School of Continuing and Professional Studies (SCPS) Gallery
Pratt Manhattan Center, SCPS Gallery, 2nd floor
Gallery Hours: 10 AM-6 PM, Monday–Friday; 10 AM-5 PM, Saturday and Sunday



Tuesday, February 6, 2018 - Saturday, March 10, 2018
Opening Reception: February 7, 2018, 6-8PM

Katerina Lanfranco. Night Void, 2017.

Katerina Lanfranco makes paintings, drawings, mixed media sculptures, and installations.

Artist Statement

The basis of my art practice is the act of collecting, organizing, and fragmenting images and objects from nature and everyday life, incorporating my own vocabulary of visual elements. I make art as a way to ask questions about the world that I live in:

                      How do I make the invisible visible?
          At what point does fantasy become reality?
How is our concept of nature a cultural construct?


My work seeks to explore the intricate duality of culture and nature, and the ways in which our understanding of nature informs our own identities. With each of my exhibitions I invest in the aesthetic experience of the viewer, and consider how the site-specificity of the show will evolve and develop in dialogue to the architectural setting of the space. I reference culture-specific modes of representing nature, such as botanical illustrations, floral fabric patterns, curio cabinets, scientific notes, dioramas, and panoramas. Landscapes, sacred geometry, natural disasters, natural history, biological structures, and genetic engineering are recurring themes, as are cultural conceptions of progress, systems of knowledge, and the problem of creating meaning within a natural world.


Dawn Air. Katerina Lanfranco.

Katerina Lanfranco. Everything All The Time, 2017.

Twilight Ether. Katerina Lanfranco. 2017.

Images (top to bottom): Night Void, 2017, oil paint and mixed media on canvas, 72 x 84 inchesDawn Air, 2017, oil paint and mixed media on canvas, 72 x 72 inchesEverything All The Time, 2017, oil paint and mixed media on canvas, 72 x 72 inchesTwilight Ether, 2017, oil paint and mixed media on canvas, 72 x 84 inches


Tuesday, December 12, 2017–Saturday, January 28, 2018
Opening Reception: Friday, December 15, 6–8 PM


The deterioration of our natural world as a result of human intervention and environmental catastrophe anguishes me and triggers the impulse that drives my work. I paint imaginary landscapes in the aftermath of events that changed the places dramatically.           

These landscapes seek to challenge the traditional ways of representing land, water, sky, plants and man-made structures. I explore altering the order of how these elements interact. I allude to them in ambiguous ways and let that ambiguity guide the process.

My works on canvas generally evolve from an abstract composition created with biodegradable priming materials and pigments. Some have collage technique as I incorporate dead plants and found debris.

As each painting builds, I gradually integrate its graphic elements with different densities of atmosphere that evoke certain moods and thoughts—usually the love I feel for nature combined with the anxiety that its ongoing destruction causes.  Often, I include allusions to the traces that displaced creatures  have left behind.

I approach my works on paper differently: while inspired by the same feelings, the frailty of the medium moves me to create more lyrical images. My craft reveals how fragile these works are, as is our natural environment.

Images (top to bottom): Andrea Cukier, Aftermath 1, 2017, ink, coffee, salt and sugar on paper, 11 x 20 inches;  Aftermath 3, 2017, ink, coffee, salt and sugar on paper, 10 x 23 inches; Bugs and Vines (Broken Forest), 2016, mixed media (collage and oil) on canvas, 30 x 40 inches. Images courtesy of the artist.


Tuesday, November 14, 2017–Saturday, December 9, 2017
Opening Reception: Tuesday, November 14, 6–8 PM

Become aware of your perception of light, texture and form through Sunday's vocabulary of geometric abstraction. 

"These new paintings are inversions of my early works. They take the palette of subtle whites and off-whites of the first paintings and transform them into something like a photographic negative. They were born in my mind's eye some years ago while experimenting with an alternative vision therapy called the Bates Method. There is an exercise where one covers the eyes and attempts to visualize a field of pure black. In the beginning what mostly happens, is that dark, subtle images form. My creative life has been engaged primarily with the picture plane. As a photographer and painter, I produce super flat works, but they are always meant to capture volume and light. While these paintings are quite dark, light is the primary material. On their surfaces, I am riffing on the vocabulary of geometric abstraction, but the principal concern is to examine the subtle experience of seeing, the movement of light in space." —Paul Sunday

Images (top to bottom): Paul Sunday, Tilt, Line, Prop, Slope, Stack. Images courtesy of the artist.