In the "Marker" series, Sollins appropriates registration marks appearing in the margins of newsprint. By transferring these marks and color test bars with tape to mylar he brings the visually marginalized to the forefront. What is overlooked and unintelligible to the newspaper reader now becomes a poetic visual code.

Drawings from the "Range" series, made through the obliteration of catalogue pages with either correction fluid or graphite, create potent visual statements about place and surroundings. In "Province", the erasure of the printed page isolates camping tents casting tentative shadows in a field of opaque, open space, suggesting vulnerability and paranoia.

Included in the exhibition is a salon hanging of his "Available Space" works. Made by cutting away all textual information from real estate classified pages, the paper is laminated in plastic and re-cut, exposing the lattice structure of the printed page. Gently hanging on pins away from the wall and casting shadows, the structures suggest abstracted facades. Hung as an installation the work conveys the fragile architecture of organized information; the content of the ads removed, only the skeletal structure of the printed page remains.

Stephen Sollins received his M.F.A. from the School of Visual Arts in New York in 1997 and his B.A. from Bard College in 1990. His work has been exhibited in numerous group exhibitions on the East Coast. In the fall he exhibited his "Public Notice" series at the Mills College Art Museum. Recent group exhibitions within the past year include "Art on Paper" at the Weatherspoon Art Museum, and exhibitions at the Southeast Museum of Photography, the Krannert Art Museum and the Drawing Center. This is his third solo exhibition with Brian Gross Fine Art.