THE RAVE WEBMUSEUM OF CYBERART                             ARCHIVAL DOCUMENTATION                      


The Rave Webmuseum of Cyberart (VRML)-.wsb files using Virtus Player VRML

The Rave Webmuseum of Cyberart Catalog (HTML)

The Rave Webmuseum Artists Biographies section (HTML)

Homepage of Pygoya Webmuseum of Cyberart (HTML)

Numbered as in VRML 3D museum exhibit-

1 Pygoya - Still Life, inducted 1997

"Still Life" is the founding artist's gift offering to celebrate/commemorate the opening of the RAVE as a permanent "Hall of Fame" for digital art contributing to Internet Cyberculture. Totally executed with software (no scanning), the simulation of traditional media through electronic means symbolizes the bridge that has been established by computer graphics with historical art media. Now the virtual space of the Internet provides an appropriate domain in which to house these great works of digital fine arts.

2 Ute Kersting - Imagery, inducted 1997

I started as an artist working in oil, water color, mixed water color media, charcoal, pencil and guoache. "I picked up the digital computer art and really enjoy the work too." Mood, impulse, energy and theme direct the beginning of each art piece. With evolving forms, shapes and chosen color scheme my painting or images take on a life of their own. Thereafter the viewer later becomes a co-creator. My objective is to provide ever deeper meaning for the participant. Layer by layer and application over application is the procedure of my work.

Born in Germany, I had my basic training at the Academy of Art in Hamburg, later studying in Canada and the USA. I attended the Intensive Seminars and also workshops with well-known instructors. After developing my own style, I still am never satisfied and always strive to grow and explore. Private and commercial collectors have purchased my paintings and images, locally and internationally. In juried shows I have received numerous awards. My Web site will show samples of my newest work in painting as well as in computer art.

3 Benjamin Britton - Lascaux, inducted 1997

Originally working in the field of literature, Benjamin Britton moved into video and computers in the early 80's, creating videotapes and installations, videodiscs, and now is working with interactive digital media as an artform. His principle interests center on the relationship of individuals to their society and on the issue of interactive composition. Britton is presently an Assistant Professor of Electronic Art in the School of Fine Arts at the University of Cincinnati, and is engaged in creative research with virtual reality, the Internet, and optical media.

4 Michael Curtis-Baloo's Twin Plateaus, inducted 1997

As a student, musician and football player at Western Reserve Academy in Hudson, Ohio, Michael still enjoys dabbling in Bryce when he finds the inspiration. "Baloo's Twin Plateaus" inspired by his favorite childhood cartoon, Tail Spin.

5 Sinclair-Next Tech, inducted 1997

"Next Tech" is part of eleven piece series, entitled "The Art of Technology", consisting of mixed media sculpture with the Internet as its subject matter. Sinclair is an active artist in the New York City art scene.

6 Roz Dimon - Washington Pig, inducted 1997

This work of art was created in 1996 using the medium of the computer. It is an outrageous medley of capitalistic nonsense woven into the almighty dollar, then slapped together with digital glucose. Back in the 1980s the artist helped give respectability to the Amiga 1000 (32 colors max) as an art tool and medium. Today, she has one of each (personal computer platforms) at her fingertips as a successful digital artist.

7 Glenn Southern - Evolute or Leave, inducted 1997


When the time came that we have no more air, we took it from nature. Large
crustations that infested the waters of the world used their weed like
fronds to extract what little oxygen the ocean contained. It was only
logical that we should then take it from them. Problems is, natural
selection. Those of us who stayed got so dependant on them that we became
`Very` attatched to each other, and I do mean attatched.

HOW IT WAS CREATED: Watery looking Kai filter, tiled accross a plane to
give the water surface. A `Bryce` shell was added in various sizes and in
Photoshop I added the uder water `Fronds` with heavy use of Kai filters.
The curled up spined human seeds were rendered in Fractal `Poser` and edit
in Photoshop. Total time, 6 hours approximately.

8 Debbi Germann - Dance, inducted 1997

The artist is originally from Texas but now resides in the state of Washington. Originally a ceramist she now creates using the computer. An Irish Texan who moved to Bainbridge Island, Washington
4 years ago and discovered the color GREEN!

