Posts tagged 3-d
Sculpture Made Entirely out of Paint by Ignacio Muv
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This year, we had the pleasure of meeting artist Ignacio Muv at Scope Miami Beach and fell in love with his incredible sculptures created entirely out of paint! They are absolutely stunning in person. Here is what the artist has to say about his work and process:

My art is born from a process of transformation of the paint. I am interested in the constant change and movement of the human condition, and I materialize it through my art. I create skins of paintings, which I wait till they dry, then I fold them and give them life. I do not paint over canvas, it all paint. The fundament of my work its not material but spiritual. 

It is an analogy to the human body, where metaphorically the painting is the skin the beater is the skeleton and the work the spirit.
— Ignacio Muv

About The Artist

Ignacio Muv addresses the potential of painting as a material, his works present it from its tactile, sensory and virtual dimension; generating a direct dialogue between the painting, the frame and the canvas, suppressing the formal obligations in that relationship.

Muv elaborates his creations from pigments and emulsions. He uses materials to "cook" his painting through recipes whose results are, at times, unpredictable and subject to time and circumstances, always driven by an intention of a spiritual and mediative nature that articulates his process.

His practice is the extension of constant experimentation, pushing the limits of painting. The pigment is transformed into dust, powder becomes paint and the paint manifests as skin. The artist plays with the states of transformation of matter, where the understanding of art is born from its core, as an infinite matter in constant movement. Everything combines to form a work of art made of an instant and a time.

There is a strong element of paradox and balance in the work of Ignatius, because something so intrinsically material, so tangible and palpable, acquires a substantial spiritual and spatial dimension in unison. A very physical and at the same time very contemplative work, of frozen and organic movements full of silence and sound.

The constant ambition of the artist to inhabit the mystery of the meaning of art through material surfaces is facilitated by his practice, where he shows an ability to look beyond the painting, as if we could take off our own skin and see what is below . It is a vision of the state of constant transformation of the human condition and, simultaneously, a record of the now.

Forrest Lawson

Forrest Lawson is a multi-media sculptor who explores complicated issues experienced within the LGBTQ+ community. Lawson has participated in multiple exhibitions throughout Florida, was featured in Artbourne magazine in 2017, and was commissioned to install a public art sculpture on the University of Central Florida campus. Lawson will obtain his Bachelor of Fine Arts from the University of Central Florida in December 2018 and plans to pursue a Master of Fine Arts degree upon graduation.

Through sculpture and assemblage, my work explores the array of complexities experienced by individuals within the gay community. I create work to reveal internal and external resentments with a variety of mediums and symbolism. As a tribute and a memoir, my practice touches on feelings that resonate personally and universally. I hope for viewers to engage with the work emotionally, and to question their own similar or dissimilar experiences. My work is merely a glimpse into the often unknown or unrecognized struggles of being gay.

Val Shamma

Val Shamma is a visual artist and ceramist born in State College, PA. His work investigates consumer electronics through form and function. He received his BA in visual arts and archival studies at The Evergreen State College in Olympia, WA. He currently lives and works in Brooklyn, NY.

My practice incorporates personal narratives and timelines of technological progress that are synthesized by consumer electronics. I see electronic devices as objects of devotion, vessels that contain and inform memory, sites of visceral interactions between the animate and inanimate, mediators of communication, and signifiers of change. My sculptures, made of clay and found technology detritus, are recognizable but resist immediate identification. I draw from design languages that emphasize serial rigidity, intuitive functionality, and visual simplicity, but my work is offset from manufactured aesthetics. I imbue my work with a tactile softness that is a natural product of using my hands as my primary tools and of referencing my own distant experiences. The gentle corners, smoothed additions, and hazy surfaces of my work point toward incomplete memories of interactions with objects. I aim to make forms that are a convergence of private and cultural experience, using the visual aesthetics and symbolism of functional devices, both real and imagined, as catalysts.

Anne Cecile Surga

Anne Cecile was born in 1987 in Lavelanet, France. She demonstrated a natural interest in art and other manual activities during her childhood, and in 2000 she entered her first drawing and painting class. She learnt classical rules of compositions, anatomy, and harmony of colors along with different techniques such as drawing, pastel, china ink and oil painting. 

Anne Cecile enrolled in a business school in 2006 while studying clay sculpture in the evening. She later graduated with a Master in Business Administration. In 2012, she went to New York City where she graduated with a Master in Art History. 

