Taylor Ann Berry, Cyd Bown, Lexygius Sanchez Calip, Becca Chacon, Henry Chambers, Mónica Coelho, Karl Daum, Samuel De Lemos, Colleen Donovan, Luis Flores, Giuliana Funkhouser, Christa Grenawalt, Katherine Hanover, Imani Maryahm Harrington, John James Hartford V, Whitney Humphreys, Jesse Yunho Kim, Ryan Golden Kirkpatrick, Sae Young Lee, Jiazhen Li
Through two-dimensional paintings, three-dimensional sculptures, and wall installations; Taylor Ann Berry creates works that intrigue viewers and evoke a desire to investigate the forms, materials, colors, and images used in her pieces. The process of abstraction and transformation allows multi-layered images to arise and highlights the fragility and instability of our seemingly certain reality. Through the unification of media, systems, and overall abstractions; Berry conceives fantasy spaces that both seduce and repel the viewer.
Sores I, 2019; Liquid latex and Styrofoam on wall, 36 X 24 X 7 inches
These images show parts of immersive, shared sensory experiences where visitors encounter an unfamiliar, shifting, responsive, otherworldly space; themselves; and each other — within this space.
Title Not Known, 2019; Visitors, jumpsuits, goggles, breathing masks, and installation (still from infrared camera view), 119 x 216 x 164 inches, Duration variable
A Physio-temporal Art Practice
Physio—relating to nature and natural phenomena Temporal—relating to indefinite time as opposed to eternity, material, progressive, religious
Physio-temporal aims to disclose the dichotomic consequences of the perceptible and the indiscernible—the sensorial threshold. It is an anti-thesis to conventional thought, which incites de-acculturation processes that confront a conditioned mindset. In a similar way to time, my practice follows a phenomenological approach to space, emphasizing impermanence as an effort to subvert the established.
For All That You Were Shall Fade No More, 2019; Single-channel video performance, 6:22 minutes
In these abstract self-portraits and psychological landscapes, there is a platform for various identities to interact together on a 2-dimensional surface. Steeped into different times and spaces through a process of layered mark-making, haphazard recollections and feelings appear as lines and shapes. The markings are the language by which memories are communicated. The paintings, drawings, and collages are a form of material rituals that create a space to engage with.
I Am Both Sides, 2019; Acrylic and graphite on canvas, 56 x 56 inches
I consider the little everyday pressures that add up to quietly loom in the background of our lives. I explore the tensions created by precarity and how they affect our relationships as we attempt to hold on to the good memories.
Past Due , 2017; Television monitor, static video, furniture, rope, and redacted bills, 108 x 96 x 65 inches
I am interested in how we, as humans, function (body), what we believe, how we behave, and the distance between those parts of us. I am interested in how reality is perceived. I see art as the creator of an experience to be completed by each person’s own perspective of the world. To test my own perception and others, I often use space. I believe space is a very powerful tool in how the present is experienced, and how decisions are made even without being aware of them. Using these elements, my work and the process of making it points at the nonsense of the world and helps me understand it.
The last two years I have been focused on understanding Time. I started by exploring waiting spaces and moments, as well as gestures of hope. I realized that waiting and hoping come from the same verb in Portuguese, Esperar. Lately I have been exploring time as a measurement. In my work I seek to understand how the passage of time is counted and organized versus how it is perceived daily and what marks it leaves.
Guideline series #5, 2019; Mix media drawing and cyanotype on paper, 11 x 9 Inches
Failed attempts in the act of falling up #5; Oil on canvas, 98.75 x 82.5 inches
Samuel De Lemos is a painter, philosopher, teacher, and poet. De Lemos draws from poetry, philosophy, and pedagogy to critique, parody, and analyze contemporary societal ironies, and paradoxes, and considers these cultural idiosyncrasies a rich well from where to draw and create. His creations can be in the form of a painting, filmmaking or sculpture, even animation. De Lemos often uses his discoveries to enrich his pedagogical discourse.
Clavado ; Walnut wood and clave instruments
Both disorienting and stabilizing, the transmedia work together to invert the physical space in which the piece currently resides. The laboring figure recognizes the camera as a bias tool, subservient to the surface or hands that carry it. Through abstraction, the act of generating representation becomes visibly more complex and conceptually scrutinized. The main pursuit of Contact Circuits is to provide an acute embodiment of the limitations when reinterpreting an experience through a fixed body, lens, and screen.
