Miranda Fine Arts Contemporary Art Gallery

Patricia Miranda



Past Exhibitions


Past Exhibitions 2009

Paula Winokur
Glacier Meditations
On view
October 4-December 6, 2008
Artist Reception
Saturday, October 4, 6-9 pm
Gallery Talk
Saturday, October 25, 4 pm, followed by a reception

In Conjunction with ALL FIRED UP! A county-wide celebration of ceramics, Miranda Fine Arts is proud to showcase conceptual ceramic artist Paula Winokur.



Artist Statement

Porcelain is a material usually thought of as delicate, fragile and transparent. Considered the primary clay from which all other clays are derived, it comes from the earth as pure white, strong and durable. It attracted me because of these qualities rather than its transparency. Working on a large scale has presented problems that have been a challenge to solve. I have chosen to work with this clay because it has allowed me to explore issues in the landscape without necessarily making literal interpretations. it can be minimal and sometimes surreal in its starkness

My work has been influenced by information gathered at various "sites", places in the natural environment that I have responded to visually. The earth itself, particularly cliffs, ledges, crevices and canyons: the effects of wind, earthquakes, glaciers and other natural phenomenon such as geological "shifts" and "faults" interest me. In addition the many ways man has marked and scarred the land (through plowing, roads, fences etc.) provides an interesting perspective and point of view, real, illusory and aerial.







Featuring - Theresa Chong, William Holton,
Katherine Jackson, Jaanika Peerna, Suikang Zhao

April 12 through May 23, 2008


Helfand, Kopelowitz, Lutz
April 14- May 25, 2007


Guest Curator Gia Gunthel for James Company Contemporary Art Projects LLC
December 10, 2005 through January 6, 2006


Holton Mandell
November 4- December 9, 2006


Michael Torlen


Lou Hicks and Selina Trieff
November 20- December 31, 2004

Mona Dukess, William Holton,
Sarah Lutz and Francie Randolph

E lemental
October 16- November 13, 2004

 Fernando Martinez
Seen and Unseen
April 17 - May 19, 2004

Elise Freda
Gesture and Geometry
November 8- December 20, 2003

Serdar Arat, Edith De Chiara,William Holton, Katherine Jackson
Nature, Language, Symbol; The Poetics of Drawing

September 13- October 18, 2003

Igor Gálvez and Julio Valdez
The Magic of Myth

June 5-July 14, 2003

Sergio Gutman, Barbara Korman, Susan Manspeizer
Returning to Form 
April 5-May 24, 2003

UnfoldingObject: Critical Selections 1
January 11 - February 1, 2003

Michael Torlen
Landscape & Memory
November 23-December 21, 2002

Ed Smith
The Small Works; Sculptures and Prints
March 16 - May 4, 2002

Featuring - Theresa Chong, William Holton, Katherine Jackson, Jaanika Peerna, Suikang Zhao
April 12 through May 23, 2008
Curated by Patricia Miranda and Patricia Spergel

FUGUE: a musical form in which a theme is first stated, then repeated and varied with accompanying contrapuntal lines. Drawing, Painting, Glass, Video. Featuring- Theresa Chong, William Holton, Katherine Jackson, Jaanika Peerna, Suikang Zhao

The five artists included in Fugue incorporate a wide variety of materials: from etched glass to video to graphite on rice paper. Are all linked by a meditative approach to their work as well as a fascination with language, text, rhythm and music. These artists create drawings, paintings, sculpture and video, using repeated marks and text as a way of delineating space while filtering the energy of their tactile and temporal experiences.

Suikang Zhao


Suikang Zhao originally from China and now in NYC, creates multi-media works incorporating his passion for music, especially classical, with spoken word and images. Using languages such as English, Chinese, Hebrew, Latin and French, he explores themes of multiculturalism through overlapping lines of language, in video, paper and glass. Much like riding the subways in New York City and listening to the cacophony of different dialects; there is a wonderful energy and woven quality to the overlapping and interlocking sounds and images.



Theresa Chong


Theresa Chong, born in Korea and living in NYC, presents drawings that are also closely linked with musical experience and in particular ephemerality and a sense of repeated rhythm. Dots appear and disappear with a sense of time passing in these delicate works—much as individual musical notes flit in and out of space while listening to a piece. While fundamentally abstract, her work can evoke maps or musical notations, reflecting her past study of music. Chong is represented by Danese Gallery in NYC.



