrowsmith  
    Lee Pratt  
    300 South Thomas Street
Pomona, CA 91766
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