Janet Nolan

A native of Alabama, Janet Nolan studied art at Auburn University (BVA) and Georgia State University (MFA) focusing on painting and drawing. When she moved to New York City in 1976, Nolan's primary focus shifted from two-dimensional to three-dimensional work as she began collecting and using large quantities of everyday objects she found discarded in the city (such as broken umbrellas, lost gloves, wire coat hangers, colorful plastic bottle caps) transforming them into sculpture through serial methods of construction.

Exhibitions of her work in New York City include Hunter College, Citibank, Pfizer, Inc., Donnell Library, American Fine Art, Art in General, Dru Arstark Gallery, Livestock Gallery, Lesley Heller Gallery and Bruno Marina Gallery in Brooklyn, NY.

On Long Island her work has been shown at Hillwood Art Museum at C.W. Post University, Anthony Giordano Gallery at Dowling College, Islip Art Museum, Smithtown Arts Council, East End Arts Council, Omni Gallery and Alpan Gallery. Other exhibitions throughout the U.S. include Prudential Insurance Company, Newark, NJ; Fayerweather Gallery, University of Virginia, Charlottesville, VA; South Dakota School of Mines and Technology, Rapid City, SD; Sun Valley Art Center, Sun Valley, ID; Arts Festival of Atlanta, Atlanta, GA; The von Liebig Art Center, Naples, FL; DNA Gallery, Provincetown, MA and Highland Art Center, Truro, MA.

Collections of Nolan’s work include two permanent installations at Harvard University. Nightingale was commissioned for the Harvard School of Public Health atrium of the François-Xavier Bagnoud Building, Boston, MA. In 2007 Beam was commissioned for the University Operations Services, Blackstone South Building, Cambridge, MA. Other public collections include Auburn University, Georgia State University, PS 58 in Brooklyn, The Museum of Modern Art, New York (Franklin Furnace Artist Book Collection), Kramer Levin Naftalis & Frankel, LLP, New York, NY.

Janet Nolan

Artist’s Statement 2009

My sculptures are constructed from repeated singular objects recycled from the everyday world, such as hundreds of discarded umbrellas, wire coat hangers and lost gloves, to thousands of plastic six-pack holders and colorful plastic bottle caps. The meaning lies in transformation of these objects.

I have no preconceived sculpture in mind when I gather objects, rather the nature of the object suggests to me content and form. Through experimenting with the physical properties of materials being used, structure patterns often emerge which are similar to those basic growth systems found in nature.


Audrey Hasen Russell, a Brooklyn-based artist, received her BFA in Sculpture from the University of Tennessee, Knoxville and a MFA in Sculpture from Cranbrook Academy of Art in Michigan. Fueled by childhood memories of a family farm in the Appalachian foothills of Tennessee, her sculpture and installation function as a narrative reminiscent of fictionalized memories.

Audrey Hasen Russell

Artist’s Statement 2009

The constructed scenes in my work function as a fragmented narrative, nostalgic manipulations of fictionalized memory. Assembled stick drawings, ornamental objects, and familiar materials accumulate and condense, mutating into the pseudo-organic forms of miniature landscapes reminiscent of the mountainous terrain of my childhood. I integrate multiple scale shifts in each piece, generating tiny vistas within and upon fantastic surfaces.

My goal is to further a symbiotic relationship between fanciful pastoral landscape structures and found objects and spaces. I specifically focus on the spaces of the built environment delineated by the artificial bucolic horizon developing in my installations. Site-responsive projects both inside and outside of the gallery setting engage elements of existing architecture, subverting the viewers’ perception of scale and inserting fantasy narratives into and around familiar contexts.


NLY is designed to explore the visual and conceptual capacity of nylon synthetics and how the material functions beyond its standard purpose as a garment through the manipulations of the artist. A myriad of video interviews will investigate the creative paths of artists' ersatz-organic constructions. We invite our viewers to stay tuned for further explorative development of this site.