Jaanika Peerna

Jaanika Peerna, originally from Estonia and living in Cold Spring, NY, presents recent drawings and videos. Whether watching a drop of rain slide down (or up) a window pane or examining a pencil line drawn with graphite, Peerna’s works allows the viewer a contemplative experience. As the artist aptly describes it: “There is a breath, rhythm and tone underlying and overlooking all; something to hold onto, something to hum along with, something to get lost within, in order to come clear again and again.” A musical sensibility accompanies her works enhanced by actual music, often composed by her husband David Rothenberg, in her videos.



William Holton


William Holton’s paintings vibrate and glow with a luminosity created through a buildup of repeated marks—echoing the approach of Chong, but with a very different result. Holton, originally from Knoxville, TN, and now in NYC, describes his recent pieces by saying: “The work ultimately exists on the precipice of a mysterious, liminal point of transition. The point where molecules of water as a vast collective suddenly know to fundamentally change from liquid to vapor; or when a flock of birds, swarm of bees, or network of neurons collectively begins to think as one.” The musical character of repetitive natural systems informs the complex structure in his work.



Katherine Jackson


Katherine Jackson, of NYC, creates glass pieces by methodically etching tiny lines of text into panels of glass both backwards and forwards, rendering the actual words illegible, but creating a surface that hums with rhythmic pulses. The viewer is confronted with an interwoven intimate musical network, catching us dead center between our visual and verbal ways of experiencing the world. Both Jackson’s and Zhao’s work is essentially a meditation on language, and the multiple ways we “read” “hear” and “interpret” our multiple communication systems.



All of these artists’ works seem to sit on a precipice between senses, in a kind of visual, verbal and musical synesthesia. The use of translucent mediums such as glass, video, oil paint and rice paper means we are always looking “through” as well as “at.” Jackson says that “perhaps all that artists can provide are windows through which to look.” These artists offer us 5 unique and contemplative ways to see, hear and perceive.


Helfand, Kopelowitz, Lutz
April 14- May 25, 2007

Amy Helfand, Sasha Kopelowitz and Sarah Lutz are three artists employing eerie, vibrant organic forms in an intersection between nature, abstraction and the body. The organic forms in each artist’s work create a strangely familiar yet uneasy world, all in luscious rich color, seducing the eye while challenging the mind to find a place within it. In co-mingling that which is grounded and seemingly ordinary with things ethereal and unknown, each artist creates richly detailed places and creatures that inhabit the biology of the imagination.




Guest Curator Gia Gunthel for James Company Contemporary Art Projects LLC
December 10, 2005 through January 6, 2006

Including works by Kristoffer Albrect, Megan Cump, Nicholas Evans-
Cato, Neil Folberg, Russ Havard, Lou Hicks, Heather Hobler-Keen, Mark
Innerst, Katherine Jackson, Gwenessa Lam, David Mann, Cynthia
Matthews, Elizabeth O'Reilly, Penti Sammallahti
Michael Thornton Smith, Roger White and James Willis

This show includes contemporary paintings, photography and works on paper of images that evoke the hidden and obscured. At this time of year, when the days are shorter and colder and the nights grow longer, one begins to think about nature while asleep. Though it may seem that the world is still and quiet, there is a different kind of energy subtly occurring just beneath the surface. The landscape may be obscured by ice and fog, shrouded in darkness or blanketed in snow but, as these images suggest, there is a lot of activity under cover.

Artists Nicholas Evans-Cato and James Willis create imagery that at once portray the city as unexpectedly soft and fragile yet vast and impenetrable. They blur the contours of New York's hard lines by painting architecture enveloped in fog or a blizzard. Elizabeth O'Reilly and Lou Hicks explore the disappearance of the familiar landscape allowing the cover of night or snow to reduce landscape to its simplest forms. Pared down to its essence, nature is seen anew as if for the first time.

Other works convey places normally unseen by the human eye such as the luminous, heavily layered, abstract paintings by David Mann, which suggest the hidden worlds of supernovas and microorganisms. Neil Folberg draws upon the ancient desert of Israel and the Sinai and reinvents it as a romanticized celestial otherworld, glittering under a downpour of stars.

