Posts tagged Sculpture
Monumentalization of the Human Form: Interview with Lauren Carly Shaw

Interview by Sarah Mills

Lauren Carly Shaw (American, b.1986) is an artist currently based in Brooklyn, New York. Primarily working with sculpture, Shaw utilizes various mediums such as synthetic hair and glass to represent the female human body. Her work has been exhibited internationally, in Barcelona, New York, San Francisco, and New Jersey. She has had solo exhibitions at The Active Space, Brooklyn, NY (2013) and as a 2014 Sunroom Project Space Artist in the Glyndor Gallery at Wave Hill in the Bronx, NY (2014). Shaw has participated in residency and intensive programs across the world most recently at the Vermont Studio Center, Starry Night AIR program, and Metafora, in Barcelona, Spain. She received a BFA in sculpture from the School of Visual Arts 2009 and an MFA focusing on New Genres from the San Francisco Art Institute in 2016. 


My work investigates the nature of the human form and the monumentalization of the individual. I compose sculptures and installations in order to fully consider the body as an object. Surreal and imagined elements within the works and throughout the spaces they occupy create illusions and perceptual shifts in the way we view our own bodies. This abject and bizarre universe allows a disassociation from a pre-constructed reality, Anatomy, and emotion.

I create anthropomorphic forms to explore facets of feminism and historical unconscious. The surfaces of these fictionalized realities are representations of the thoughts, feelings, and psychology of our bodies. While alluding to a loose narrative the figures, cast replications, or prosthesis become equivocal while simultaneously paying particular attention to the uncanny nature of their human likeness. Seemingly floating, climbing up walls and floors, confronting the viewer, or interacting through digital media the objects appear to exist in an abject and bizarre alternate universe somewhere between birth and collapse.


When did you become interested in sculpture and the human form as a subject in your work?

I have always been interested in sculpture and the human form. I started making sculptural work while an undergrad at the School of Visual Arts in Manhattan. I was studying graphic design and took a 3D class as part of the requirements for that program. It became quickly apparent to me that I was not interested in working strictly digitally and needed to get my hands dirty. The human body has always been my main subject of investigation as I am interested in the disconnect that happens when a human form becomes an object. When presenting a sculpture that is objectively human in its physical properties, I aim to challenge the idea of what makes a person human. Is our notion of being human tied innately to the physicality of our forms? How are these objects given intelligibility with the viewers own unique experiences?


In your statement you talk about your use of synthetic materials and how they act as a channel for your viewer to challenge their own form, when and how did your interest in that idea begin?

I started using synthetic hair for the series Hairy Ladies as a way to further remove the sculpture from its ties to the human body. I wanted to infuse a figurative sculpture with a sense of the uncanny. I liked the idea of using something that isn’t actually from the human body but speaks to its presence. Albeit superficial, this abject element adds a life-like quality to the figures. The use of fake hair also references beauty standards, vanity and the extreme lengths people go to in order to make themselves beautiful in accordance with societal standards. These works are an exaggeration of that in some aspect. Additionally, there are a number of beauty stores in the neighborhood I live in and after walking by them a number of times I became interested in this culture of exaggerated vanity.


How does your process change when creating instillation-based work verse small sculptures or drawings?

Installation based work takes a lot more planning and time to flesh out as they typically incorporate some of the smaller sculptural works. In the past, my installations have been very narrative and methodical in their construction. I start by making a figure and create an otherworldly environment for it to occupy. The smaller sculptural elements help to displace the viewer from their own reality. By situating a figure in an environment and surrounding it with surreal objects, I am able to disassociate our given reality and create a new, unique environment for the objects to exist in. The smaller works do take a generous amount of planning and time as well, but putting them together is much more technique based. Once I have sketched and settled on the final shape and material of the smaller pieces, it really is a question of figuring out how to make the original and mold. Mold making is tricky, it takes some time to figure out how to best break down an object for molding and casting.


What are you currently working on?

Currently, I am working on a large immersive installation that will incorporate elements of sculpture, performance, video and augmented reality. I want to take the idea of installation to the next level and create an environment that makes you question the reality of what you are looking at. I've made a figure and smaller objects and have begun to create the environment that they live in.


What links all your work?

I rely on the figure as a signifier in my work and rarely make sculptures or installation that does not have some sort of figurative element. I also typically work life-sized which helps the various projects communicate in a linear way.


How do you run your studio practice? Do you have any advice for our readers about a healthy studio practice?