In 2013 Anne Cecile stayed at the Fundacion Pablo Atchugarry where she learnt how to cut marble. Following this experience marble becomes her main material. In 2015, she decides to entirely dedicate her life to her artistic practice and open her studio in the Pyrenean Mountains in France. 

Statement

I am searching the spectrum of the personal and the emotional, and how our contemporary consumerist society affects the way we live, feel and develop the notion of the selves. 

I am interested in how human continue to be true to their core in this environment despite the daily violence it obliges us to face and to commit to other. My works can be understood as elaborations of emotional reactions to societal issues.

As a woman, my work is reflective of the distinctive challenges that I face in my private life, and I believe it shines a light and a commentary on societal issues that are inherent of our time.

I decided to pursue my inquiry into identity through the specific lens of Trauma, whether it being physical, emotional or psychological. I am exploring how it affects one or more persons, and which strategies of survival can be found.

Mia Halton

Halton grew up in a family of artists, including her maternal grandparents and mother. She remembers her early art —making as both  a  refuge  and  a  way  to  make  sense  of  the  emotional vagaries of family life. During Halton’s years as an undergraduate, she encountered the work of Jean Dubuffet. He was a seminal discovery for her, for his ability to access the dark side of inner life, and direct use of raw materiality. Other painters important to Halton’s development include Jackson Pollock, for his intuitive layering of paint in over-all compositions, and Philip Guston for his bold drawing and existential examination of self.  

Color has played a crucial role in Halton’s work, moving from the pastel colors of her graduate student, to the darker palette of her postschool years, to her present use of jewel-like hues, often contrasting with fields of white. From the beginning the role of figures was central, ranging from cartoon-like, graphic images to more gestural forms. It is the pictorial space between the figures and forms that has continually evolved in Halton’s work.  

Her recent body of work displays a growing vocabulary of mark-making, a refinement of technique and a deepening psychological engagement. In 2013, a family tragedy precipitated her beginning to use clay. The physicality of the material allowed Halton to explore her emotions while also opening up to new ways of looking at the larger social issues brought up by the tragic event. 

She has shown extensively at the Orange County Museum of Art, Baltimore Museum of Art, Clayworks in Baltimore, OK Harris Works of Art, New York, Gallery K, Washington, D.C., Malton Gallery, Cleveland and Gomez Gallery, Baltimore. Halton’s work is in the collections of the U.S. State Department and Kenyon College, and numerous private collections. 

She was recently awarded the A.I.R. Vallauris in France, a solo exhibition at Stevenson University and will be a 2018 NAEA National Convention presenter.

Statement

Using humor and metaphor, I visually describe the vagaries and challenges of being human. I work quickly and with a sense of urgency. When I draw onto paper or scratch into clay I’m trying to make sense of the world, one figure at a time. They’re symbolic, players in a larger story. I use a cartoon-like style, reminiscent of children’s drawings. I don’t use a horizon line, specific light source, or other indication of time or place. The figures inhabit their own world and follow their own rules.

I’m an observer of human behavior. What drives us? What makes us tick? What happens during the all-important encounters that continually occur? How can I, using tangible materials and literal images, describe what can’t be seen? The figures are important but it’s what’s happening between them that I’m after. The “Shouting Sticks”, for example, have recently been used by a group of angry protestors who have put them down hurriedly after the march has ended.

Topics that resonate for me personally, and at the same time open up new ways of looking at social issues, are rich with potential. I begin with a large, compelling idea: “Women”, for example. I develop and research questions, investigating facets of the topic until I find a way in. I address questions such as, “Why do women not contest male sovereignty?” Choices of materials are determined largely by the ideas being expressed.

I’m looking for the power of numbers when I create large populations of sculptural or drawn figures. The sculptures that appear in the installation, “Pushovers Unite", based loosely on the old clown toy that comes right back up after being punched, are uniting in solidarity against oppressive forces and regimes. The hundreds of small faces in the “Encounters” installation are intended to show the significant similarities between us while at the same time, suggest the profound differences that, when addressed, can either unite or divide us.