The haunting photographs of Megan Cump "explore the geography of the unspoken", depicting allegorical scenes using the natural environment as her stage. Images of blinding snow and figures cloaked in the shadows of a snow fort suggest reclusive withdrawal. This kind of mysterious narrative can also be seen in the photographs of Pentti Sammallahti and Cynthia Matthews. Both Sammallahti and Matthews choose cold, icy backdrops to tell their stories. Sammallahti provides us with a rare glimpse into the world of animals and leaves us wondering what goes on when we're not around. Matthews on the other hand prefers the poetry of human behavior and the quiet drama occurring amidst the cold of winter.

Heather Hobler-Keene's drawings are visual explorations of her obsession with magazines and beloved storybooks from her childhood. She uses the text and imagery on a page like a map, tracing over it to create a mass of web-like lines leaving only a faint memory of the original. Katherine Jackson uses literal text as her inspiration, transcribing it into tiny illegible chains that merge to form abstractions reminiscent of winter landscapes and ancient Asian brush painting. Another artist who relentlessly explores a single theme is Gwenessa Lam. By looking through her window, we imagine a connection between two worlds, between the inside and outside. Her paintings conjure up memories of weather and the seasons yet we can never quite see what's really behind the panes of glass.

Like the transformative passage-ways that microscopes and windows provide into other worlds, these and the other artists included in the exhibition are giving us a glimpse into what lies beneath.





ExhibitHolton Mandell
November 4- December 9, 2006

William Holton and Henry Mandell both use self-governing systems of mark-making, one- with the hand, using his own fingerprints dipped in charcoal, the other, using text fed into a computer, turned and spun into abstraction. Their work shares a common thread, a way of understanding the physical world through an act of creating that imitates nature. Both artists start with a mark- a fingerprint, a text, a letter, computer software, an eyedropper full of paint, and allow the mark to develop a kind of mind of its own, a system which, with their collaboration, self-repeats until it forms a completed image.

Holton, originally from Knoxville, Tennessee and now living in NYC, spends months applying charcoal fingerprints, or dots of paint, in a continual feedback loop of mark-making that builds upon itself. By introducing a unit, such as a dot or a fingerprint, into an environment that has been randomly found or created on the surface, formal elements such as mark, color, and form become dependent upon and informed by what already exists. A subtle intention is brought into chaos. This results in a point of transition, in which artistic decisions are increasingly less influential as the work unfolds its own autonomy. The work builds to a size and depth that seems both cosmic and atomic.

Mandell, from Larchmont, NY, feeds text into highly sophisticated computer software, transforming the letters into a kind of brush, using text as a ready-made set of symbols. The original order and flow of the text remains unchanged, what is being described in a literary sense, disappears and reappears as patterns. As the overall body of work moves from recognizable letters to topological patterns there is kind of nesting in, a dynamical system of language dissolving into line, line into pattern, pattern into form. These are then printed on paper in large scale, as though the text had thrown itself into the world with abandon.

Inspired by the self-regulating patterns in nature, Holton and Mandell create large scale drawings and prints on paper that each reflects, through divergent technologies, the way the natural world evolves systems. As Holton states, the work exists on the precipice of a mysterious, liminal point of transition, the point where molecules of water as a vast collective suddenly “know” to fundamentally change from liquid to vapor; or when a flock of birds, swarm of bees, or network of neurons collectively begins to “think” as one.






TorlenMichael Torlen is a painter and Associate Professor of Visual Art at Purchase College, State University of New York, Purchase, New York. He received his BFA from Cranbrook Academy of Art and his MFA from Ohio State University. Mr. Torlen was born in San Diego, California into a Norwegian, commercial tuna fishing family. His series, Songs for My Father, is a body of over 1,000 landscape works inspired by his interest in the Maine coast, the sea, National Parks and the northern romantic tradition. His most recent work, Sanger Fra Mor (Songs From Mother) is a narrative, figurative project using commercial fishing, oral history and autobiographic images to explore the persistence of memory, identity and maritime history.

Mr. Torlen has been an artist-in-residence at Weir Farm, Wilton, CT., and at Acadia National Park in Bar Harbor, ME. His work is in the collection of the Neuberger Museum of Art, the Newark Museum, and in many corporate collections including IBM, Chase Manhattan Bank, J.P.Morgan & Co., and Deloitte & Touche.




