Jane Powers (Minneapolis) – “The rapidly advancing biomedical/biotechnology field holes a fascination for me… Increasingly there is an integration of biomedical/biotechnology components—prosthetic limbs, transplant and synthetic organs—into and in place of parts of our bodies…In a futuristic and poetic form, I am exploring the potentials for healing and enhancing our bodies through these developments, and looking to bring forward some of the cultural, political and ethical questions that arise”

Brandon Kuehn (Anoka) – “I have confronted many of the biases and pre-conceived notions contemporary artists and critics have about landscape painting: “it’s been done,” “it’s pretty pictures,” “it lacks a critical context,” etc. So I have decided to use these constructs in my favor. I am using the innocuousness of landscape to set up the uncanny moment.”

Jerry Allen Gilmore (St. Paul) – These series of works reflect my realization that life’s every moment possesses a humorous bend in the river, where one may be given aid by animals, magicians and shamans or menaced by devils, clowns and bumble bees. Where you go depends upon where you have been, and where you can go depends upon what you can imagine.”

Ann Ginsburgh Hofkin (Long Lake, MN) – “I look for visual metaphors in the landscape. In the darkroom (using medium format film) and in the studio (scanning in my negatives in order to produce a large, detailed file), I work to interpret what I saw. Mine is a struggle against impermanence and a resistance to loss.”

Asako Nakauchi (Minneapolis) – “I seek to capture a kind of quiet revelry, compressing an awestruck energy into work that will enter and grow within the viewer. I spent a long time avoiding terms for categorizing my art. However, as my resistance to using materials and techniques that produce a lot of waste grew, my concern for our shared environmental future also revealed itself to me.”

Marc Lamm (Minneapolis) – “To see all the aspects of my art, start by standing ten feet or more from it to see lines, shapes, the natural colors of the wood and shadows from contours in the surface. Move closer and subtle contours appear like ripples on a lake and the grain of the wood reveals itself.”

Steve King (Hudson) – “Stained glass is my ideal medium to use with natural materials such as fossils, agates, crystals, bones and shells. I create work with a dynamic design that respects and illuminates our natural world.”