Reconstructing Experiences: Interview with Lisa Wicka

Lisa Wicka received her BFA from the University of Central Florida, and MFA from Purdue University. Her work has shown both national and internationally in solo and group exhibitions, and is in many public and private collections. She actively participates in artist residencies around the world including Sparkbox Studios (Canada), Ålgården Workshop (Sweden) and Officina Stamperia del Notaio (Sicily). Her experiences traveling and living throughout the US have greatly inspired her practice. Wicka currently resides in Marinette, WI where she is the Assistant professor of Art at the UW Colleges. 

Statement

We live in the spaces... 

between past and present, 

between empty and occupied, 

between mind and body, 

between physical and virtual, 

between tangible and lost, 

between loneliness and love, 

between exposed and hidden. 

Through the breakdown and rebuilding of the in-between, my work mimics the everyday navigation of these realms. Temporary moments of clarity come together and fall apart, creating a self in motion, evolving through experience, place, failures and successes. My work is a surface where this dialogue becomes visible explorations of my surroundings and my identity, a surrogate self with limitless possibilities. 

Often referencing architectural spaces, wallpapers, and raw materials, my work brings into question the solidity and accuracy of things we hold true. Printmaking, drawing, and mixed media methods allow me to acknowledge my experiences, dissect them, and reconstruct them into something concrete, if only for a moment. 

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Interview by Sarah Mills

What are you currently working on? 

I am currently working on a new series of work Along the Way while continuing to work on my series, Focus. Along the Way is made up of fragments that incorporate patterns, textures, and in most cases, some little legs interacting with the construction. Focus is a series I started a few years ago, where I build miniature abstracted domestic spaces and photograph them in various locations. These photos then become a part of an interactive piece that invites the viewer to have their own intimate experience. (See short video clip.)

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What is the inspiration behind your current series? 

In my artist statement, I talk about my work as a surface where the dialogue between my surroundings and myself can take place, as if a surrogate form. With this new work, I am reflecting on transitional spaces, and how one functions in them. These spaces are in-betweens, such as trains, cars, etc… but I also draw connections to the space that exists on our digital platforms. Both types of space feel heavy and physical; they take up space and time and are often occupied, but at the same time can be lonely. This new series is about existing within them, recognizing their rules and limitations, and finding yourself (even if only temporarily) in those moments. A number of things have brought me to this series, but primarily it stems from my last three years in a fairly remote location in the Midwest. This being my first location post grad school, I went from having a network of artists, friends, and resources within my reach to having a lot of physical distance from these things. I am learning to rely more on communications online, staying up-to-date through Facebook, and other resources, and traveling whenever I can. This means that I am mostly isolated, with bursts of New York, Philadelphia, or Chicago, where I try to soak up as much of my surroundings as much as possible, as if I could store it like a camel. This approach has given me the time to reflect on both ends of this experience and evaluate this balance that we all try to create in one way or another.

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Tell us about your process when you start a new piece. 

At this point, very rarely am I starting a piece totally from scratch; I have built up a large collection of screen printed patterns, monoprints, drawings, wood shapes, etc. and they often make their way into my work. The patterns I create are often reflections of past experiences or are reminiscent of an existing pattern from my everyday. I work like a collage artist, so for the most part when I am drawing or printing my patterns, I am creating flat sheets that will be cut up, folded, layered along the way. My sketchbook is filled with shapes and notes more than anything, and I can pretty confidently say I never know what the piece is really going to look like when I start it. I have found this way of working allows the more controlling side of me to have a say in the creation of the individual collage pieces, then I rely on experimentation and instinct when I start to combine things together. I intentionally make room for happy accidents, which sounds strange, but that is the place where the good stuff happens.

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In your artist statement you talk a lot about how your surroundings and identity influence your work. Can you talk about some of the biggest influences in your life?

I think moving around and traveling has had such an impact on my work and my life. I have experienced small towns, big cities, and some in-between, and finding who I am in those places has challenged me to questions what is important to me: what to keep, and what to let go. For me, embracing the uncomfortable has offered me the opportunity to try new things, meet new people, sometimes fail, but learn more about myself along the way. I can see the fluidity in which I change from place to place, recognizing changes in career, age, and priorities. But each location also offers me the opportunity to try something new. This playfulness allows me to find new parts of myself and has become a very important part of my process. I work hard to keep embracing the uncomfortable in my practice; it is where I am the most vulnerable and honest.

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What advice would you give to artists looking to find their voice and technique? How did it happen for you? 

