A Personal Iconography of Introspective Findings
by Lisa Taliano
lisa@taliano.com  |  http://taliano.com/

February 5 & 6, 2010

chashama 461 Harlem Studios Gallery
461 West 126th Street
New York, NY

Open Reception: Saturday, February 6, 6 - 9p
7 - 7:45p performance by Frank Oteri and Tonally Perplexed

For exhibit hours: lisa@taliano.com

This work examines the content and quality of consciousness, translating and recording subjective experience into symbols, shapes, form and color.

My work is abstract and geometric, yet personal and intuitive, decisions are based on feeling. I use symbols in these paintings to render feeling. The psychological and emotional values of the white circle and black square act as opposite poles of a personal lexicon used to generate meaning.

I see the surface of the painting as a mental dimension open to the searching mind, where the subjective and objective meet. The play of the geometric shapes on the two dimensional plane is an extension of the mind in space. The result is a configuration which represents a particular interior state, or reflection of my self.

about Tonally Perplexed
Painting for me is a form of self reflection, a means of furthering self knowledge. In the process of painting, daily life and memories filter their way into the work, and the paintings become a record or diary of felt experience. I paint for myself, but I also paint to connect with others through our shared feelings. Through the personal I seek to understand the universal. 
artist statement Tonally Perplexed is a trio devoted to exploring improvisation using microtonal scales with intervals as small as just noticeable differences. Frank J. Oteri performs on a specially designed keyboard instrument called the Tonal Plexus which is tuned to 205-tone equal temperament, a scale derived from the accumulation of just noticeable differences. Ratzo B. Harris performs as most acoustic bassists do on an instrument without frets which means that any interval is possible, but to further extend his possibilities his bass has extra strings. Jeffrey Herman, on the other hand, liberates the standardly tuned fretboard of his electric guitar by bending and frequently retuning strings as well as using a variety of processors.

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