PALO UBER; ANTITHESIS EXHIBIT - September 16 & 17 at Alexander Salazar Fine Art Auction House (1040, Seventh Avenue)

FOR IMMEDIATE RELEASE
San Diego, California, United States of America (Free-Press-Release.com) September 8, 2011 -- September 16th; Invite Only Reception with Artist - 7pm
September 17th; Opening Reception - 7 pm to 9 pm

Born 1951, Palo Uber is a minimal expressionist from the UK. Palo Uber is the only known artist in
the world today that has perfected a medium using melted plastic with acrylic paint. This is a result
of over twenty eight years of perfecting, and has created a new departure for today's art world. Uber
refers to this as his twenty-eight year pursuit, which finally synthesized in late 2006, along with his

transition to board from a canvas. The result is a highly emotive and captivating experience while the
viewer looks on. The overall experience overwhelms your senses while evoking a surreal calm.
Uber's works always draws the viewer in, demanding a closer inspection. The accomplished detail
is astounding, while maintaining the impact of the forms within the field.

"The transition to board from canvas with his ingenious melted plastic was
a sensual delight, we were simply in awe... " - The London Art Review, 2006


**NEW Antithesis Series Sculptures**

This ongoing series was the result of the constraints encountered when executing the Essential Forms Series. I realized the need to better produce an organic form well within the deconstruction process and within a multi-dimensional format. The original work, "Morning Pillow" was my first execution after determining the medium needed. While working as a senior designer for BMW/Mini Cooper, I was introduced to a polyurethane foam used to shape a component which would be used as a "plug"
for the manufacture of a final mold. The finished mold would be used to manufacture carbon fibre components. This proved to be the perfect medium for the base of the sculptures. After the initial carving is completed, I have utilized Golden Companies modeling paste which will hold remarkable detail. Then, layers of acrylic paint is applied and sealed.

It quickly became apparent, this was a study in "form, movement, texture, shadow and the effect colour has in relation to shadow and shape. The final choice of sealing, ie., flat finish, satin or gloss which has a significant effect on the underlying colour, shape and shadow resulting is the end process.

With subject matter carefully considered, some pieces rotate on their respective steel plinths ( "Single Scoop Cone/Melting"), while others do not move ("View Through Chanel Display Window/ Quilted Hanging Coat"). However, the underlying desire for executing the works, is to hopefully have the viewers more closely examine and reflect on daily encountered objects and grasp their utility and beauty of even the most common object(s).

Aside from my years of examining daily encountered objects as significant subject matter, I consider "the window" as my most challenging but most significant object of examination and portrayal. I would not have seen this if not for the extreme influence of Joan Mitchell. Following her prolonged stay at hospital, with a view through a single window, she conveyed of her intense observation of a tree, day after day. She said her viewing took on a close examination of deviations in light, shadow and colour, different every day. She was most emphatic regarding the window itself, and how it placed uncompromising constraints on all else, yet, without the window frame presence, the entire experience would be different in its entirety. At first I dismissed it. But several years following her passing, I found myself on Old Bond Street completely captivated by the Chanel window display. At that point in time I fully understood what she had said. The window, framing a restrained combination of shape, forms and colours. Simply a moment in time which would never show itself the same way again. From that day forward, my most significant works have been within the "window series" which I now have taken within a multi-dimensional format of the sculpture.

With Uber's synthesis from canvas to board in late 2006, The London Art Review said "... we have
followed Palo Uber's works for years, never disappointing and always with the Uber array of color
and form captivation, but the transition to board from canvas with his ingenious melted plastic was
a sensual delight, we were simply in awe... every piece we viewed are truly museum bound... at last,
a new approach which is overwhelming."

Palo Uber is the only artist in the world today employing his unknown technique of utilizing a melted
plastic and combining raw acrylic paint to achieve his transparent to opaque layers and forms. Uber
refers to this as his twenty-eight year pursuit, which finally synthesized in late 2006, along with his
transition to board from a canvas. The result is a highly emotive and captivating experience while the
viewer looks on. The overall experience overwhelms your senses while evoking a surreal calm.
Uber's works always draws the viewer in, demanding a closer inspection. The accomplished detail

is astounding, while maintaining the impact of the forms within the field.

NOTED TO EDITORS:
Alexander Salazar Fine Art
640 Broadway
San Diego, CA 92101

www.alexandersalazarfineart.com
Alexander: AS@alexandersalazarfineart.com
619-531-8996

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