That is a big question! I think my suggestion would be to experiment and do what keeps you engaged. It took me a lot of work, writing, reflecting, and bad art to really start to feel solid about what I was doing. I thought for a long time that once I “figured it out” then I would be stuck in it, which scared me a little. For me, I have found a way of working that lets me move, experiment, twist and turn, while still staying true to what is important to me. Once I got to that point, I felt so much better because at the end of the day, if you are not interested in what you are doing, why would anyone else be? My way of working constantly gives me to new problems to solve, and I enjoy figuring them out.

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You work in multiple different mediums, is there a medium you are most drawn to? Why?

 Printmaking plays a large role in my work by allowing me to create multiple versions of the same image. I enjoy the spontaneity that arises through the print process. I can change colors, use painterly approaches and embrace the unexpected results that will later often get cut up, and mix and match with other images and materials. Outside of the process of printmaking, I enjoy working with materials that have a physicality to them and they often include some sort of building materials such as wood, house paint, or enamel, mixed with delicate materials, such as paper, gold leaf, wax, etc. The combination of these materials can feel solid and temporary at the same time. It is important to me that my work feels as if it is in motion, possibly coming together, or falling apart, and my choice of materials help to reinforce this concept.

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Because you use many different mediums, your series are all pretty unique. Is there one body of work that you are the most fond of? Why? 

This is a complicated question. Although some series may look unique, they are very closely related. Some are a response to a particular time or location, while an ongoing series can show the growth within a particular idea. I can appreciate both ways of working; I do feel I need to have some more spontaneous work along with the controlled because they reinforce each other. An example of this would be In-between series, which was made during the time I began the Focus series. Although this work does not look too similar, In-between allowed me to explore shape and space in a way that can be seen in the Focus series. There are also some repeated patterns between the two.

Susannah Montague

Susannah Montague was born in Peterborough, England and emigrated to Canada with her family when she was five years old. She graduated from Emily Carr University of Art and Design in 1996. She was also educated at the Ontario University of Art and Design and the Vancouver Film School. 

In 1996 the B.C. Ceramic Gallery awarded the artist studio space and kilns for one year as Top Emerging Ceramic Artist. 

During the next several years Susannah was involved in many Art Installations and design projects for Public spaces, night clubs, and restaurants in Vancouver, such as Shine, Lotus Sound Lounge, Ballantyne's and "C-Level Bar" for Norwegian Cruise Lines to name a few. 

In 1999, Susannah was selected as one of 30 founding artists for the C.O.R.E Artist Live Work Studios and she made this her studio and home. 

That same year Susannah also became a member of the International Alliance of Theatrical Stage Employees (I.A.T.S.E.) in the departments Sculpture, Prop Building. Susannah maintained this membership until 2009 and this gave the Artist the opportunity to work in sculpture on many major films such as the X-Men series and Night at the Museum

Working in film allowed Susannah to finance work on her personal sculpture projects and in 2005 Susannah was the recipient of a Canada Council Arts Grant. The grant was an honour that allowed her to dive into a series of ceramic sculptures building and studying the sphere. 

In 2007 Susannah and her husband moved to Bowen Island where she works full-time in her studio as a ceramic sculptor. Her and her husband’s life changed significantly in 2009 with the birth of twins. The artist now finds herself drawn to different themes particularly her perceptions of life, death and growth.

Statement

Susannah Montague is a British-Canadian ceramic sculptor who lives on an island off of the wild West Coast of Canada with her husband, two children, and a tutu-wearing terrier. 

Montague’s art is as humorous as it is subversive. Her pieces are a daydream in clay, wryly communicating the intransience of the human condition with a wink and a nudge. Stepping into her studio is like discovering an Eighteenth-Century Cabinet of Curiosity. Her art is a collection of shamanistic characters which imbibe the peculiar, scientific and mythical qualities involved in creation. Rollicking, cherubic figures wearing masks and antlers frolic among symbols of decay, in a world that is equal parts shadowy and lighthearted. Her lively sculptures are an amalgam of animal, human and object. Combined, the images evoke a whimsical narrative of folk tales, childhood fantasies, dreams, and nightmares. 

The artist draws on her deeply personal history to reference fertility and childbirth, using babies, blastocysts, and vanitas symbolism to convey a frenetic celebration of the divine comedy of existence. There is a precarious balance in her work between life and death, creation and destruction, innocence and corruption. The artist states, “These characters know much more than they let on.” Each individual sculpture is an island of ideas, a cluster of creative life-force/death-drive, and a barge of becoming. 

