Born in 1964 Porto Alegre, Brazil. Lives and works in New York City and Porto Alegre. Her work is in private and public collections including the Museum of Modern Art/MAM in Brazil and has been exhibited internationally at the Kyoto Arts Center, Japan; Kuntlerhaus Bethanien, Germany; Galleri:ID, Stockolm; Kunsthaus Malmo, Sweden, at the Islip Art Museum, Sculpture Space, the Rotunda Gallery, The Brooklyn International Film Festival, the Museum of Modern Art, Salvador, Brazil, Galeria Vermelho, S�o Paulo at the International Performance Festival in Brazil. She is a recipient of the FUNARTE,Projeteis Contemporary Art Prize from the Brazilian Ministry of Culture, NYFA Urban Artist Iniciative:New York 2008 Fellowship.

�Through this intentional being, Vieira opens an heterotopic space for mutual occupation by the public and herself. Her seemingly simple rule of equidistant line vibrates, turning an ordinary space into a complex vertiginous space that surrounds and absorbs us, where the two dimensional, three-dimensional and four-dimensional intertwine. A simultaneous articulation and dis-articulation of space the work superimposes extremes of scale from the real dimensions of our bodies in space to the tectonic scale of geographic satellite imagery. �
- G. Gerbracht

ARCHITECTURAL TOPOGRAPHIES PROJECT [2002-present] is an ongoing project that records the lived experience of time and space. It examines the relationship of individuals to our environment through a series of site-specific spatial meditations that integrate drawing, architecture, video and performance. Since 2001 I am using only a basic visual element: one continuous line. Conceptually, each project is a segment of the larger meta-LINE that extends throughout my work/my life. Lately I�ve been using the landscape, geography and/or online satellite imagery as references as which determines the shape of each project, in which I become intimately familiar with every millimeter of a given space, using my body and a marker to gradually inscribe time on the skin of architecture. This particular concept of drawing is essentially, a record of lived time. Through the work I assert human existence itself while continually drawing one line that ends up encompassing the entire place, collapsing notions of perspective, scale, interior and exterior opening a space for the viewers to experience a full moment of self awareness. Although linear evidence of the concentrated lived experience accumulates in the space in graphic extremes of black and white, it paradoxically blurs assumed boundaries between origin and destination, inside and outside and ultimately, self and other.

Website: www.re-title.com/artists/claudia-vieira.asp
Contact email: claudiavieira@earthlink.net

Online press release with images: http://leejosephpublicity.com/show/richardedson
Gallery website: http://lacda.com/

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Richard Edson’s toy figures are meticulously shot at an intensely close range under very specialized lighting conditions to emphasize their shape, color, “toyness” and their relationship to a monochromatic or multi-chromatic background. Since the figures are so small and shot with a macro lens (with an elaborate series of tube expanders) the focal plane is extremely narrow, allowing only a tight area where part of the figure is in focus. This creates an odd and not unpleasant sense of space, displacement and fission. The effect brings the tiny objects into a larger than life existence, where dynamic worlds are elicited full of what the artist calls “dreams, visions, or solutions to problems not yet even imagined.”

Looking at these simple figures as photographed through the macro lens one is impressed by their depth and humanity, and the more one looks the greater the illusion becomes. What were once crude postures and expressions “factory carved” in plastic are now repositories of secret emotion and (often humorous) feelings that surprise us with their mournful outstretched arms, plaintive gazes and sometimes fierce aggression. The contrast between the cartoon-like quality of the figurines and the seriousness of their respective “dramas” has to make one smile a little, and in this way the artist brings a welcome comic relief to the timeless human narratives he captures in these ‘micro-iconic’ images.

Richard Edson on the meaning behind this exhibit:
�When I looked at these simple figures through the macro lens I was impressed by the seeming depth and humanity. It didn’t seem possible, but the more I looked the greater the illusion became. They seem like repositories of secret emotion and feelings. But then the more I thought about it the more sense it made. They were imagined and created and worked on by human beings and something remarkable and human was transferred.�

Los Angeles Center For Digital Art is dedicated to the propagation of all forms of digital art, supporting local, international, emerging and established artists. Gallery hours are Wednesday � Saturday, 12 � 5PM.

Website: Beyond the Valley of the Micro-Bops
Contact email: leejemail@gmail.com

Yoko Nogami was born and raised in Tokyo, Japan. She received her Bachelor of ?Fine Art degree from Boston University and received a Master of Fine Art degree from? University of South Florida. She apprenticed with Mexican American muralist Judith F. Baca in Los Angeles, assisted in the production of World Wall and Guadalupe Mural Project in 1989-90. ? Though possessing a strong background in painting, she also incorporates video, installation and performance as an interdisciplinary artist, driven by her research in cultural identity?/ displacement and gender issues.?? Her works have been shown internationally from Tokyo to Berlin, Germany. Most recent endeavor, HOMEBOUND by Project: HOME collective gained much interest locally, based on a public art project focusing on a concept of HOME. She lives in St. Petersburg, Florida where she is an adjunct professor at University of South Florida, University of Tampa and The Art Institute of Tampa.

Website: Yoko Nogami
Contact email: nogamiyoko@yahoo.com