Having my first encounters with jazz music when growing up in the '60s, I was often told that listening to jazz recordings, such as those of the ever popular Dave Brubeck, made one see colors and shapes. Older generations might recall, too, the opening sequence of Disney's imaginative masterpiece, Fantasia, where the images of Leopold Stokowski and the Philadelphia Orchestra gradually morph into an array of colors and abstract shapes suggested by Bach's Toccata and Fugue in D Minor. Such forays into the emerging technologies of High Fidelity recording and Technicolor cinema underlined a profound subconscious association between the auditory and the visual sensations. It is in this subconscious space that many of Kristine Bouyoucos' works live. A violinist and pianist, Kristine often finds the inspiration for her visual explorations in the music that she knows and loves. In this sense, her work might truly be called "multi-media."
Kristine's work may also be termed "multi-media" in the sense that her creations are the product of several different artistic processes. A typical piece may contain drawn or painted images, words, handmade paper, intaglio prints, and manipulated photographic images, all integrated in a final run through the press. The images are often layered such that we perceive them simultaneously rather than sequentially. Their organization is not narrative but associational. As such, Kristine's works blur the boundary between two and three dimensional forms. They make the point that our experience of art is never merely visual or entirely in the moment; it is multi-dimensional and associational, living in both the past and the present.
The work of Bill Keyser may also be called "multi-media" and "multi-dimensional," but Bill usually approaches the two-dimensional object from the perspective of the three-dimensional object, adding a flat or painted surface to a sculpture. Holding M.F.A.'s in both Furniture Design and in Painting and Sculpture, Bill's work unites the skills of a consummate craftsman with the aesthetic sensibilities of a fine artist. In the words of the artist, "I make functional furniture, sculpture, and paintings. I'm interested in exploiting the interfaces, influences, and opportunities for cross-fertilization among the three genres."
Bill's sculptures always surprise us in the freedom with which the artist blends disparate materials, including glass, paint, metal, and wood, into flowing and unified shapes. By his own admission, the artist often finds his inspiration in the "leftovers," the "unintentional thing that remains after completion of another project." These and other found objects may suggest a form or even a verbal "conceit" which, as it evolves under the artist's hands, becomes an act of continuous discovery.
He exhibits a singular freedom in his treatment of surfaces. As our eye journeys along a finely polished piece of wood, for example, we turn a corner and find ourselves in a land of paint. The implied metaphor here is appropriate, as the artist readily admits to being "a Lilliputian" wandering in a diminutive land of curves, slopes, and angles.