Upcoming Exhibition - Selina Trieff and Lou HicksLou Hicks and Selena Trieff
November 20- December 31, 2004

Both Lou Hicks and Selina Trieff are long-established artists of talent and stature. Both have been painting for decades, working on large canvases in fleshy oils, sharing a robust and masculine physicality alongside an inherent spirituality in their work. The strong influence of abstract expressionism, its physicality and responsiveness, is filtered through their own personal and introspective visions. Miranda Fine Arts is honored to present the work of these two powerhouse women.

Lou Hicks, originally from Chicago and now from Greenwich CT, began painting relatively late in life, diving into a tradition of abstraction she seemed well rooted in from the start. Hicks has exhibited her oil paintings around the world, from New York to Arizona, Ireland to Japan. Her true subject matter is the surface manipulations of paint colors and layers. These are paintings of ephemeral, disparate shapes that often represent places that are of importance to her, places with particular feelings, such as awe, peace and calm. The places are excuses to create canvases that invite the viewer to wander through the often dark, rich layers of pigment. Using subject matter fueled by place, her work is about deep, rich, earth color and texture, inspired by the space, color, and cultural differences found in her travels around the world. The layering evokes an element of time- serene, calm and quiet, while the more raw physicality of the paint keeps the viewer energetically engaged.

Selina Trieff, from New York City, has been painting and exhibiting for over 50 years. One of the most extraordinary artists of her generation, she was born in Brooklyn in 1934, studied at the Art Students League in New York in 1951 with Morris Kantor, at Brooklyn College from 1951 to 1955 with Ad Reinhardt and Mark Rothko, and in 1955 with Hans Hoffman. Of her early experience at Brooklyn College the artist has said, "From Reinhardt and Rothko I learned that art is a philosophical exploration and that art making involves a mysterious process of self-discovery." Although she most often paints figures and animals, Trieff considers herself an abstract artist, the painting being most importantly about composition, form, shape and color. In their abstraction her figures possess an enigmatic spiritual quality, enhanced by the use of rough gold halos around the figures and in the backgrounds, creating an element of anticipation and mystery. The strangeness of the figures and creatures grabs ones attention, they are archetypal and iconographic figures, with a pensive theatrical quality and an eerily playful sense of humor.

Reception is free and open to the public, and the gallery is handicapped accessible.
Call 914.318.7178 for more information


Miranda Fine Arts - Upcoming Exhibitions - Dukess, Holton, Lutz and RandolphMona Dukess, William Holton, Sarah Lutz
and Francie Randolph

October 16- November 13, 2004

Miranda Fine Arts announces its fall exhibit, “Elemental,” with artists Mona Dukess, William Holton, Sarah Lutz and Francie Randolph on view from October 16, through November 13, 2004, with an Artist Reception on Saturday, October 16, 6-8 pm. Elemental, defined by the OED as “composed of, produced by, or pertaining to the four elements, earth, air, fire, or water, or to any one of them,” describes both the imagery and the working process of these four artists. Each examines and reexamines nature from a scientific, artistic and conceptual perspective; creating abstract, resonant imagery that is re-informed by a continual re-interpretation of natural forms.

Mona Dukess, of Larchmont, NY, has for many years distilled botanical images into essential forms – the flower form examined objectively, flattened, dissected and reconstructed in conceptual ways. With a post -modern approach, she uses scanner and computer, often scanning actual plant forms as well as her own drawings, then transfers images into handmade paper pulp of organic plant materials in a technique similar to that of creating watermarks. As if these papers were archeological finds, or pages taken from ancient books, the pieces are small, delicately brittle and often translucent, installed without the barriers of glass or frames, conveying a sense of delicacy and strength, beauty and survival.

William Holton, originally from Knoxville, Tennessee and now a resident of New York City, is interested in self-regulating systems in nature and how they can be applied, through art, to human experience and perception. In his paintings he introduces a consistent unit or mark, such as a dot or fingerprint, into an environment that has been randomly found or created on the surface of the work. Formal elements such as line, color and form are introduced, dependent on and informed by what already exists. A subtle intention is brought into chaos. This results in a feedback loop of mark-making that builds upon itself, until the work envelops itself in its own autonomy, finally existing on the precipice of a mysterious infinite point of transition.

Sarah Lutz, from NYC, is a painter who, while rooted in an abstract tradition, makes clear references to the natural world.  The images depicted, while not recognizable per se, are believable as objects and exist naturally within their environment.  Imaginary, organic life forms exist within a world that often makes reference to the hard-edged reality of the man-made world.  Her latest series, Suspended Gravities, refers directly to one of the many dichotomies present in the work. Lutz is interested in co-mingling that which is grounded and seemingly ordinary with things ethereal and unknown.  A painterly tension exists in these paintings because they are at once familiar and unexpected.

