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Exhibited at the William Rogers Legislative Building
725 Veterans Memorial Highway, Hauppauge, NY
Art in the Alcove is located off the lobby of the William Rogers Legislature Building at 725 Veterans Memorial Highway in Hauppauge. It is open Monday – Friday from 9am – 5pm and closed on weekends and holidays.
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“The Suffolk County legislature is committed to helping keep the cultural arts alive and giving recognition to our artists,” says Suffolk County Legislator Lynne C. Nowick who spearheaded the new Art in the Alcove
sculpture exhibits at the Legislative building.
Suffolk County sculptors interested in displaying their work in “Art in the Alcove” may call Susan at Legislator Nowick’s office at 854-3900. |
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On Exhibit
October 31, 2011 through January 31, 2012 Leigha by Thea Lanzisero
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Thea Lanzisero has seen her sculptures displayed throughout Long Island, New York City, Brooklyn, New Jersey and Florida. Her work has analyzed the dress as a form and symbol of feminine identify. “I have explored this structure through handmade paper maquettes (small model), tree dresses made out of bamboo, sewn paper costumes, and finally, constructed steel dresses. I want the pieces to convey gesture and movement, although they are static,” stated the artist. Ms. Lanzisero added that, “she is interested in creating bold feminine structures that encompass a balance between nature and (wo) manmade.”
On display is Leigha, which is made of steel circular disks that are hand cut with oxy/acetylene torch and welded with spider stitch welds. This piece is symbolically protecting feminine identity and nature with armor like structure. In addition to creating her sculptures, Thea has curated numerous art shows and has designed costumes and sets for operas. She is currently working on her Masters in Fine Arts at Queens College and has a Bachelor of Fine Arts from SUNY Purchase. Her website is www.thealanzisero.com
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On Exhibit
February 1 through April 30, 2012
Breath by John Cino
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“Breath” was created by assembling numerous small blocks of wood cut into incremental units. The gradual lengthening of those units and the placement in four corners of squares which gradually shrink creates the basic motif from which the piece is derived. As the pattern continues the squares come to a point and the wood blocks intersect creating a cross. The pattern then reverses itself in an imitation of inhalation and exhalation which is itself repeated tapering upward.
Running counter to the mechanical precision of the structure is a surface which simulates any number of organic processes of growth and decay. After assembling the structure multiple layers of paint, saw dust and vermiculite were applied creating an almost coral-like surface. Finally multiple layers of paint were applied to the exterior to reinforce the texture while the interior was painted in layers of iridescent pigment.
Since the creation of “Breath”, John’s worked has evolved through many forms and media including carved wood, metal, ceramic and mixed media but throughout his thirty years of sculpting his work has been marked by multiple layers of meaning and an interest in themes that have periodically cycled through his work.
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A number of seemingly disparate ideas have fascinated John Cino since his youth. Childhood interests in biology where augmented by a teen interest in mathematics. As an undergraduate an interest in science fiction turned his attention towards mythology, archeology, philosophy and shamanism. During his years at graduate school at Hunter College he began exploring ideas of religious architecture and sacred geometry. Much of his early work straddled the lines between form and formlessness, complexity and chaos, order and entropy.
“Breath” combines many of his earlier interests with an awareness of modern art and contemporary music. It was meant to be homage to Constantin Brancusi, an innovative sculptor of the early 20th century whose work “Endless Column” is superficially emulated.
It is also meant to become the solid embodiment of the music of composer Steve Reich whose use of short rhythmic and melodic phrases, repeated and gradually morphed were a hallmark of the movement known as minimalism.
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