I need to spend consistent time in my studio in order to focus conceptually as well as materially. I like to work in large chunks of time (8-10 hours straight) for a few days consecutively and then take a day or two away from the studio to step away from the work. I can get nitpicky and a bit obsessive when working and I think its equally important to take the time to walk away and take a breather. It is hard for me to think clearly when I'm too close to the work. Since my sculptures are figurative and a lot of them are made from molds of my own body or in my own likeness, they easily become an extension of myself. It's important for me to remove myself from the work. I think it is paramount for artists to have interests and hobbies outside of the studio and the arts to have a healthy work/life balance. I find the hobbies, jobs, interests, and distractions I have from my studio are like palate cleansers. They end up giving me the space I need to think clearly and inform the work in the long run.

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What is the most rewarding part of your creative practice?

Without question, the most rewarding part of my creative practice is when I see someone engage with my work in a meaningful way. I did a series, Large Children Having Lost Their Heads, a few years ago that are balloons with faces on them. When installed, they look like actual balloons. I had an installation with about ten of them, and a family came through. The two children immediately went up to the balloons and tried to pull the ribbon as though it was a real balloon. They were a little confused when they realized the balloon was a sculpture and not a balloon, but then they caught the faces and started giggling uncontrollably. There is nothing better than putting a quizzical smile on a curious face.

Lindsay Hall

I create colorfully titillating work revolving around the body, food, and sexuality. Pleasure, desire, and sensory stimulation are activated through opportunities for transformative and emotive experiences. I engage these ideas through the interplay of suggestive forms, materials, colors, and textures, resulting in strangely beautiful and oddly satisfying pieces and installations. Palpable and personal memories of things innocent and erotic, tasty and visceral, intimate and shared, are regurgitated and reinterpreted through an intuitive process that results in each candy colored morsel. Shame and awkwardness are sugarcoated with a provocative playfulness and sensuality is nuanced with humor. The alluring components and scenes are amalgamations of both the foreign and the familiar and can be interpreted as both micro and macro, internal and external, corporeal and temporary, coalescing in decadent fantasyscapes brimming with delectable offerings.

A West Coast native, Lindsay Hall is an interdisciplinary artist currently based in Las Vegas, Nevada. She received a MFA in Painting from Indiana University in 2016, as well as a BA in Painting and Drawing (2012) and a BA in Journalism and Media Studies (2010) from the University of Nevada, Las Vegas. Her work has been exhibited nationally at venues such as the University of Nevada, Las Vegas, the Janet Kurnatowski Gallery (New York), the New Hampshire Institute of Arts, Kent State University (Ohio), Indiana University, the Target Gallery (Virginia), Fort Works Art (Texas) and Ventolin Art Space (Australia), and is featured in Volume 38 of Studio Visit magazine and Issue 2 of Hiss Mag. She has co-curated group exhibitions in Indiana and New York. Lindsay received the Ilknur P. Ralston Memorial Award in Visual Arts in 2016. She was awarded the Post-Graduate Residency Program at the Torpedo Factory Art Center in Alexandria, Virginia in 2017. Lindsay is currently preparing for a solo exhibition in Florence, Italy as a selected artist for the XII Florence Biennale in 2019.

The Power of Imagination with Shamona Stokes

On this episode of Art & Cocktails, Kat interviews artist Shamona Stokes about her creative journey and how she overcame her fear of being an artist.

Shamona Stokes (b. 1980) is a ceramic sculptor from Jersey City, New Jersey. She holds a BFA from Pratt Institute in Brooklyn, NY (2002). Her iconic sculptures explore the archetypes and imaginary figures of the subconscious.

In 2017, she presented her first sculptural collection, “hypnos”, at Allouche Gallery, NYC as one of the regional semi-finalists in the Bombay Sapphire Artisan Series. In just two short years, Shamona has gotten wide exposure and has shown at venues throughout the country including art fairs during both Armory & Frieze weeks (NYC 2018) and, most recently, at the SCOPE Art Fair during Art Basel (Miami 2018) where she exhibited with MUTT Collective.

Support Shamona’s big project on  Kickstarter .

Support Shamona’s big project on Kickstarter.

Soojin Choi

Collage is very similar to poetry. Images are used like words of a poem that transcend their original usage and form creative, imaginative, but not universal mediums of interpretation. Poets sculpt words and structure them into a poem. I choose images and arrange them into artwork. Where and how images get placed is the way to create the relationship that entails unique expressions.

Space can be used as a setting and also as an object by utilizing the interaction of images within the composition on both two and three-dimensions of my sculptures. Space consists of two-dimensional surface, three-dimensional structure, and negative spaces. In my artwork, there is perspective on surfaces, there are flat images on voluptuous structures, and silhouettes exist between the surfaces and structures. Spatial recognitions are made when they multiply and coexist within relationships of each other. By repeatedly layering flat and structural components I bring images and enumerate them into existence. I assemble space and parade them into a poem in the name of art.

Soojin Choi

Hidden Nature: Interview with Darko Vuckovic
Talent is a good advantage, but it brings us to our goal only if nurtured through constant work.