"Dance" is one of a series called Rainbow People.
It was created as such:
I created the fractal image them imported it into Poser where I made the
figures and finalized it in Painter 5 where I sharpened the colors and
contrast. It was the most time consuming but I love this series. Having
always appreciated the sight of a rainbow and bright colors I relate to this
piece most. I could be a rainbow person dancing through life with passion for
all the beauty I see on a daily basis. I love life and these works represent

9 Dorothy Simpson Krause - Against the Wall, inducted 1998

Dorothy Krause is a Professor of Computer Graphics at the
Massachusetts College of Art, Corporate Curator for IRIS Graphics,
Inc. and a member of Unique Editions a collaboration of tradigital

"Against the Wall" uses two source photographs; the first one I took of a
woman in San Miguel de Allende, Mexico in the summer of 1996, the second
is of an old globe, rusted and peeling. The image was created using
Photoshop and Painter. Although my work is largely created on the
computer, it is designed to be printed and often has considerable
handwork with traditional artist materials. As a "unique edition" of 20,
"Against the Wall" has been printed on the Alphamerics Spectrum, IRIS
3047, Encad Novajet Pro 50 and Epson 3000 in sizes from 10"x12" to
34"x47". A variety of substrates have been used including a painter's old
crusty drop cloth, heavily textured spunbonded polyester and, as a
digital transfer, handmade indian bagasse paper. It has also been
printed as a poster on the Indigo E-Print 1000.

Artist's Statement about her work in general-

My work is based upon the premise that our similarities are greater than our
differences and that, at this time in history, we are able to transcend our
separateness and to understand, as at no time in the past, our interdependence.
Although I was trained as a painter, I have always been a collage-maker, both in
my art work and in my life, working with what I have and what I find. I use
historical and current images as the source material for my work, enlarging on the
fragmented political, ethical and social meanings they suggest by combining,
layering, manipulating and merging them into provocative statements or questions.

When I begin to work on a new image, I look through my collection of fragments,
objects and photographs, select several that I think may have more power if they
are somehow combined, and copy them into my computer with a flat bed scanner
similar to a desktop copying machine. As a structural foundation or textural
element, I often scan maps, fragments of written language, signs, symbols, charts
and diagrams related to the images I have chosen.

Technical Outline

Although I have worked on a variety of computers in the past, most of my current
work is done on the Mac using Photoshop and Painter software. I usually begin by
adjusting the contrast and color of each image, then begin to combine them in
various ways. Although I often use a high contrast mask which allows me to put
part of one image into either the light or dark area of another image, I have no
preconception of what the final piece will look like. I try to do something unique,
pushing the computer and the images until I find myself saying "oh, yes"; then I
know I have something worth pursuing. I may work for weeks and not achieve that
sensation and then create several I like within one afternoon. If I think a composite
of images which didn't work may have potential I save it to try again.

The computer allows me to change the scale, transparency, color, brightness and
contrast of the parts and of the whole. It allows me to experiment endlessly, save
variations and make comparisons which I could never do with traditional media. It
is a powerful tool that I will never completely master, always challenging me to
grow and change.

Since I know that the final form of my image will be a painting/ collage on textured
paper or canvas, the monitor image is only an interim stage, an overly vibrant
approximation of what I hope the final image will be. When I first print the image I
almost always work back into it with pastels, colored pencils or acrylic and then go
back and make those same adjustments on screen. The final image, (assuming
anything is ever final), may reflect a series of those kinds of changes, and will
usually contain additional work with traditional media including metallic pigments,
bronzing powders, gold leaf and varnish or have other effects impossible to obtain
with the computer such as the collaging of actual materials; watch parts,
compasses, mirrors, etc. The same image will be very different printed on different
printers, on different substrates (paper, canvas, metal, etc.) which may be treated in
different ways (pretreated with metallic pigment or inteference color) and at
different sizes.

Usually, naming the image comes last. I try to choose a title that gives additional
insight without being prescriptive. By focusing on timeless personal and universal
issues; hopes and fears, wishes, lies and dreams, immortality and transience, I
challenge myself and the viewer to look beyond the surface and to see what depths
are hidden. I want my work to have the quality of allegory; not to be factual, but to
be truthful in character, to challenge the abuse of power, to celebrate the dignity of
the individual and the strength of the spirit and to encourage individual resistance
and renewal. .

