REVIEWS AND COMMENTS
“Once and always a deep humanist with a profound capacity for healing, Norman Sarachek has been laboring deeply towards sensual avidity. His work has an insatiable appetite for the pleasure of creation. The results are often sensation mixed with moral surprise. Hope mixed with inventive ecstasy. The metaphors are sometimes profound and sublime. He is an art worker of deep worth.”
Larry Fink, Martins Creek, 2004
“Norman’s work is very meditative, very powerful. It has the space of early Mark Rothko paintings. …. There’s this Chinese landscape quality too. Norman achieves amazing depth, considering his materials. He’s very warm and very knowledgeable.”
Karen Jansons, Director
Wooster Arts Space, NYC
As told to Geoff Gehman,
The Morning Call, Allentown, PA, 2005
“For a decade Sarachek has been taking photography into the outer limits.”
Geoff Gehman, The Morning Call,
Allentown, PA, January 6, 2005
“Let me note the two pieces by Norman Sarachek which projected wonderful celestial bodies and were created by an artist who seems to always be into growth and evolution in his work and in these instances used chemicals and cameraless photography.”
Keneth Endrick, The Express-Times. Easton, PA, 2003
“Norman Sarachek of Allentown makes photographic reactions that are deceptively primitive, deceptively black and white…There’s also a fine arc of evolution from idea to body to spirit.”
Geoff Gehman, The Morning Call,
Allentown, PA, October 11, 2001
“Sarachek’s obvious affection for his subject matter…elevates it to an illustration of the beauty of innocence and ideals.”
Christopher Youngs, Director
Freedman Gallery, Albright College
Reading, PA, 1999
“His series “New American Landscapes” gives a winkful nod to the aspirations of the Abstract Expressionists, whose grand canvasses matched the vast American vista and pioneer ethic in scale and temperament. Somehow Sarachek’s black and white photograms are convincing whirlwinds of microcosms and infinity. Evoking galaxies, shifting sands, rushing water, crystal and rock formations, the photographic medium bestows upon the images a sacred reality – surely a conceptual illusion, a trick of our own mind and eye – but still one that colored paint cannot completely exact.”
Tony Sienzant, The Express-Times, Easton, PA, 2000
“I found the Windows series most fascinating….They look like imaginary landscapes, very delicate and wonderful to look at…..After 'Santa Fe Nights' and the 'Rose Garden Weddings,' very people oriented work, 'New Photograms' marks a turn toward abstract, spiritual imagery.”
Helene Ryesky, Art Matters,
November, 1999
“Stimulating – exotic!”
R.J., “Marks on Silver,” Visual Studies Workshop, Rochester, NY, 2003
“Pollock meets Fuss?”
P.R., “Marks on Silver,” Visual Studies Workshop, Rochester, NY, 2003
“Beautiful Haunting images”
L.N., “Marks on Silver,” Visual Studies Workshop, Rochester, NY, 2003
“Amazing! You’ve captured emotion and precise thought in each photo.”
A.E.D., “The Individual Becomes Universal,” Southern Vermont Art Center, Manchester, VT, 1998