Vuckovic was born in Podgorica, Montenegro and graduated from Faculty of Fine Arts in Cetinje in 2001, in the class of professor Dragan Karadzic, painting department.

From 1999 to 2000, he attended L’ecole Superrieure d’Art du Grenoble, France, where he started to experiment in computer-generated imagery, photography and experimental sound.

In 2012, he completed specialized studies, painting department, at the Faculty of Fine Arts in Belgrade, in the class of professor Zoran Vukovic. He has been a member of ULUCG (Association of visual artists of Montenegro) since 2002.


The Heraldry of Nature (Imprints and Traces)

Every shape in the visible nature, the smallest as well as the biggest, is revealed as harmony. 

The Māori from Polynesia had the word “mana” for expressing the unity of things, the strong feeling that life is a unity in which not only gods, people and all living things partake, but also things that to us seem dead. “Mana” thus represents an immediate experience of the “sacred force that permeates life”. All of their art is filled with spirals as visual displays of the force. They were engraved into wood and stone, painted, or even tattooed on the body. One can find identical spiral motives in many other parts of the world, some originating from prehistoric times.

In nature we find the spiral movement in the structure of the DNA molecule, as well as in the spiral galaxies. The “murmur” of the cosmos is expressed through shape, just as fine sand placed on a string instrument makes precise geometric shapes when one plays a tone.

György Doczi, a Hungarian architect from the early 20th century, discovered the same mathematical laws at the basis of architecture, the elements of landscape, the anatomy of humans, animals and plants, the tone scale, the rhythm in poetry, prompting him to introduce the concept of a dynergic pattern“.

The displayed works have a common thread. They represent different imprints of the universal energy flow, which is visible just partly. This energy weaves tirelessly behind the curtain of the material world, maintaining it and driving it. The idea once obsessed J. W. Goethe (Essay on the plant), and later Rudolf Steiner when he speaks about the active spiritual reality, deeming it the cause of what we perceive with our outer senses. The wide field of his work and his views had a profound impact on art: the works of Kandinsky, and later Joseph Beuys, among others.

Occasionally, the hidden, dynamical and changeable nature finds its artistic expression and displays itself in physical form. That is why I consider myself only as a formal author of these works.


When and how were you first introduced to working with ceramics?

I started doing ceramics about ten years ago. Considering I received a degree in painting, the main techniques of my artistic expression were drawing, painting, photo collages. A set of circumstance led to my sharing a studio with some sculptors. This was a decisive factor for my gradual shift to ceramics and getting to know its secrets. Ceramics enabled me to add a third dimension to the visual images I created. I was and still am fascinated by the possibilities it offers, which are practically inexhaustible.


What inspires your work?

Inspiration is something that is in my case spontaneous, which arrives the moment I start communicating with the material, in this case with clay.

There are certain conditions that have a positive effect on achieving a required state of sensitivity when creativity can be expressed in the proper way.

Frequent trips to nature contribute to this state. The rhythms of nature and its changes are somewhat similar to the rhythms of the forms I create. My forms are organic and changeable, almost natural.


What is your process like when you start a new sculpture?

In most cases, I don’t have a clear idea and plan about what I wish to accomplish because I want to leave open the possibility of a surprise.

I allow the forms to change by their own inner rhythm and impulse. This is probably the main reasons why the technique has been holding my interest for so long. Later, after the first round of baking clay, some additional effects are made with texture and glaze, making it even more interesting. Sculptures are often baked multiple times in a row until the desired effect is achieved.

Below is the link for my short film on clay and an ancient method of sculpture making. The film was screened at the AVI Fest - Short Film Festival 2017, where it won the first prize.


Who are some artists that inspire you?

It used to be Hieronymus Bosch and Flemish painters. Afterward, surrealists like Max Ernst, the metaphysical painter Giorgio de Chirico, but also M.C. Escher.

As for sculptures, I am most fascinated by the sculptures by Joan Miro and some works by Joseph Beuys.

These are the artists whose work always leaves an impression on me.


What has been the most challenging aspect of your career thus far? How did you overcome it?

The greatest challenge is persisting in doing what one loves. It isn’t always easy. It means not compromising what one considers truly worthy of doing. Like the moment I left my steady office job as a graphic designer so I would have more time for my artwork. It often means entering a zone of economic instability. These decisions bring many questions, doubts, and dwellings, and one needs to learn how to cope with that. It becomes easier as time goes by.


What would you say your greatest strength is as an artist?

For me, art is something that gives meaning even at times when we cannot find it in our surrounding, in the outer world. The fact itself is encouraging and gives strength and motivation. For me, that is enough.


Do you have a piece of advice you have received that you would like to share with our readers?

