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Christopher Saunders
Brooklyn, NY
Neighborhood: Greenpoint

Media:Painting;


ARTIST STATEMENT: Even as we pass through it, a landscape is already in the process of being remembered and reinvented. These artifacts, witnessed and conditioned by memory, may be appropriated for unrelated purposes within a contemporary context, reconstructed for the present. As Husserl observed in “Transcendental Aesthetics”, there is a process of observation and interaction between a symbol created in the past and the contemporary viewer, establishing an ongoing dynamic between subject and object. The re-implacement of landscape- generalized, particularized, and idealized, can summon that peculiar boundary between the iconic and the personal. Landscape can be used as a medium with which we are creatively involved, a locus for the interplay of orientation, identity, memory and the poetic possibilities of misrecognition. Its value lies in its openness, its internal dynamism, and the scope of the imaginary variations to which it lends itself. My recent landscape paintings are primarily built around the cloud symbol as a depiction of event, at once internal, experiential and representational. The parameters for these events are of place rather than site and suggest the apocalyptic and contemplative sublime. The clouds depicted do not reference a specific photograph but are aggregated forms generated from a multi-source photographic index. Each cloud composition is derived from a collage method which conflates images of sky, pollution, smoke, explosions, plumes, swarms, and overexposed film. Additionally, the convention of field (plane) is employed to frame and stage these lurching deformations. Compositionally, field assumes the dual role of ground (rural and urban) and atmosphere (color and light). The image value of cloud (as event) lies within its openness, its internal dynamism, and the scope of the imaginary variations to which it lends itself. Thus field and cloud collide, collude, overlap and unfold along the horizon line of precipice. These are dramas of transition, a landscape on the move where there is no contradiction between the limitless of becoming and the singularity of the event.
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ARTIST RESUME:


Education
1997 - MFA Mason Gross School of the Arts, Rutgers University, New Brunswick, NJ
1995 - BFA Painting and Printmaking, Virginia Commonwealth University, Richmond, VA

Solo & Two Person Exhibitions
2012
The Fair and Open Face of Heaven, Shane McAdams and Christopher Saunders, Allegra
La Viola Gallery, New York

2011
Christopher Saunders and Hiroyuki Hamada, School of Architecture, Art, and Historic Preservation, Roger Williams University, Bristol, RI

2007
Christopher Saunders and Alexander Cheves, Silas Marder Gallery, Scope Miami
Christopher Saunders and Miyeon Lee, Silas Marder Gallery, Scope Hamptons

2006
Pass the Distance, Cheryl Pelavin Fine Arts, New York

Selected Group Exhibitions
2012
Speakers, Space B, New York

2011
Die Like You Really Mean It, Allegra LaViola Gallery, New York
Insider Art, Davidson Contemporary, New York
Summer Affair, fordProject, New York
I Love You So Much That Even When You’re Lying Next to Me I Miss You, National Arts Club,
New York

2010
Stand Here and Listen, The James New York hotel, New York
Return to New York, HP Garcia Gallery, New York
Escape from New York, The Fabricolor Building, Paterson, NJ

2009
.Untitled. Jack the Pelican Presents, Brooklyn
Outside/In, Laviola Bank Gallery, New York
Forever Summer, Denise Bibro Project Platform, New York
The Everyday in Contemporary Art Practice, with artist team Rosenclaire, 303 Grand, Brooklyn, NY
Intersections, Seton Hall Law/City Without Walls Gallery, Newark, NJ My Certain Fate, Pharmaka, Los Angeles, CA

2007
Time and Place, Silas Marder Gallery, Bridgehampton, NY

2006
The Shed Show, Silas Marder Gallery, Bridgehampton, NY
The Best of the Lab Gallery, Yellow Bird Gallery, Newburgh

2005
Bling Bling Ka-Ching! Made in America, The Pickled Arts Centre, Beijing, China
Curated by KJ+REE, in conjunction with NYArts Magazine

2004
Fresh Paint: Skeptics Touch Here, Cheryl Pelavin Fine Arts, New York
The Anxious Landscape, ‘the lab’, New York
BiNo-sCaPeS: A BinocularExperience at Berlin Kunst Projekt, Berlin, Germany

2003
Emerging Artists, CKSpace, Kansas City, MO
New Talent, Alpha Gallery, Boston, MA
Recession 2003: $99 Bargain Store Show, Cynthia Broan Gallery, New York

1997
Aggressive Export Project, UMEA University, UMEA, Sweden and Pilot Gallery,
Auckland Institute of Technology, Auckland, New Zealand

1996
Al Hansen Memorial (Fluxus performance directed by Geoff Hendricks) Judson Church,
New York
Past and Present: 30 Years of Printmaking, RPI-VCU, ArtSpace, Richmond, VA

Permanent Collections
The James New York hotel. New York, NY
Various private collections across the USA

Awards
2010 – 2010 Fellow in Painting from the New York Foundation for the Arts
1995 - Robert Watts Scholarship Award, Rutgers University, New Brunswick, NJ
1995 - Graduate Fellowship Award for Drawing, Virginia Museum of Fine Arts, Richmond, VA

Lectures
2011 - Artist Talk: Recent Works and Process, Brooklyn Public Library
2011 - Visiting artist. School of Architecture, Art, and Historic Preservation, Roger Williams University, Bristol, RI
2011 - Visiting artist. University of Mary Washington, Fredericksburg, VA
2006 - ArtTalk: New York Artists Discuss the Ideas That Drive Their Work,
The Contemporaries and Moti Hasson Gallery, New York
2006 - Artist Talk: Pass the Distance. Cheryl Pelavin Fine Arts, New York

Residencies
2005 - Summer residency at Cooper Union School of the Arts, New York

Selected Press
2012 -Kris Scheifele, Shane McAdams and Christopher Saunders, White Hot Magazine
2011 - Brian Miller, Hiroyuki Hamada and Christopher Saunders, White Hot Magazine
2011 - Bonnie Tsui, Art in Residence: The James New York, Phaidon.com
2006 - Jessica Kraft, New York Review, Contemporary Issue 81
2004 - Carmen Bethencourt, The Little Things, NY Arts
2003 - Kansas City Star, p. 43
2003 - Aaron Birk, Phalanges. NY Arts, Vol.8, No.4
 








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