Sol Hill’s installation is minimal and spare, consisting of compelling components masterfully connected to produce a disquieting effect. Large format digital photographs confront the viewer with keywords listed in current government manuals outlining the protocols and procedures for analyzing huge volumes of “suspicious” electronic metadata gathered by surveillance. Large scale,  elegant light boxes reveal ominous blacked-out, redacted photocopies of government documents retrieved from FOIA (Freedom of Information Act) requests for information on surveillance. Live video cameras simultaneously generate real-time images viewable in the space as well as on the website of all who enter and make their way through the installation. The data captured in the installation is temporarily collected and fed into a real-time Suspicious Privacy installation website. In an edgy contemporary reflection of NSA operations those images can be reviewed on the installation website, purchased and downloaded by anyone, anywhere.

Structurally and formally Stuart Nielsen's work is impeccable. A body of work with great depth, varying in size, shape and medium, yet aesthetically fluid. Nielsen's abstract formalism is consistently subtle and mature, yet exploratory. Dynamic tensions arise from manipulations of juxtaposed space and color along with his innate sense of proportion. Central to the portfolio of works is an overall energy and presence.

Stuart works from a broad spectrum of sources, but has always been an abstractionist with a formalist's approach to clarity. He's a master at transforming surfaces and patterns into deeply meditative abstract compositions. The work immediately engages both the eye and the mind. Walking through a gallery, I'm drawn back to it again and again.