Erica Daborn's fascination with drawing emerges from her work. In each piece a narrative unfolds that invokes a process of discovery for both the artist and the viewer. To the viewer a logical reference to surrealism is evident as well as the artists true intent, articulating some of humanities base struggles in life. Daborn's new body of work is composed of fifteen photodrawings. Her photographs are bookplates that have been manipulated or drawn into with gouache, ink and pencil. The photographic images are barely discernible. The images or symbols she draws are familial, seemingly formed from experiences in the real world and from dreams or fantasies. A touch of color is worked into layers of these dream like images. In total they compose a cohesive body of work that convey the depth of knowledge the artist has for art history and the media she works with.

Erica Daborn is a British born artist currently teaching drawing at the School of the Museum of Fine Arts, Boston. Educated at the Royal College of London, Daborn has exhibited extensively across the country. Her work is in numerous private and public collections including but not limited to the Santa Barbara Museum of Art, Newport Museum and Art Gallery and Linda Lee Alter Collection of Art by Women.

Dmitri Cavander looks through windows both figuratively and literally to capture his landscape. He aims to capture moments such as an urban scene, with the sparkling light bouncing off of automobile windshields or the windows of a highrise building. Cavander employs color to ground the light, to contain it in a way that allows the color and light to compliment each other. The colors take on identifiable shapes which intersect with areas like a brightly lit sky or highway creating more shapes. There is a confluence of these shapes that make up the whole landscape, an important component of contemporary realism. The viewer can step back and see the whole and yet still be engaged when approaching the work just inches away.

Cavander states that the initial emotional response to painting a landscape eventually falls away and "resolving the painting problems takes over." He adds that the painting becomes partly about how it feels to look out onto the wide open light outside and how to structure the information as simply as possible." The artist explains that he is more apt to return to the original emotion of the painting once he resolves the problems of the painting. if the painting is done to his satisfaction the emotion is clearly articulated.

A graduate of the University of California at Berkeley, Cavander is represented by MPG Gallery in Boston. He has been the recipient of the Blanche Colman Award for Painting and a Somerville Cultural Arts Council Grant.