I run nine laps, turning the video cameras on or off as I pass by them. Then, I manually synchronize the five separate videos to play in the same order in which the action occurred. Each monitor or projector is installed where the footage it’s playing was previously filmed.
Contact Circuit (9 laps) (Documentation of Screen 3/5), 2019; Video and audio, 72 x 48 inches, 7:05 minutes
Imagery and imagination, through the eyes of a visual artist, brings more sense to the world. Contrasts in color and shapes, take on the experience and representation of the artist, who takes them all and creates a visual expression of life itself.
Mexico 68, 2019-2020; Mixed Media, oil, charcoal, acrylic paint, and collage on canvas, 72 x 120 inches
I’m interested in meeting the Wizard, how about you? My artwork interrogates contemporary mass media entertainment and “content delivery” platforms promising instant connection while fragmenting reality in unprecedented ways. By presenting the darkly Babylonian aspects of weaponized narrative and social media interactions through photo and sound art installations I hope to celebrate the people and places continually pushed to the wayside in the name of technological acceleration, economic expansion and the siren song of paradise.
The Witches Collective (Giuliana Funkhouser, Eliza Phelan-Harder & Kate Rannells), The Whispering, 2019; Sound art installation
My paintings explore vast natural landscapes and how they are intimately tied to our bodies. I paint outside with oversized canvases and found materials. Through texture, layering, and movement of pigments, organic materials are brought into the work; ocean water, rain, sand, grass, leaves, bark, and dirt pigment become part of the painting. In the studio, I explore the relationship of constructed spaces with natural elements to develop immersive experiences.
2020 Vision Installation: Ocean Fire with The Nest We Built, 2020; Acrylic with organic materials on canvas; collected dead branches from under utility wires and grocery pallet wrap plastics, 120 x 180 x 36 inches
Play the System (1), 2019; Digital 2D animation, Infinite loop
As an established pioneer who wrote the first literary play on the representation of women and HIV/AIDS and culture and also on post Hurricane Katrina topics, Imani Maryahm Harrington continues to incite critical practice about the relationships public and private domains have with rapid changes in the environment. Harrington’s practice and interests include the dynamics of collapses, erasures and erosions of public health with a vast need to explore interdisciplinary dimensions of time and space, and capturing visual pictorial literary lenses using multiple realms.
Member of: arsny.com
Untitled Victorian Burlesque, 2019-2020; Installation, Dimensions variable
Through a destructive process, exhumed works are constructed of both collected material and found objects that resonate with personal traumas, memories, or appeal to the aestheticized & destroyed object. The work guides the viewer's attention to the visual object (icon)'s sediments of time and decay, in what I've come to describe as Post-Opulence.
A Burnt House; Burnt media assemblage, 16.25 x 15.5 x 2 inches
“Gendered Machines": any non-human, mechanical objects that are associated with, signifiers of, or assigned a gender. My recent work is concerned with understanding how this phenomenon manifests in lived and fictional realities. A limiting and polarizing codification is typically imposed onto the objects that people create, use, and identify with, where things are generally understood to be either objects of service or of domination. This is a patriarchal oversimplification that my work seeks to complicate.
Instrumentalized Bodies, 2020; Collage comprised of manipulated imagery sourced from advertisements for computing equipment, as well as stills from films including Metropolis, Mad Max: Fury Road, and Ex Machina
Having served my mandatory two-year service with the military, the ceasefire line has never left my mind. As I reflect back, the ceasefire line gives me confused feelings of sadness and frustration. My paintings are visual experiences of my internal pain that I feel every time I think about the border between North and South Korea. The beautiful landscape has been forever changed due to the military activity.
Reason of War and Peace, 2019; Acrylic on canvas, 55 X 66 inches
I am in the mystery of existence, creating paintings as signposts to my location: geographical, psychological, subjective, and spiritual. I want to reveal myself. I want to conceal myself.
I am in the mystery of existence, creating sounds as beacons of my converging routes. Burning into dust, notes disappear. Burying into bodies, vibrations find a home.
Terra Whisper, 2019; 23K gold leaf and acrylic on canvas, 60 x 48 inches
My work is related to the interaction between individuals and the world—how different social, political, and cultural powers influence individuals and how individuals react to that, especially the aesthetics, contradiction, and complexity between fragility and toughness, decay and development, loss and hope.
My work explores the boundaries of distance and intimacy, objectivity and subjectivity, and the relationship and responsibility between artist and subject.
One Day I Saw Tumbleweeds Flying: Erleen at the Harvest Festival, 2018; Digital inkjet print, Dimensions variable