Critic's Comments

A digital artist whose images have a subtle political edge, Ms. Krause celebrates
women, sometimes finding her heroines in classical statuary or in the work of
Pre-Raphaelite Brotherhood. The inspiration from the latter source is paradoxical
for an artist working futuristically, since the pre-Raphaelites professed to loathe
artistic achievements since the early Renaissance. ...

I noticed that on the screen the figure of "Justice" was without her blindfold. In the
painting, a thick red stroke of paint covers the statue's eyes. What I was seeing on
the screen was Ms. Krause's digital studio before the addition of her handmade
finishing touches.

A Family and Its Gallery Click on the Future
William Zimmer
The New York Times, Sunday, February 18, 1996

In that complex weave of allegory and perception that forms human consciousness,
many layers merge. That complexity is echoed in Dorothy Krause's elaborate
montages: Her Macintosh is part of her technique, but not all. She is a painter with
a doctorate in art education and a tenured professor of computer graphics at the
Massachusetts College of Art - who often embellished her digital prints by hand. ...

A work like Krause's "Wheel of Fortune" is complex, containing 20 layers,
including public domain images - many from antiquity plus photos and hand drawn
elements of her own, woven together with Photoshop and Fractal Design Painter.

Dorothy Krause
Bob Weibel
Photo District News, PIX Digital Annual,
Vol. XV, No. XIV, December 1995, p 32


The work is dominated by soft, overwhelming beauty -- young angels and
goddesses surrounded in pinks and gold. But the beauty is rescued by spiritualism
and the unknown. Justice has a swath of post-computer, blood-red paint applied
over her eyes. It is such hand-of-artist surface markings -- painting, drawing and
applied gold leaf -- that transport these images from staid elegance to urgent
intensity. ...

Krause's work also raises complex contemporary issues such as image/cultural
possession and hybridization. Her images are built from a variety of accumulated
royalty free images and her own photographs. These elements are ripped from their
context and used to create another reality.

Krause's exhibit is a welcome relief for those of us awaiting content in digital art.
New technologies create a community of user/artists whose work is based on the
fascination with the science rather than the content. Images without content may be
immediately attractive if the technology is dazzling, but are unsatisfying long-term.
Krause's work is both dazzling and satisfying."

"Transcending Reality: Wishes, Lies and Dreams"
911 Gallery/ 7 July- 4 August
Sharon L. Calhoon
DIALOGUE Arts in the Midwest; Columbus, OH, Sept/Oct 1995, p. 23


Oil on canvas, ink and wash on paper, dead sheep in formaldehyde -- even if the
art is opaque, at least the materials once made sense. Now even that is changing.

Take the "palette" of Dorothy Simpson Krause, an American computer artist who
makes digital collages. Hardware: Macintosh Quadra 700, SuperMac 24-bit
htsphivd nostf snf 20-inch monitor, Umax scanner, Wacom pressure-sensitive
tabled. Software: Adobe Photoshop, Fractal Design Painter, Kai's Power Tools.

Not only does it not sound very artistic -- you don't wear a smock while running a
Mac, after all - but such techno detail is likely to bring on an acute attack of
anoraknophobia in the computer illiterate. In reality Krause's decorous work - in a
recent series she manipulated photographs of women by the artist Jan Doucette - is
pretty and not in the least anoraky.

Nor is her palette so unusual. With technology increasilgly in the hands of highly
computer-literate artists, and computers now a medium rather than a tool, computer
art - which might emerge as an animation, an electronic print, an image over the
Internet or on CD-ROM - is well and truly out of the data processing department

"Art explores the digital frontier"
Tristan Davies
The London Daily Telegraph, September 23, 1995


Few would associate computer graphics with opulence, but
with regards to the art of Dorothy Simpson Krause, the adjective is
hardly extravagant. Her richly layered works reveal not only successive
strata of materials, but meaning as well.

Trained as a painter, Krause has always done collages. Early in her career
she made collages for practical reasons-- a lack of space and time to work
in more demanding traditional media. Krause now finds that she layers her
computer graphics again out of necessity; only by compositing the images
and meaning can she achieve a work with the optimum psychological and
physical appeal. Merging images culled from a variety of sources, she is
careful to obtain copyright permission, use royalty-free images, or her
own photographs. Her layering of imagery is responsible for the synergy of
her prints-- images which convey a message many times greater than the sum
of the individual components. ...