Montague’s medium is also her message. It’s fitting that her raw material is clay, taken from the earth, lovingly molded, fired, and finally made into deliciously delicate porcelain that will—inevitably—return to the earth. Ashes to ashes. This cyclical perception of time is enhanced by her rediscovery of a forgotten art medium, bursting with the floral blooms of a porcelain past and decorated with all the excesses of a lost century. Even as it is born, each piece has somehow curiously already died away. 

Ultimately, viewing a Susannah Montague piece is a bit like falling down a rabbit hole, and feeling in turns terrified and utterly charmed. 

Calli Moore

Calli Moore is an artist and curator based in Brooklyn, NY.  Born and raised in Iowa, Moore received her BFA in Painting and Drawing from the University of Iowa in 2014 and earned her MFA at American University, Washington, D.C.  in 2016.  

As an artist, Moore’s work deals with the physicality of paint as both a material and form, creating dense sculptural paintings that expand beyond the boundaries of the panel.  Moore’s abstract works incorporate a variety of materials (crystals, fabrics, acrylic paint, and foam), which extend her painting vocabulary through experimentation with non-traditional mark-making tools.  Moore has shown work across the United States and has held residencies at GlogauAIR in Berlin (2015) and the Chautauqua Institute, Chautauqua, NY (2016).  This past year, Moore exhibited work in several group shows including “Got It For Cheap” (The Hole, NY), “Soft Reboot” (PROTO Gallery, NJ), “3D IRL” (Galerie Manque, NY), “Four Steps To Self Help” (Small Editions, NY), and “No Vacancy II” (Squat Gallery, NY).

Moore is also the founder and director of See You Next Thursday (SYNT), an ongoing, weekly Instagram-based art auction featuring the works of emerging artists based in New York.  SYNT is a platform that provides the opportunity for artists to share and sell their work with a growing community of artists, collectors, and Instagram followers. SYNT directly supports independent artists who are in the process of building and establishing their career. The project encapsulates Moore’s passion for connecting and cultivating a community of artists.  This December 2017, Moore is curating an SYNT group show “Friends You May Know” at Ortega Y Gasset Projects in Brooklyn, NY.  

Addressing Modern Feminism: Interview With Andre Veloux

British artist Andre Veloux resides in Princeton, NJ with his wife and daughter. He recently showed at Scope Art Miami 2017 and is represented by the Krause Gallery, New York City, with a solo show booked for June 2018. His feminist work is defined artistically within the parameters of modern feminism, which is standing up for women and their rights and empowerment. It is standing against the patriarchal society and its male entitlement, which causes discrimination, oppression, and violence against women. His work, which is created entirely from Lego, is in private collections worldwide and has been shown in many group shows. 

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Statement

The focus of work is a feminist, gender equality, and women's rights project, which explores the way women are viewed and society's expectations of them. 

A series of portraits of feminist icons shows strong, powerful, and self-motivated women, some of whom have reached iconic status for their work and influence and in themselves are agents of change in society. Female icons are at the very forefront of the women’s rights movement because of what these women have achieved and the circumstances in which they achieved them. Women leaders in all fields, be it political, scientific, business, artistic or humanitarian, are under intense and constant scrutiny. 

A second series includes playful portraits illustrating the mask of femininity. Created from blending features of different faces to create a single visual, these comment on the constant demands on women to continually rebuild and renew how they present themselves. The fact that these artworks are created using building blocks that you can take apart and rebuild in different ways, plays on the ceaseless demands on women to rebuild the image they present to the world in order to gain acceptance. 

Included in the project are further sets of works, Freedom Without Judgement, Briefs and Panties, and Anti-Portraits. The first of which depict women's clothing and appearance, defending the right to present one's self freely without fearing harassment or intervention from others. In the second case, a series of diptychs containing a man's briefs and a woman's panties illustrate the different form, function, and expectation of men and women through the underwear they wear. The anti-portrait works, which show a woman's back, comment on the sexualisation of the female form, as well as demonstrate vulnerability and the lack of consent in being seen or perhaps imagined in this scenario. 

A series of small works, each of which is untitled but go under the umbrella of a series entitled Enthusiastic Consent, are direct in their meaning and interpretation: no means no, and only an enthusiastic yes means yes. 