Francie Randolph, from Truro, MA, unites photography, digital technology and traditional painting. Her recent work is about reflection and metamorphosis, about looking into the depths, specifically deep into the sea. Photographing, cropping, duplicating, mirroring and layering images, she visually produces an endless variety of new organisms. A common burr becomes a crawling anemone, a thistle transforms into a coral reef. She then combines the photography with traditional painting and glazing techniques. All the work is technologically altered- nature manipulated and viewed through a liquid lens. Although it is water, which sustains life on the most basic level, its depths are also the most enigmatic, home to both wondrous new life forms and to monstrous unknown danger. It is these depths, within the ocean, our world around us, and within ourselves, that she explores. Reception is free and open to the public, and the gallery is handicapped accessible.



Fernando MartinezPast Exhibition - Seen and unseen with Fernando Martinez
"Seen and Unseen"
Paintings and Sculpture
April 17 - May 19. 2004


Argentinean-born Westchester NY artist Fernando Martinez is best known for his hand-made furniture, whimsical creations that are both functional and utterly fantastic. Exploring the aesthetic aspects of utilitarian objects whose context or placement has been changed offers a lyrical quality that makes his furniture playfully unique, creating a sense of a forgotten purpose, a past tense, a found object whose original use is archaic yet visually compelling.Less known is Martinez’s fine art; where he pushes his concepts to a more minimal and formalist end. His furniture-like sculpture, works on paper and plaster “paintings” imply a function yet never disclose that function’s full face. His breaking down of the boundaries between form and function expand the notion of the utilitarian as a purely visual language. His architectural objects seem to have lost some mysterious original purpose, existing in a state between the clear and unclear, the functional and the non-functional. In Martinez’s view, the language of elemental form is an ancient form of visual communication, one that recognizes the reverential import of an ancient language of awe and innocence.

Martinez’s plaster works are minimal wall pieces, embedded rope and wood in the rough gypsum becoming metaphors for the hidden life within all things. He explores the decay and aging of materials, as though the embedded materials are being slowly revealed by the erosion of time peeling back the layers. Patinas emerge that carry undefined meaning, again implying a lost former function, and the objects become like archeological artifacts, evocative and mysterious, communicating to us in their interior language of shape, form, decay. Martinez explores fragmentation, the aging of materials, and an imagined historicism that invokes a narrative once vibrant and alive but no longer accessible to our modern minds.

Pared down to an almost literal fragment are Martinez’s drawings, often almost miniature in scale, they again evoke that unknown past, like pieces of ancient manuscript pages revealing only a glimpse of their complete story. An imagined history married to its worn fabric, they are gems of obscure stories, beautiful slivers that evoke but never fully reveal.



Past Exhibition - Gesture and Geometry with Elise FredaElise Freda
"Gesture and Geometry"
Encaustic Paintings
November 8- December 20, 2003


Encaustic painting has found a resurgence with contemporary artists. A technique dating back to the 5th century BC, encaustic is wax that has been fused with heat. The term encaustic means literally "to burn in." Pigment is mixed with hot melted wax and painted, quickly, onto a hard surface, drying fast into a rich satin film, dense with color. Contemporary artists have adapted encaustic in diverse ways, from traditional hot methods to cold wax mediums. All lend the work a dense richness unmatched in other mediums, and artists very often use wax in combination with other techniques, creating a varied and exciting visual effect.

Elise Freda is no exception, having found her voice in this fast intuitive medium.  Her work is elegant, abstract and colorful, often immersing collage elements in the dense wax. Her current exhibition, Gesture and Geometry, at Henaine Miranda Contemporary Art Projects in Port Chester NY, explores her intuitive relationship with the tension between geometric organization and fluid calligraphic line, rendered in loose sensuous wax.  Says Freda, "Painting is for me the process of discovering what I want to see. For this reason abstraction is a natural and intuitive choice. During the process of painting I find my image. I am constantly seeking to find a balance between tension and harmony, spontaneity and control, empty space and active space, depth and surface."

