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ALAN ROSNER

Why are pieces created, or why is one and not another? By considering the effect the materials have upon the artist we can say that they possess some inherent quality, and the artist exists as an instrument sensitive to that quality. The two participate in an event, the outcome of which are things done or not done depending on the strengths and subtleties of each .... Objects like seashells, shrunken heads or mandalas have always seemed to be sufficient unto themselves, and for that reason, invite display. On occasion materials turn up which exhibit similar properties, but which in addition, suggest or invite their own manipulation. Working with such materials I hope to generate configurations that impart a sense of resolution and closure; objects capable of eliciting responses that parallel or duplicate my own ... which is why these pieces have found their way into the world here, and not some others.

ROSALIE SCHWARTZ

The materials I find by chance are often my motivation and starting point. Street findings have both economic and social implications; their use suggests protest against waste and excess, and a questioning of dominant values. I am attracted to organic asymmetricality rather than machine symmetry, and use a flame on metal as a painter uses a brush - to produce a range of surface colorations- maroons, oranges, browns, greens- which are inherent in the metal itself. Much of the vocabulary of my work derives from the natural processes of decay and corrosion, as as mechanical accident. I try to bring to metal the spontaneity of the unconscious.