Concerned with the consequences of environmental disasters, cost-effective and durable habitat as well as the immediacy of recycling inorganic materials, ROGER SAYRE presents BUCKET HOUSE, an urban log cabin built of large industrial plastic pails.

Based on the idea of children’s toy Lincoln Log wooden construction sets, Mr. Sayre conceived a shelter as easy to built as to dismantle. The unit of construction, plastic buckets, compact and stackable – makes the house easy to transport, light weight, sturdy and impermeable to the elements. The house’s footprint can be as small or as large as one’s restricted or allotted space of construction. Scale is limited to one’s accumulation of discarded plastic buckets. The construction of BUCKET HOUSE will evolve over the time period of the exhibition (September 6th-October 14th.) The contemporary architectural prototype is presently being built in the rear garden of a 1910 row house located in the South side of Williamsburg (Brooklyn).

The empty buckets are culled from an array of sources; construction sites to food- manufacturing processing plants. The 5 gallon (18.9 liters) pails are made of rigid injection molded plastic. Each is fitted with integrated pivoting arch-shaped handle and lift-top covers. The buckets are mostly white with minimal surface ornament. Each pail is screen- printed with text in black, blue , yellow, green or red indicating origin of manufacture and substance. The initial content of each bucket is varied- from toxic chemicals to comestibles; thorolastic wall coatings, hard boiled eggs, tar, peeled Yukon “A” potatoes, floor wax remover, key lime, natural rosemary garlic marinade, sheetrock all purpose joint compound, pickles, ceramic tile adhesive, soy oil, wall spackle and grape juice to cite a few.

A 40” square scale model of BUCKET HOUSE, constructed of numerous Sherri Cup co. 10 oz. Greek Anthora design We are happy to serve you paper coffee cups will be displayed inside the gallery.

Mr. Sayre is also presenting NEW ORLEANS, a site specific installation conceived of hundreds of vintage Bingo game cards. The cards are suspended on the gallery walls in a continuous composition of a swirling mass modeled after satellite images of hurricane Katrina.

DEREK STROUP is a conceptual artist pre-occupied with the experience of information, visual perception and consumer packaging familiarity . Mr. Stroup presents CHIPS and CANDY, a series of photographs illustrating bags of potato chips and chocolate candy wrappers. All selected brands ubiquitous on the U.S. retail market trail. Letters, company mascots, logos have been digitally obliterated-from the food packages. What remains is form, color, volume, texture and line. The essential outline of the package is all that is required to recognize the edible product. There is hardly any escape from the experience of American fast food culture and mass market consumerism. Embedded in a segment of our communal consciousness is a world navigable without want for letters or words. Junk food literacy is a disposable commodity.

This is Mr. Stroup first participation in an exhibition at the A.M. Richard gallery.

The work of LISA REDDIG, notions of recycling, the initial function of objects, as well as our visual perception of common possessions are examined in novel ways.

Ms. Reddig’s ACCUMULATION (II), is a collection of consumer paper products morphed into pin-hole cameras. For the past nine years, Ms. Reddig, has been creating pinhole camera out of found, purchased or gift boxes. ACCUMULATION (II), is a re-interpretation of ACCUMULATION a project that encompassed a year of the artist’s life. Between June 25, 2005 and June 25, 2006, every container the artist acquired through a consumer purchase was transformed into a pinhole camera. Using these pinhole cameras, the artist photographed each product using its own transformed package. The final product of this “Grand Tour” of daily material consumerism became an installation of 119 cameras and photo groupings. ACCUMULATION was initially exhibited at the A.M. RICHARD gallery in the fall of 2006. The installation was then neatly displayed in a superimposed system of shelves reminiscent of grocery store merchandising. As part of the group exhibition PRE-PACKAGED PERSPECTIVES, Ms. Reddig reconsiders and re-contextualizes her installation. The numerous boxes and photographs, as if hit by a natural disaster, are piled without order or plan in a small anxious room off the main gallery space.

Ms. Reddig lives and works in Brooklyn.