While careful inspection of Krause's prints is imperative in order to
ascertain the nuances of media and allegory, the interpretation of the
image is not defined by the artist's own persuasive concerns. Rather, the
content results from the filtering of th e artist's intention through the
subjective prism of the viewer's own psychology and aesthetic. Paramount
to the subject matter of Krause's work, the individual is equally
paramount to its interpretation.

Transcending Reality: Wishes, Lies, and Dreams
Mary Ann Kearns
Gallery 911, 911 Main Street, Indianapolis, IN

Although not a photographer in the traditional sense of the profession, Dorothy
Simpson Krause's work represents the tremendous expansion that traditional
photography and the graphic arts are facing from the recent blossoming of new
technologies. Using video cameras and computers, she combines and merges
photographs and other images from a variety of sources. Her work shares much
with contemporary artists involved with
the appropriated image such as Dottie Attie, Sherry Levine, and Richard Prince as
well as Robert Raushenberg and Kurt Schwitters. Working in these traditions she
adds a poetic formal sensibility and a strongly personal approach toward the
process of social inquiry.

By combining photographic, video, and computer capacities her works are actual
constructs that overlay technologies as well as images. Thus they become in
process an extension or metaphor for the constructs of social/political change and
its inherent struggles. They present a dialogue of technologies evolving over time,
each an outgrowth or the other. In this it becomes apparent that our views are very
much a product of media capacities and generated views of reality. Our views then
become cumulatively our society and culture, ever evolving and building upon that
which has preceded it.

There is in her art a pervasive concern for the political and social evolution of our
society. It acknowledges the relationship of individual feelings toward the self as
defining attitudes toward others and thus being prime movers in this evolution. She
explores these relationships with a particular concern for the changing position of
women within the society. Her work deals with, although not exclusively, the
social/ political struggle of women and the breadth and multiplicity of issues that are
a part of that struggle. She evokes thoughts about the political, cultural, and social
constructs of society. In this she brings attention to such concerns as reproductive
rights, class structures, gender roles, cultural relationships, violence, and attitudes as
defined by popular culture. She expresses through her work a belief that there are
no black and whites, only grays and that all issues are ultimately women's issues
and vice versa.

As subversive as her work may tend to appear it does not necessarily attempt to
directly define any particular position or message. Her overlaying images exist as
equations that imply sums, yet leave it to the viewer to develop a personal
recognition as to what that sum may be. In this way the work becomes a catalyst
toward a personal reexamination or enlightenment. The work finds value in the
viewer's internal dialogue, rather than directly imposing a particular conversation.

It is work like this that helps feed our social and political evolution. It instigates a
dialogue regarding cultural views and values, and inequities and contradictions
within society. It works to develop a quality of truth rather than a statement of fact.
This work responds to the wide range of the political concerns and perspectives
that women now hold, have always held, and to which they are forever committed.

Herstory : Computer Montages by Dorothy Simpson Krause
The physical, domestic, cultural, and political experiences of women
Michael Shaughnessy, Director
Area Gallery
University of Southern Maine
March 22-May 1, 1993

10 Roman Versotko, Pathway Series,1988, inducted 1998

Code generated. Pathway Series, 1988, 22" by 30" (69KB)
Executed with *brushes mounted on plotter drawing arm.

*Note on procedure: Most of Roman's computer art consists of thousands of pen strokes with
only occasional brush strokes. His early computer art includes several paintings like the one above
plotted with paint-brushes rather than ink pens. These works bear a remakable resemblance to
some of his earlier hand-painted work. The "brushing" instructions follow stroke-generating
procedures he composed to achieve a computer simulation of early 20th century automatism. He
viewed these procedures as a form of "computer automatism". The original routine that requested a
brush for each stroke has evolved over the years acquiring more calligraphic features. In 1995
"self-inking" sumi brushes were adapted to fit the plotter's drawing arm so continuous script-like
forms could be achieved .See "Epigenetic Painting: Software as Genotype" , Leonardo 23:1

11 Cecil Herring, Death, Birth, Life, inducted 1998

1997. Digital triptych.

This work was created by Cecil from 3 of her previous works, Erl Konig, a copper welded
sculpture of a horse and rider with a child, and two large paintings from her abuse series, digitally
composited into a triptych.