Freda has been painting in encaustic since 1994.  Wax is ideal for building a painting with layers, as it hardens in minutes. She also uses the wax to both reveal and conceal elements in the images; wax is perfect for creating veils that partially obscure. It can be transparent or opaque and everything in between, the color can be dense and powerful or sheer and soft. This allows Freda to contrast high intense reds with diffuse whites, hot yellows with cool blues, often incorporating a black calligraphic line to tie into the overall structure. Her work is geometric, but the depth of the medium allows the hard edge geometry to seem organic, fluid and natural, merging cerebral abstraction with an ancient instinctual medium.




Past Exhibition - The Poetics of drawing with Arat, de Chiara, Holton and JacksonSerdar Arat, Edith De Chiara, William Holton,

Katherine Jackson

"Nature, Language, Symbol; The Poetics of Drawing"

September 13- October 18, 2003

Do we-can we- ever learn to read the world? Perhaps our literacy, for all that it gives us, deprives us of other sensitivities,” says Katherine Jackson, one of the artists featured in the dynamic new show at Henaine Miranda Contemporary Art Projects this September.

Each of the four artists in the exhibit, Serdar Arat, Edith De Chiara, William Holton and Katherine Jackson, explore a visual expression that encounters nature, language, and symbol in a visually philosophical way. Inventing a new way of “speaking” about the everyday world they inhabit, each artist is a thoughtful collaborator with their muse. All four artists interpret forms in their environment, natural to manmade, organic to textual, and ask the viewer to reinterpret customary ways of reading surface, context and material.

Serdar Arat, a native of Turkey and now a resident of Westchester County, NY, constructs a massive universe from a nondescript ordinary object- a simple air vent. Attracted to its simplicity of design and functionality, Arat reduces the vent to an abstract symbol, a kind of ubiquitous yet unseen vision that appears all around us. A vent can also transmit sound, as in a telephone receiver or a speaker, both round shaped tools that amplify our voices, our language, so we speak and hear each others thoughts and ideas over great distances. This along with his use of deep blacks alongside high whites gives his work a sense of rhythm and sound. The idea of a “vent,” something that takes in and expels air, that, in a sense- breathes, imbues it with a deeper more contemplative dimension. Vaulting to over 8 feet in length and/or width, the large-scale work can seem like an East/West amalgamated altarpiece. Arat has shown his work internationally, including at Galeri Nev in Istanbul, Monique Goldstrom in NYC, and White Columns in NYC, to name a few, and was the recipient of a Pollock-Krasner Foundation Grant.

Edith De Chiara, a resident of Queens, NY, “writes” her visual language using the tools of a feminine past. Using an abstract sensibility, she explores thread as a metaphor for line, inspired by the universal quality of the material and the attributes of the thread- flexibility, delicacy and tensile strength. The imagery derives from the place where language and nature meet, incorporating aerial maps, ancient languages and manuscripts, as well as the shapes of nature’s elements- rocks, plants, and seedpods.  Drawing or stitching a kind of visual history, she emphasizes the continuity of history by creating her own invented calligraphic language. De Chiara has had solo exhibitions at Lehman College Art Gallery in Bronx, NY and Pfizer Inc in NYC, is Professor Emeritus at Lehman College, City University of NY and her work is in the collections of Pfizer Inc. She has published numerous articles on art therapy and the effects of art on children with special needs.

William Holton, originally from Knoxville Tennessee and now living in New York, applies pigment, wax and paint to paper, then repeatedly scrapes back to reveal an image that consists of its own “written” history. Interested in synthesizing control with lack of control, he allows a new language to emerge out of the natural development of the material under his hands, a way of collaborating with nature in the combination of his organic drawn forms and his process. Inspired by the minute cellular building blocks of nature, he obsessively reiterates organic forms in tiny drawn shapes, only to obliterate them over and over again, a building and shedding of layers emulating biological growth. The contemplative organic quality of Holton’s large scale works invoke a spiritual sensibility, as he investigates the dialogue and interdependence of his private vision and the natural evolution of his materials. Holton received hi MFA from University of Pennsylvania, and shown nationally including the Hunter Museum, Chattanooga TN, Knoxville Museum of Art in Knoxville TN, and the Southeastern Center for Contemporary Art, Winston Salem, NC. He was the recipient of the Nell Welliver Award and a nominee for the Dedalus Foundation Fellowship as well as an NEA Grant.

