Charles A. Hartman Fine Art

The pictures are dominated by snowy landscapes in which land and sky often become indecipherable from one another. At the center of each of these minimal, bleached-out scenes, though, are small but humble ice houses --portable structures hammered together with cheap particle board and corrugated metal to shelter fishermen sitting atop the frozen lakes of New England.

Peterman has elevated this most ramshackle of architecture to something quietly mesmerizing, in part by approaching his subject in an unexpected way.

The exhibit, entitled 'Collections' is quietly persuasive. Solyagua leads the viewer through the work with the gentle, steady prodding and fascination of a scientist. Her pieces do not need to shout their cause in pomp or self righteousness. They hold their own power as contemporary hieroglyphs for universe. She seems to want to discuss light and the poetics of light: how it defines/delineates space and the objects therein. Are the names we give objects the definitions that suffice? Solyagua introduces us to worlds within these objects she photographs, outlines, lets the sun imprint, and gives us the freedom of namelessness: the way of looking at the world before we believed ourselves to have so much understanding. Her images are delicate, eloquent metaphors.