The purpose of all these works is to raise the question about how society treats women today. The portraits speak for themselves; the other works are a counter balance to rape culture. This is artwork, but the message is the same: women can be and dress how they like. Sexism and being sexist is such an accepted and normal part of patriarchal society. If that is the emotion the works generate, then it is a validation of the work, because it never takes away from the purpose, which is to defend women's rights. 

All of the works are made with commercially available Lego bricks. Lego, in all its various forms, is at the same time limiting as well as limitless in its possibilities. The color palette is limited yet consistent, and the basic “pixel” size is also fixed. Yet at the same time, it is a hard, durable, tactile and lightweight material; it can be reused, replaced and altered at will, and provides a myriad of different possibilities, due to the different available shaped bricks, tiles and plates, with the exciting opportunity to create the 3-dimensional and textural aspects of the art. 
 

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Briefly tell us about your journey as an artist.

When I first began experimenting with Lego I worked on simple mosaics, I quickly moved to more photo realistic ideas. Over several years I developed techniques and ways of working with both low resolution and a bright colour palette. I was then able to focus on my message, which was women's rights and the treatment of women in today's society. After showing in group shows, I was picked up for representation by the Krause Gallery in New York. We worked together on group shows and then a solo show. More group shows followed, and in December I showed at Scope Miami with Fort Works Art.

When did you first begin exploring feminism and gender equality in your work?

For the first couple of years when I was experimenting, I worked on any ideas that I could make work with the limited palette and very low resolution that working with Lego means. As I learnt how to manipulate these two aspects I was able to turn my attention to promoting the feminism message. I began with the feminist icon portraits, but not wanting to be limited to only portrait style works I then explored other ideas, specifically because at that time my daughter was grappling with such issues as school dress codes. This led directly to the Freedom Without Judgement series and then to the other themes of my feminist work.

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What do you hope to convey to the viewer through your art?

The feminist portrait pieces speak for themselves, they inspire because of who these women are and what they have achieved in the face of discrimination and misogyny; they have come out on top and inspire other women to do the same.

The other works are a counter balance to rape culture and the treatment of women today. It is art but the message is the same, women can be and dress how they like. Sexism and being sexist is such an accepted and normal part of patriarchal society. This may be the emotion the works generate in the viewer, in that case, it is a validation of the work, because it never takes away from the purpose which is to defend women's rights.

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Tell us about your choice of materials. What inspired you to create with Lego pieces?

I was looking for a medium with attributes that would produce an artwork that has a physicality to it. Lego is tactile, durable and rebuildable. I also wanted to be able to create something that would use the best of my digital art and computer skills. The bright colour palette began as a challenge but has become a signature feel to my work.

Share your thoughts on art and activism. What should artists be doing more of to promote positive changes in our society?

It's up to every individual to decide what they want to do. I can only say where I stand on art and activism. For me they are absolutely linked, it begins with the art, but it continues into being visible and vocal about these issues. I want to challenge accepted thinking, and I hope that other artists do not feel afraid to speak up in today's society.

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Describe a typical day in the studio.

There are two distinct aspects to my work, the design phase, and the building phase. I generally work on building in the morning. My energy is high and although it may not look like it, it is actually physically tiring. It is a constant motion pressing down the bricks as well as moving around finding the right bricks.

The rest of the day, if I feel like designing, I will sit down at the computer and work on ideas. Frequently Lego supplies are either being sourced or they are arriving and they need to be checked and sorted. There are emails to respond to, instagram and all those social media things.

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What are you currently working on and what should we be on the lookout for this year?

I'm working on a series of new works for a solo show at the Krause Gallery in June. I'm particularly excited about some larger pieces for my Enthusiastic Consent series which I have not tried before.

I also have a new public location for my Mask of Femininity: Feminist Portraits installation, I am preparing the works for that, as well as planning a workshop and working on my talk as part of the accompanying events. Advocacy is very important to me, and public events have become a very important part of my work.

Jessica Hunt

Jessica Hunt was born and raised in St. Louis, Missouri, where she presently resides. She is currently a second year MFA candidate in sculpture at Southern Illinois University Edwardsville. She has shown in several regional Midwestern galleries including the Cedarhurst Center for the Arts and the Mildred M. Cox Gallery. Most recently she received the Dennis deToye award for her public sculpture, "She is Here" from the juror and international artist Afruz Amighi.

