The idea for this series of paintings began as I was searching for a way to make abstract art more accessible to a wide audience. My solution was to use my paintings as maps. Specifically, to use them as maps to explain the genetics behind appaloosa horse coloring. Each element in my paintings correlates to a particular gene, so there is a way to decipher the paintings. . http://www.ashleyshellhause.com

A draftswoman, composer, and experimental phonographer, Beth Brown works and practices in Baltimore, MD. Her intricate ink drawings and euphonic processed field recordings share a common thread of accumulated texture and detail that create micro-landscapes. These delicate arrangements guide the viewer/listener’s exploration of the vast topographical expanse that exists within each individual piece.http://bethbrownart.com [/two_third_last]

 

Collin Richard

I create ephemeral environmental installations using natural materials that seek to highlight the fragile relationship between humans and the Earth that sustains them. In an effort to critique the traditionally hubristic practice of creating artwork as a concrete and infinite representation of an ephemeral idea, my artwork eventually degrades and decomposes; becoming objects and elements that are no longer art, but are returned to the Earth that originally created them.http://www.collinrichard.com

In 1969 I began working with line in sculpture. Using twine, rope, wire and reed I constructed three dimensional pieces that were designed either to hang in space or free stand. I worked exclusively with line for over ten years. By 1980 I had started adding other elements to the pieces, specifically: branches, bones and leather.  
I now use a wide variety of materials, from bone to styrofoam. Some of my work appears abstract and some appears figurative. To me they are the same; both are my arrangement of form, space, texture, color and attitude. An underlying factor throughout my work is my sense of space derived from landscape. https://sites.google.com/site/2zwrks/home

I am a spiritual person. I convey the experiences and voice of God through my work. In the last few months I felt an urge to work with the Holy Spirit letting Him guide me in my work and afterwards asking Him to explain it to me. It has been amazing. My work is a communication tool to express what I see, hear and experience in the Spirit realm. http://www.pinterest.com/LizetteduPiesan/lizettes-art/ 

Etching and drypoint are dependent on the line. The line can hold ink in the tight crevice into which the wet paper goes to retrieve the image. The artist must speak through tiny lines, often laid with help of magnifying lenses, to create an image from a forest of lines. Where the painter might used an outstretched arm and a long brush, the etcher necessarily moves toward the work, immersed in the minute lines to create a holistic image. http://www.pvanderpoel.com 

Roland Barthes argues for the inclusion of useless details in realistic text: According to his interpretation, “les detail inutile” seem to render any text more meaningful. “Texting” is based on concepts of abbreviations/acronyms, and the use of incidental details are but a waste of “time and space”. But if useless details are most critical in the creation of meaningful sense than texting, it seems, does not only function on a superficial level but also impacts our sense of being with its dull instant messaging. The works “Lost in Translation I,II and V are part of TANSTAAFL [there ain’t no such thing as a free lunch], a body of work that explores texting and how it affects the sense of self; an investigation/reflection of/on texting and its influences on human psyche, personal relationships and a society as a whole. Desires for instant gratification impacts how we communicate with each other and it is the loss of useless details and the gain of seeing a new language being formed that interests and excites me and that my work attempts to visually capture. The continuous writing out of a list of chat acronyms & text message shortcuts is meant to capture the compulsive nature of this new way of communicating with each other and comments on how interpersonal communications simply get “Lost in Translation”. http://www.sandradoore.com

Snow Drawings is an ongoing project where I “draw” large design systems in the environment by walking lines into fresh snow surfaces with snowshoes. Ideal “canvases” are deforested areas and frozen lakes. The finished pieces are ephemeral. While they take hours to create, their duration is entirely unpredictable. Sometimes they are coated over by new snow shortly after completion. This project began during an artist residency in the Colorado Rocky Mountains in winter 2009. At first entirely out of play, I started designing patterns in my mind, which I then tried to “transfer” onto the snow by walking lines in untouched snow surfaces. As vast fields of snow became huge “canvases”, I became the “pen”. My designs have since become much more elaborate and refined, and I have continued this project in other landscapes across the United States and abroad. http://www.sonja-hinrichsen.com 

Repetition is to Jingxin the way to discover the foundation of life and reality. In approaching her art through this method she has discovered a way of making the repetition find its own order and discoveries. You can see the mark of Tao’s notion of inaction in the way she works, by not directing the outcome it evolves naturally, which allows the work result to supercede her own limitations of understanding. http://jingxingeng.com