12 Robert Downing, Frizbee, inducted 1998

Frizbee is an example of works that have been generated using
only filters and utilities found in any standard paint program.
Nothing has been drawn nor scanned into the computer.
For example, it is simple enough to fill a square with a gradient -
and then simply kick it around.


13 Bryan Smith, Whalesine, inducted 1998

What follows is dialog between Rave Webmuseum's Director Rodney Chang and the artist; the acceptance to exhibit email is included here because it reveals the artist's deep commitment to creating enlightenment of and through his art for the work's audience. Thereby the dialog in itself may be helpful to shed light on the exhibited works intent towards that spiritual process-

It is very kind for you to offer such encouraging words about my work,
especially when they come from a fellow 'digital artist'. It is especially
gratifying when I see others use words which specifically describe what
is that I'm trying to accomplish, or the message I am trying to convey,
or even the 'gift' I am trying share with others--power and spirituality..

....yes, this is an important (part of) what I am trying to do. Many do not see
this, they only see the 'technical' aspects of digital art. And, when I
speak to these particular people, they often become very frustrated,
and even confused . ...I try my best to get them to 'see' the other aspects of
'how' I do what I do...but more than often, I fail......for thisI feel sad for many
reasons...mostly over the missed opportunity for a mutual enlightenment.

I am doing my best to contribute to the day when our particular brand of
art and expression will be FULLY integrated and accepted into the realm
of the status quo art establishment, and am certainly interested in being
involved in any activity which furthers this cause.

14 Birgitta Jonsdottir, Faces Within, inducted 1998

Faces Within was created as a mixed media work of art through mastery of painting and computer graphics. The artists writes:
Faces is a reminder of all the faces we carry within, in different shapes and flavours. The scared face, the scary face, the beautiful, the ugly, the brilliant and the bright, the dark and the it is a painting that I did of the wild woman.........
the carrier of flames - the life/death/life archetype............

The artist and poet is the leader of digital art and Web art in Iceland.


15 Daisuke Matunobu, S-314 of Prismatic Ovals Series, 96; inducted 1998

S-314 is a digital/acrylic on canvas of the Prismatic Ovals Series that was exhibited by the artist in Japan in 1996. The Rave Webmuseum's S-314 is an original digital image of the acrylic S-314. It is exhibited on the Internet for first hand viewer experience in Cyberspace. States the artist-The VW windows remind me of my childhood when I looked at the eyes of insects. In such simplicity I discover new painting "space" to create a new world for other to see through my artwork.

16 Nam June Paik, Fuku Luck (original video art installation in exhibition in Japan); 1998


17 Marcel Achard, Epiphany, inducted 1998

About Epiphany- an exerpt from an informal explanation about the work by email:

I made this sphinx model, which is obviously a symbol of the female as a
sort of deity, with reference to Oedipus... Then when I built the
scene... I wanted to create an equilibrium, geometry... a sort of
revelation, a vision... At the same time there is a certain threat...
They have questions... They are the 3 big questions?
The objects/spheres on their heads are their thoughts, their soul, their
projections... the big sphere on the ground could be the earth, or sort
of an egg...
It's like put words together and sometimes they sing...

...I made other versions of the sphinx (in french we say "sphinge", as she
is a female...), in one she is garding a walls...just an open


18 Song ki Sung (GEKO),Mechanism, inducted 1998

A leading computer graphics artist of South Korea, works as commercial as well as fine arts digital artist; has won many awards in his country.

19 Jeff Thomas Alu & Sonserae Leese, Mahogany Hall, inducted 1998

On Mahogany Hall:

These were created for the "Herbie Hancock Presents Living Jazz"
Our attempt was to recreate Mahogany Hall, a popular whore house in
Storyville, New Orleans in the 1920s. The only thing we had to go on was a few
B/W photos of the interior, so it was a bit of a challenge. It took
about 3 months until we were satisfied.

20 Earl Hinrichs , silk worms, inducted 1998


My art is purely digital. It is created with computer programs that
I write.

The images I create are not based on reality. They do not model
a physical reality, nor are they abstractions or impressions of
something physical.

