Jet Lag reveals the insightful musings of a reportage photographer working on both fine art and commercial projects. While traveling the world, McLaughlin has captured seemingly uneventful moments that bind very different cultures together through life's routines. “When you travel a lot,” McLaughlin explains “you get a sense of the commonality throughout the world.” His series of twenty photographs, provides both seasoned explorers and arm chair travelers with the opportunity to better understand and embrace our shared humanity.

Cig has been using past and present personal experiences as her source of inspiration for her photographs for the past 10 years. "You Look at Me Like An Emergency" is a collection of images from Cig's latest portfolios. She considers the photographs, vignettes that depict autobiographical daily life. They are an attempt to legitimize her moments of uncertainty, as well as, to visually celebrate times of elation, when we are reminded that the world, in all its complexities, can be mind-blowingly beautiful.

SUMMERTIME - 2007

Naturae (the name is inspired by systema naturae, a classification of plants based on their sexual parts that was published by Swedish naturalist Carl Linnaeus in 1735) is Patricia Heal’s examination of the flower in all its strange and alluring beauty. The exhibition includes images such as Aglaophotis I and Aglaophotis II. Portrait-like in their focus on structure and bold detail, these photos evoke the work of Robert Mapplethorpe. Others such as Papaver Gemma, and Lilium calia appear to be inspired by images of flowers found in old, much-handled botanical reference books and manuals, vintage and nostalgic in appearance yet utterly modern in the way they are captured by Heal’s camera.

“EIGHTEEN” is Reierson’s visual documentation of, and homage to, one of America’s most often ignored yet vitally important subcultures: the trucker, the men and women who crisscross the country piloting their big eighteen wheeler rigs across vast, open landscapes, under the big blue skies of the USA.

For five years Reierson photographed these American heroes. She hung out at truck stops, traveled the highways with them, waking up in 20 different states. The resulting large-format images such as Chrome Hearts, an in-your-face, closely-cropped shot of the elaborate metal-encrusted front cab bodywork and tire rims of an neon- and moon-lit semi proudly on display in a busy truck stop parking lot, And Tigers, Bells, and Whistles, a view of the interior cab of a tricked-out rig, rendered in all of its intricate glory, recall the work of the photo-realist painters Richard Estes and John Salt in their focus on vivid color and their heightened sense of reality. Others such as Truck Tub Truck Wash (the invitational piece), wherein two workers hose down a massive rig, their bodies dwarfed by its immensity, and Have a Nice Day, a candid portrait of affable Trucker Tim Young proudly posing in his homey truck cabin, are poetic depictions of a community and culture in flux.