Statement

My objective as a sculptor is to provide a stimulus for critical thought and conversation about the ways in which we develop and age in our private lives, relationships and our understanding of self. By harnessing personal experiences, often associated with domestic spaces and rites of passage—such as birth, marriage, divorce, and death—I create subjective narratives in my work in search of universal meaning. This work is not only an attempt to unpack the complexity of emotional tension and joy that exists within our relationships to self and others, but also to reflect upon the ways we relate to one another as people.

This body of work has a tendency to manifest these concepts in two ways—one literal and one metaphorical. In the literal exploration, an individual private life is made public. Objects are directly pulled from someone’s life and are reincarnated to kill off their prosaic existence. This may mean I highlight a part of a mother’s private journal by transferring it to a new skin, adhering it to stone and elevating it, provoking the viewer to reconsider its meaning. By isolating an aspect or nuance of a seemingly mundane domestic life through the use of these objects, I hope to create something more significant. While the work is rooted in individual subjectivity—like the words of an exhausted and insecure mother—there is room for the recognition of shared experience.

The second manifestation is through my use of metaphor. These sculptural objects range from representational figures to abstract bulbous forms to soft internal sculptures that feel familiar, yet are at the same time unrecognizable. I create forms that simultaneously feel sexual and asexual, humorous and sobering, comforting and grotesque. The objects are often skinned with a floral paper, which, in addition to placing them in a domestic setting, acts as a metaphor for what we can put on, hide in, shed off and that which we cannot avoid. In both scenarios, my aim is to provoke viewers to reflect on their own private life, relationships, and the presence of self.

Drew Leshko: The Only Constant at Thinkspace

DREW LESHKO THE ONLY CONSTANT JULY 8 - JULY 29, 2017 Opening Saturday, July 8, 2017 on view in the Thinkspace Project Room is The Only Constant, featuring new sculptural pieces by Philadelphia-based artist Drew Leshko. Leshko's highly detailed sculptural works in paper and wood depict architectures and urban spaces, combining a documentary impulse with a nostalgic desire to immortalize the overlooked and the forgotten recesses of the cityscape. Made to scale at a 1:12 ratio, these miniaturized buildings, replete with every imaginable authenticating detail from signage to refuse, are inspired by the artist's immersion in the onslaught of urban change. In an attempt to preserve the structures and histories of his home city, Leshko creates painstakingly detailed pieces based on photographs and hewn from memory. From gentrification to historic preservation, the artist explores the city's momentums of conversion, destruction, and conservancy. Leshko's phenomenally technical works are about transformation and safekeeping. Unassuming buildings, often neglected and bearing the vestiges of their past prime, are somehow reconstituted when miniaturized. The artist deliberately plays with the transformative potential of scale. When preciously fabricated, these minutely detailed works become valued and rarified facsimiles of an otherwise forgotten or degraded original. As depictions of real spaces, Leshko's work is an archive of time and place, in one sense, in that it captures the specificity of an actual moment. But it is also something of a homesick dedication, elevating an otherwise forgotten and "un-special" remnant of the city's ongoing, and irrevocable, pace of urbanization. The only constant is…

Jourdan Joly

Jourdan Joly is a multi-faceted artist and sculptor based wherever his next project takes him. With a BFA from Florida State University and MFA from the University of Georgia. Jourdan is always experimenting, seeking to discover, and push his studio practice further. His sculptures vary in medium and materials but are unified by illusionary and surreal qualities. From complex assemblages to kitsch ice cream towers Joly's work is fun, playful, and will leave you wondering how it's done. 

Rómulo Celdrán

Hi-RES is the title of a new series of works in sculpture and painting that explore visible reality through the analytical lens of 3D computer modelling.

Hi-RES delves into relationships between the art object that takes visible reality as its point of reference, and the boundaries of verisimilitude between observable reality, art and science.

Surely it can be said that since the invention of photography, and more specifically since that historic moment when visual artists discovered photography as a reference for looking at reality in a manner that is, shall we say, indirect or alternative, everything changed in the use they began to give to that referential reality.