My programs are mathematical in nature. The mathematics of
chaos play an important role in the generation of these images.
However, the mathematics is merely a tool to generate the art.
These images do not depict a mathematical concept. I use
mathematics to create and manipulate the shapes and colors.
I create and discard many images, tuning the results until I
arrive at something that resonates with my emotional state.
Hopefully the viewer experiences similar emotions.



21 Jarek Starenda, Lifeform Series, 01, inducted 1998
Digital artist of Chicago, Ilinois, USA

Ever since I can remember I wanted to create some kind of visual
art. In my early years I had tried to draw and paint but without any
success or satisfaction. My mind was full of ideas but my hands
couldn't transfer them in to the paper. Then I started to experiment
with photography. This was closer to my way of expressing myself.
I could play with lights and shadows, change them to make few
versions of the same structure and finally choose that "perfect" one.
About four years ago I purchased my first computer. Loaded with
early version of Adobe Photoshop I started to discover new
creative ways of image conception and manipulation. Digital art
gives me unique chance to explore endless possibilities of the
human mind armed with the machine. Wide array of computer
software allows to experiment in many exciting ways and complete
freedom of expression. A lot of my inspiration comes from
surrealism and abstract art but most of my images are created
intuitionally. I just let my imagination take over...

Jarek Starenda


22 John Rixon, Wish You Were Here, inducted 1998


My real name is John Rixon, I live and work in Ipswich, UK. I have been exhibiting
my work on "Art on the Net" since June this year. I only started digital painting in
October of last year, although it seems a lot longer sometimes! I am married to
Sarah and have two children, Phoebe (10) and Clare (8).

Until June this year, I had been a lecturer at the University College Suffolk for 20
years, teaching Art and Design. I am now a full time artist and house husband.

23 Denise Ruzich, Remanents; inducted 1998

New York digital artist with inspirational abstractions; solo exhibition in Spotlight Gallery, May 1-July 31, 1998

Denise Ruzich has a multi-faceted background in art and computers, including graduate studies and extensive work experience in both fields. With the recent advancements in computer graphics technology, the artist can now fully meld her diverse skills in creating new and exciting imagery in fine art and for commercial applications.

The artist works in a variety of mediums, using both digital and traditional techniques. For computer generated imagery, the artist currently uses a PowerMac 9500 with the latest versions of Photoshop, Painter, Bryce, Ray Dream, and a variety of other specialized 2D & 3D graphic applications. For traditionally created imagery, the artist uses acrylics, inks, watercolors, charcoal, and others in both traditional painting and drawing techniques as well as airbrush. The artist has done metalsmithing and woodworking for 3 dimensional works of jewelry and sculpture. And she has an extensive background in color photography and printing, both in traditional printmaking and the commercial printing industry.

While the artist continues to do some graphic design for web and print publishing, the primary focus of Vision Quest Studio is the creation of exciting new art, fully utilizing the artist's diverse skills, for both fine art and commercial applications. For her clientele, the artist offers her work in a variety of formats, including digital pre-press files, limited edition fine prints and original paintings.


24 LadyHawk/Elizabeth Konogeris, Silver Lifeline, inducted 1998

Digital art provides Konogeris  the opportunity to become an artist at this stage of her life. Without paint and brush the artist amazingly creates an incredible relevation of her mind, at once a mirror of her difficult yet  experienced journey of life and at the same time affirmation of the well-being of the human spirit on the Web.  Stricken with a chronic illness, LadyHawk continues with courageous effort and preservering conviction  to do her share in assisting digital visual expression gain its rightful place among the other high arts.  She is truly a pioneer in contributing to the development of  the first generation of 'cyberart' for the Internet world community at the turn of the century and millenium.


25 Koja Tatic, Solitude, inducted 1998


I believe that my pictures speak more about me than the next few lines, but if somebody is interested in facts about me - here they are:

I was born in 1962. With my family - Vanja and Peter (age five), I live in Jagodina, Yugoslavia, where I practise my trade - architecture. I returned to the art of painting after 11 years, thanks to a new art tool - the computer. A long time ago I exhibited mostly black and white photos (five individual and around 150 joint exhibitions...) Using many technique, I always paint the same idea, the same world, different from our own; silent, distant and lonely... The world that seems to wait for somebody; that somebody may be you, who knows? If you sense the atmosphere of going away that only lacks the gentle whistle of the wind, and if you get the urge to see some other paintings from that world, my hard work will not have been in wain. And all the sleepless nights spent in front of the computer screen will have made sense. Which, I admit is a bit elusive and hidden...

