Stanford Art Spaces
November 24, 2000 to January 18, 2001, Stanford Art Spaces features an exhibit by three artists:

Janet Fullmer Bajorek
Hugo Lecaros
Martha Zappe

Relaxing in the Information Age
© 2000

© 2000

© 2000

This exhibit is located on the Stanford University campus in four buildings: the Allen Center for Integrated Systems (CIS), Gates Computer Science, Terman Engineering Center, and Humanities and Sciences.    

Most works are for sale directly from the artists. For information, contact M. Grossman, Curator, at (650) 725-3622 or
Janet Fullmer Bajorek

Warning © 2000

Midnight City © 2000

My ceramic sculpture is intended to make a statement about the human condition. The content of a piece is my reason for doing it, rather than a desire to display technique. I am not concerned primarily with creating a decorative or beautiful object, but I am hoping to lead viewers to feel and ponder a subject. I think I communicate better through my sculpture than with words. I believe that art, in all its various manifestations, is the highest form of communication. I feel a challenge to help bring ceramic sculpture from a craft status into a recognized fine art medium.

Having said this, I should explain that although technique is not my focus, I truly enjoy clay as a medium. I find that it allows me to create a serious statement in an informal and lively format. Clay can be worked relatively quickly and yet can survive centuries. I like the wide variety of surface effects achievable and the risks and surprises involved in firing ceramics.

It is often pointed out that my sculpture displays humor. Although I hope my work is taken seriously, because the theme or subject is always deeply felt on my part, it seems that people find humor in recognizing themselves or acquaintances in the situations or characters I depict.

For additional pictures of sculpture by
Janet Fullmer Bajorek, click here.

Hugo Lecaros

Lady with Rooster © 2000

Dawn in my Village © 2000

Hugo Lecaros paints "from his heart" scenes of his native Peru. His watercolors and oils convey the profound spirit of the Peruian people and the magical beauty of the Andes. He has been called "the poet painter who sings with brush strokes of genius."

Orphaned at three, he roamed the streets of Cuzco until the age of nine, when he was taken by an uncle to the jungle. There he cultivated fields of rice and banana trees and drew and carved wood when time allowed. As a twelve-year old he won a scholarship to Cuzco's School of Bellas Artes. He studied there only briefly due to a lack of money for supplies and his refusal to follow the direction of his teachers. He returned to the jungle, taught in a rural school, and joined the army for two years.

At twenty-nine he entered the Centro Superior de Bellas Artes in Lima and received his degree in Artes Plasticas in 1975 and an Honorary Doctorate in 1994. For many years he taught art history and drawing at the Colegio Secundario Nacional Teresa Gonzales de Fanning in Lima.

Lecaros now lives in the San Francisco Bay. His watercolors describe villages in the Andes with great skill and yet freshness. He has been called "the Van Gogh of South America" for his oils with heavy, turbulent brush strokes. Lecaros also paints oils in a cubist style with his characteristic beautiful and mature color palette.

For additional pictures by
Hugo Lecaros, click here.

Martha Zappe

Magnolia Blossoms © 2000

Tower of Babel © 2000

Printmaking dates back to the 15th century when it was first used to preserve the records of patterns for goldsmiths and armorers. Artists quickly realized that the different properties of wood and metal could be used to express in new ways what they saw around them.

Although I started out as a painter, once I took my first class in intaglio printmaking, I was hooked. The process of transferring an idea onto a metal plate, working and reworking the plate until the final image merges with my mental picture, fascinates me endlessly. This translation can be accomplished in many ways, but to me none is more challenging than the mezzotint, from the grounding of the copperplate over many hours to the scraping and polishing of the image to the final inking and printing. For the last few years I have devoted most of my time to making mezzotints; it is an ongoing learning process as each plate presents a new challenge.

For additional prints by
Martha Zappe, click here.

Most works are for sale directly from the artists. For information, contact M. Grossman, Curator, at (650) 725-3622 or
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