Guest curated by Theres Rohan

Three new solo shows, on three floors, New Work in the New Space will feature large digital prints, drawings and video projection, all representing the most recent output by each exhibiting artist. - Theres Rohan Guest Curator

The ground floor will feature Peter Foley with manifesto/random - a series of large-scale prints of appropriated photographs that he digitally alters and pairs randomly. This new work by Foley operates within the notion that the mind is faster than the eye can deliver sequence. He pairs black and white images that can be recognized as classic architectural scenarios with other images that are vague or blurred. These then are superimposed with a Ben Day filter. With these juxtapositions Foley engages and challenges the viewers' concept of time, as well as all associations of visual structures. This work differs from earlier work where marks and/or images were more calculated. Peter Foley is a graduate of the California College of Arts; he works steadily and is now squarely positioned as a mid-career artist as he has been invited to show his work nationally as well as internationally.

The second floor will present: Drawings by Larry Lippold- this show also addresses fragments or snippets of time. Lippold likes to draw from architecture, classic architecture that is, and he gives back to the viewer portions small enough to make one want to see more of the whole. He draws in pastel. The work is very structured and dense, creating a metaphorical longing for idealized structure. Larry Lippold is Instructor of Drawing at Stanford University Continuing Studies Program, a position he has held since 1991, he also has been Visiting Faculty at the Department of Art. Most recently he has shown his work at SFMOMA Artist Gallery in the show titled 'Just Charcoal.'

On the third floor, in the new performance space, video artist Ruth Eckland will show 'Heartland' - a much anticipated new work. 'Heartland' is a three channel projected environment with sound by Matt DiFonzo. As with some of her earlier work, first glance never tells the story. These new projections could as well be titled 'false security' as Eckland, true to her art, knows here how to lull the viewer into a homecoming to an idealized childhood or a daily ritual of niceties perhaps, but soon enough breaks this coda. She provides the viewer scant enough narrative information to elicit a dichotomy of tranquility and mayhem. Each projection is on its own loop, however they are of different duration, intersecting images never to coincide again, thus accentuating the idea of randomness and potential chaos. The electronic score by collaborator Matt DiFonzo parallels and haunts, at times hovers, but is not aggressive.

Ruth Eckland has been invited to show her work internationally, as well as in New York, Seattle and New Mexico. She exhibits widely, to critical acclaim, in the San Francisco Bay Area, averaging three or four shows a year in museums and galleries including the Meridian Gallery. She has shown at the San Jose Museum of Art and most recently she had a video installation at Yerba Buena Center for the Arts.