Sometimes I make images of "Audio city"... Greatest art is music, not visual art...

Thank you for visiting my cities, and be sure that every feed back information means a great deal to every artist...



26  Bernhard Keller, Transformation, inducted 1999


Lighthomeof Cologne Germany

Artist contact-

I believe t

27 Linda Martin,   Reborn (Cyber-)Artist, inducted 1999hat my p

28 Manfred Mohr, P-411/E, inducted 2000

29 Frank Gillette, HCE 11, inducted 2000

30 Boris Woronzow - Venezuelan video, digital, multi-media artist, originally from Germany of Russian parents;; Self-Portrait, inducted 2000ictur

31 Larry Lovett, Mokuleia Glow, inducted 2000

32 Robert J. Downing, Redemption, inducted 2000

33 Clifford Singer, Half Sphere in Shadow, inducted 2000

34 Pygoya, Cyberspace in October, inducted 2000

35 John C. Macpherson, A Fractal For Vincent, inducted 2000

36 Ansgard Thomson, Millennium Babies, inducted 2000

37 Grace Hopkins-Lisle, Silver Corner, inducted 2000

My photographs use a combination of architecture and nature to question perspective and spatial reality. I take pictures of three-dimensional objects of real life and bring them together onto a two-dimensional "canvas."

In the past few years I have been getting closer to my subject matter and minimizing the number of objects in my pictures, essentially zeroing in on what really interests me and excluding everything else. These new collages are brought together on the computer using duplication to make geometry and pattern.

Color is crucial to me. I believe in the power of color and how it effects mood. I want people to walk into a room of my photographs and feel surrounded by the color and the warmth that emanates from them. In addition, I want people to have the bold composition of color, shadow, lights, and blacks, challenge them to find their footing within the picture. I want to make viewers dizzy.

I have always been surrounded and influenced by abstract painters and I like to think that I use color in the way a painter would. To me, my photographs feel like paintings.


BFA Tufts University and the School of the Museum of Fine Arts. Boston, MA. Degree in Fine Art Photography, and Art History 1995.
Hampshire College, Amherst, MA. Studied Art History and Women’s Studies-1991 - 1993.

38 Elenyte Paulauskas-Poelker, Wrap It, inducted 2000     

es speak more about me than the next few lines, but if somebody is interested in facts about me - here they are:

I was born in 1962. With my family - Vanja and Peter (age five), I live in Jagodina, Yugoslavia, where I practise my trade - architecture. I returned to the art of painting after 11 years, thanks to a new art tool - the computer. A long time ago I exhibited mostly black and white photos (five individual and around 150 joint exhibitions...) Using many technique, I always paint the same idea, the same world, different from our own; silent, distant and lonely... The world that seems to wait for somebody; that somebody may be you, who knows? If you sense the atmosphere of going away that only lacks the gentle whistle of the wind, and if you get the urge to see some other paintings from that world, my hard work will not have been in wain. And all the sleepless nights spent in front of the computer screen will have made sense. Which, I admit is a bit elusive and hidden...

Sometimes I make images of "Audio city"... Greatest art is music, not visual art...

Thank you for visiting my cities, and be sure that every feed back information means a great deal to every artist...

I believe that my pictures speak more about me than the next few lines, but if somebody is interested in facts about me - here they are:

I was born in 1962. With my family - Vanja and Peter (age five), I live in Jagodina, Yugoslavia, where I practise my trade - architecture. I returned to the art of painting after 11 years, thanks to a new art tool - the computer. A long time ago I exhibited mostly black and white photos (five individual and around 150 joint exhibitions...) Using many technique, I always paint the same idea, the same world, different from our own; silent, distant and lonely... The world that seems to wait for somebody; that somebody may be you, who knows? If you sense the atmosphere of going away that only lacks the gentle whistle of the wind, and if you get the urge to see some other paintings from that world, my hard work will not have been in wain. And all the sleepless nights spent in front of the computer screen will have made sense. Which, I admit is a bit elusive and hidden...

Sometimes I make images of "Audio city"... Greatest art is music, not visual art...

Thank you for visiting my cities, and be sure that every feed back information means a great deal to every artist...