Katherine Jackson, from Somerville MA, uses language in the most direct form. Using actual passages-poems, prose, song lyrics, she writes them out in a minute obsessive hand, writing over the lines backward and forward, moving back and forth between lines of “writing” and lines of “drawing.” The text becomes virtually illegible, the viewer can almost but not quite “read” the surface as it becomes a humming series of rhythmic pulses, denying us the literal story but by its very form creating a whole new one- catching us dead center between our visual and verbal ways of experiencing the world. From a distance, her tiny graphite lines on chalky white panel appear like strings of silver pearls across the surface, whereupon closer examination we are confronted with an interwoven intimate musical network, a new text, calling us to enter and question our reading of literature in a visually compelling way. Jackson received a Ph.D. in English Literature at Harvard University, and is a Fifth Year Certificate from the School of the Museum of Fine Arts in Boston MA. She is represented by OH+T Gallery in Boston MA and Zero Station Gallery, South Portland ME.




Igor Gálvez and Julio Valdez

"The Magic of Myth"

Contemporary Paintings and Works on Paper

June 5-July 14, 2003

Igor Gálvez, from Mexico, alongside with New York artist Julio Valdez, explore some of the myths in human life.

Igor Gálvez, artist born in Mexico City, who has shown his work in more than 20 exhibits in Mexico and the United States, prefers the human form, but is not interested in painting what is seen, but in the feeling that is drawn out by the subject.  Through his gray, distorted figures, Gálvez tries to get people to see what they normally would not. "I want to see the other side of something, where ugly can be pretty," said the 30 year old artist who also works as a freelance illustrator. Gálvez is a 1993 recipient of the Carrillo Gil Contemporary Museum of Art Award for Young Artists and was honored in 1995 and 1998 with a scholarship from the National Arts and Culture Institute in Mexico City. Gálvez, received his MFA at the National University of Mexico.

Julio Valdez is a New York City-based painter, printmaker and mixed media artist whose work has been exhibited internationally. He has received numerous prestigious international awards, including an Artist-in-Residence Fellowship at The Studio Museum in Harlem, New York City; the Silver Palette for Painting at the XXXeme  Festival International de la Peinture, Cagnes-sur-Mer, France; and the Grand Prize at the XVIII National Biennial in the Dominican Republic. He was a Full Time Instructor at Altos de Chavon, the Parsons School of Design affiliate in the Dominican Republic.  In New York City, he has been an Instructor in Printmaking at the Extended Studies Department in Cooper Union, and has conducted numerous workshops and presentations at The Museum for African Art, The Morgan Library, The Bronx Museum and The Studio Museum in Harlem. Since 1996, he has been a Teaching Artist for The Studio in a School Association, Inc.

Julio Valdez was invited in 2002 by the New York City Metropolitan Transit Authority (MTA), to create a mixed media work for its Fine Art Poster Program with the theme "The MTA Network". Julio Valdez was awarded a $7,000 fellowship in the category of Printmaking/Drawing by The New York Foundation for the Arts (NYFA) for 2003.

Igor Gálvez and Julio Valdez both with a sense of magic expressionism and fantastic realism explore the multicultural myths present in the human being.




Sergio Gutman, Barbara Korman, Susan Manspeizer

"Returning to Form"

Contemporary Sculpture

April 5-May 24, 2003  


Henaine Fine Arts and Miranda Fine Arts of Port Chester NY join forces as Henaine/Miranda Contemporary Art for a new exhibition of contemporary sculpture. Constructivist Mexican sculptor Sergio Gutman will be featured alongside New York artists Barbara Korman and Susan Manspeizer, expanding the concepts of constructivist abstract sculpture.

Gutman, born in Mexico city to first generation Lithuanian and Ukrainian immigrants, ventures into geometric abstraction, which distinguishes him from the Mexican tradition of muralist masters, as does his quest to integrate his deep spiritual convictions into a formal abstract use of line and color. His medium is wood; his paintings and wall reliefs are austere and earthy, incorporating found objects, furniture parts and scrap wood. He often integrates a faucet, knob handle, saw, or keyhole as perfect forms in themselves rather than as objects of meaning. He also carves Hebrew letters into his work, "for their visual presence, and for their plastic function," but also for their symbolic meaning, a way for him to explore his cultural and religious heritage. His work is minimal and meditative, reminiscent of walls discovered in abandoned houses, warm, slightly mysterious, revealing glimpses of the internal structure and meaning behind a physical façade. Gutman has shown from Mexico City to Barcelona to New York.