As my friend, the artist Pipo Hernández Rivero remarks, from that point on artists began to paint not reality, but an intermediary. Of course, this intermediary was none other than photography.
This interesting observation largely gave birth to HI-RES. Considering it closely, it’s true that since that historic moment – and increasingly to the present time – we, artists who seemingly use visible reality as a reference in visual creation have long ago mostly stopped using that reality and instead look at what photography tells us about that reality; to the extent that just a very small percentage of contemporary artists continue to paint reality in the strictest sense, and “paint from nature” as this was called at one time.

Having reached this point, and with more than a century and a half in the existence of photography, the question could be, what is the technological successor to photography? Or at least, what is the successor in terms of the generation of imagery based on the still capture of reality by technical or technological means? (In a sense, we can say that this is what photography did or does). Therefore, what may be the generative successor to that intermediary?
HI-RES proposes that 3D scanning and 3D models in general constitute the new intermediary to look at.

Just as photography did with the two-dimensional still image and film did with the moving image, the current digital technologies that are used to generate 3D image models are revolutionising the way we look at reality, understand it and relate to it. Whether it is the world of 3D scanning, photogrammetry, 3D design or any of their multiple forms and applications (technical, medico-scientific, recreational…) the 3D digital model shows us a reality beyond reality, a hyper-real reality.

HI-RES is organized into three main groups of paintings and sculptures: SolidVoxel and Mesh.
They all correspond to different modes of visualization of 3D models in the use of the programs that manage them.


These modes go from the more or less accurate visual register of what we identify as the “real” appearance of the object, as in Solid, to the virtual interpretations that are furthest from this appearance and enter into the terrain of image processing and construction through voxels (cubic pixels) as in Voxel, or polygons as in Mesh.

Through their specific aesthetics, they all reveal a particular manner of capturing and processing visible reality subjected to the scrutiny of the scanner. And so, it is for Mesh and Voxel where this capture and processing clearly reveal the internal “thinking” logic of computer processes developed to generate these 3D models and their existence in a virtual environment, governed by the laws of analysis and processing of this fascinating technology.

With HI-RES I would like to show my complete fascination with the 3D virtual world, its capacity for analysis and plasticity, and I intend to use it as a valid reference for pictorial and sculptural creation, and elevate its visual qualities beyond its obvious technical functionalities.

http://www.romuloceldran.com/

Victoria Rose Martin 

My work is a reflection of life. The pieces are memories of people, places and things I have known. In the small faces, I can see members of my family, people I once knew, and even myself. The work tends to be whimsical with a slightly dark under current. My sculptural forms are hand built using lowfire clay. My art is collected both nationally and internationally. It’s in the permanent collection of the Cafesjian Center for the Arts, Armenia. I’ve shown my work at SDC London, England Pence Gallery,

Davis, CA, the Clay Studio, Philadelphia, PA, the Florida Craftsmen, St Petersburg, FL, and the Piedmont Craftsmen, Winston-Salem, NC. My sculptural work has appeared in the books/publications: Doll Master (Russia), Ceramics Ireland, The Art of the Contemporary Doll, 500 Figures in Clay, The Ceramic Design Book, 500 Handmade Dolls, and Art Doll Quarterly.

I am a full time Professor 1 and Department Chair for Fine Art and Graphic Design at Palm Beach State College, Lake Worth where I teach both fine art and graphic design courses. I have earned two separate Master’s of Fine Art in Ceramics and Printmaking and earned a Summa Cum Laude B.F.A in Graphic Design and Illustration from the University of Miami. My students have won international awards for their work.

During the summer you will find me sketching in several of the great museums of Europe because travel is my other passion. The past few years I have visited: The Louvre, The British Museum, The Reina Sofia, The Van Gogh, The Rijksmuseum Museum, The Hermitage, The National Museum of Scotland, The National Portrait Gallery, The Tate Modern, Britain, and Liverpool to mention a few.

www.victoriarosemartin.com

Sylvia Troconis 

Sylvia Troconis is a Venezuelan self-taught artist based in Austin, Tx.

After a brief career as an attorney, she disruptively decided to break many paradigms and chose to follow her calling as an artist. She shares this life with her husband and best patron, her baby, and dog.

Statement

My entire process has a recurring theme: “To Discover”. I’ve always wondered what it would be like to be a kid during adulthood; to be a child while keeping our adult skills in reason and understanding. What it would be like to keep a child’s sense of wonder while being conscious of our own sense of amazement. In all my line of work, I use a theme that suddenly comes to my mind, study it, and then develop some of the concepts into my visual proposal.