Korman, a Bronx, NY artist, creates sculptures that are personal landscapes, informed by nature. Her work grows out of a desire to capture some part of her response to the juxtaposition of textures and forms, and the intimacy and vastness of space. The wood wall reliefs seem to unfold as water amongst sky, rock, land and plants interpreted in flattened geometric planes, as rock pushed up from a great force below. Her work in bronze celebrates the geology and evolution of the earth, the flow, compression, emergence and erosion of matter, seeming to marry rough-hewn rock forms with ideas of standing trees, debris, and fallen branches. Korman is a 2002 recipient of the Council of American Artists Societies Award and the Yosemite Renaissance XVII Award for Sculpture.

Manspeizer, from Pound Ridge NY, expresses human emotion through the abstract concept of the gesture of a line in space. Bringing the concept of line from the linear gesture of drawing or paint stroke out into three-dimensional space, her thinking leads one to feel the sensation of a painted stroke in space. Painted wood and metal are the vehicle, cutting, painting and manipulating the wood into a painted line that soars into the space around you, using saturated and intense color to emphasize both form and emotion. As though you are watching a painter or even a waltz in action, her sculptures are bird-like, human-like, seeming to fly and move in space in a whirling forceful dance. Manspeizer was the recipient of the 2001 Amelia Peabody Sculpture Award, and in 2002 had a solo exhibition at the Midland center for the Arts Museum in Michigan.  





"UnfoldingObject: Critical Selections.1"

 January 11 thru February 1, 2003

Miranda Fine Arts and Henaine Fine Art combine forces with unfoldingobject for an exciting exhibition spanning both galleries, drawing from the school of unfoldingobject's monthly critique sessions. Featuring Lindsay Aromin, Cynthia Atwood, Lucinda Bliss, Laura Grunwerg, William Holton, Keri Leary, Susan Newbold, Cynthia Newman, Nancy Ruben, Greg Sclight, Sylvie Tiecher, Karen Vogel, Saya Woolfalk. Includes contemporary drawing, painting, photography, collage, sculpture, digital imaging and mixed media.  




Michael Torlen

"Landscape & Memory"

Prints & Paintings

November 23-December 21, 2002

Purchase college professor Michael Torlen joins with Purchase Alum Patricia Miranda, owner and Gallery Director of Miranda Fine Arts, for a unique collaboration of Purchase talent. Torlen's prints combine the traditional printmaking techniques of monoprint and plate lithography with up to date digital imaging for an effect that is both multi-layered and direct. A 2001 Weir farm fellow, Torlen's painterly landscapes, inspired by his Nordic heritage, balance the tensions between abstraction and representation.  


Ed Smith
The Small Work; Sculptures and Prints
March 16- May 4, 2002

Miranda Fine Arts, in Port Chester, NY, is privileged to announce an exhibition of sculptor Ed Smith's new work. The Small Work; Sculptures and Prints, includes a suite of small prints and sculptures which continue Smith's inimitable forging ahead in the tradition of artists like-Goya, Rodin, Guston. Always heroic, Smith takes on the great issues of life- love and war, the yearning of humanity, birth and death, the horror and the beauty. Edward Albee calls his work "unearthings, excavations of the mind…shards and remains which tell us two stories, one which we can clearly read and the other-the resonance!- which we can but dimly envision." Smith's raw abstractions are soulful, mournful, yet with a childlike idealistic quality. His plaster sculptures are sensual, full of hope amongst horror. The delicate 3" x 4" etchings are reminiscent of Rembrandt meeting Bosch, tiny gems of history and glory. Smith's work is always compelling, always provocative.

      William Tucker says about Smith, "To search for belief in an age of irony and indecision is a lonely and unfashionable pursuit." In our cynical time, Smith holds to his steadfast conviction in the human story as a mythological one, an Odyssey in the midst of MTV and Celebrity Week. After September 11, this doesn't seem like such a lonely or fruitless path. This exhibition is a reflection on recent events, as well as being a meditation on human nature, its grief and cruelty alongside its hope and redemption.


      Smith's work is museum collections around the world, including the British Museum, Yale University, Albright Knox Museum, Royal Museum of Fine Art in Antwerp to name a few. He teaches at Bard College in NY and The New York Studio School, and lives in Chatham, NY.