There is good advice in the tale about Aladdin. It says that if you rub the lamp long enough, a genie will appear. The lamp represents us and our unnurtured talents. This means that if we are persistent and focused, results are inevitable. Talent is a good advantage, but it brings us to our goal only if nurtured through constant work.

Leslie Fry


My sculptures and works on paper are inspired by basic human needs: food, shelter, clothing, and love. The intersection of the natural world and the human-made world drives my work.  Images of the projected-upon female body run through my art – based on my own body’s experience of the world and on ways women’s bodies have been controlled throughout history.

I draw, print, model, and cast by combining organic materials such as plants, paper, clay, and fabric with plaster, concrete, metal, and resin. Recent works on paper (submitted to Create! Magazine) have taken on new lives as animations. See the videos at

 Diverse influences come from literature, psychology, mythology, and the visual arts, ranging from the body/spirit experience of medieval architecture to the theatrical narratives of William Kentridge.


My art has been exhibited in museums and galleries across the globe, including Artists Space in New York; Kunsthaus in Hamburg; Hangaram Art Museum in Seoul; Windspiel Galerie in Vienna; Couvent des Cordeliers in Paris; deCordova Sculpture Park and Museum near Boston; and Centre des Arts Visuels in Montreal.

Public commissions in New York, South Korea, Montreal, Florida, Wisconsin, and Vermont have been specific responses to architecture, history, and landscape. Public collections include Tufts University, Songchu International Sculpture Park, Kohler Arts Center, Tampa Museum of Art, Fleming Museum, Kent Museum, and St. Petersburg, Florida’s Museum of Fine Arts.

Born in Montreal, I earned a B.A. from the University of Vermont, an M.F.A. from Bard College, and attended the Central School of Art and Design in London. I live in Winooski, Vermont.

Lael Burns


Artist Statement

Drawing from my personal spiritual experiences and daily life as a mother, my work investigates the way playful craft materials such as glitter, fabric, and pompoms can be manipulated with other fine art components as a means of exploring connections between the visceral, graphic, sublime, and carnal. The organic forms I describe are synthetically adorned organs, wombs, and hearts that display the external evidence of internal rebirth and are a physical manifestation of things intangible and infinite.  

I utilize material and sensory experience as a means to explore meaning. Material is worked until there is a shift into another realm: fabric becomes flesh, a sack, or an embryo, pins become candy, paint becomes a skin of strawberry ice-cream or bubblegum, a pom-pom becomes a microorganism or disease. My work strives to have a visceral presence by virtue of formal aesthetics, often riding the line between what is beautiful, grotesque and delicious.  This speaks to various dichotomies I often reference in my work, such as light and dark, spirit and flesh.


Lael earned her BFA from Southern Methodist University and her MFA from the University of Iowa, both with a concentration in painting and minor concentrations in printmaking and sculpture. She exhibits of her work extensively both locally and nationally. Her work has been written about in Peripheral Vision Arts Salon 2017, Studio Visit Magazine, Art Habens Contemporary Review, and on the International Fine Arts Fund and Create! Magazine blog. Lael has taught at the secondary and college level and currently lives in the Dallas/Fort Worth area with her husband and children.

Fukuko Harris

Fukuko Harris was born and raised in Tokyo, and she currently lives and works in New York City and Montauk, NY.  She received her MFA from the New York Studio School of Drawing, Painting and Sculpture after studying at Parsons School of Design and Marymount College. Her paintings, sculpture and works on paper have been exhibited in numerous two-person and group shows around the US, including at The Painting Center, in New York, City; Trestle Gallery and 440 Gallery, in Brooklyn; Marquee Projects Gallery, in Bellport, NY; Gestalt Projects, in Santa Monica, CA; Vivid Space, in San Diego, CA; Chabot Fine Arts in Providence, RI; and The southern Nevada Museum of Fine Arts, in Las Vegas, NV. Harris’s work has been featured and reviewed in a number of publications, such as Art Slant, ArtMaze, Fresh Paint Magazine, Hamptons Art Hub, and Two Coats of Paint, and she has received several prestigious awards, including the New York Studio School’s Hohenberg Travel Grand and. Her works are featured in many private collections, as well as in the permanent collection of The Southern Nevada Museum of Fine Arts.


Generally non-representational, my works convey something I have witnessed, sensed, or otherwise experienced in my lifetime. I might start from an idea or image of a structure, conceptual or physical, or sometimes from a mood. I begin by working intuitively with a few colors in mind, and then explore compositional or structural possibilities with more forms and colors, or by various arrangements of my preferred marks. Sometimes it's simply the accumulation of materials that leads me along.

 In my paintings and works on paper, I don't start with plans or ideas of what they will look like in the end. My goal is to be able to take a ride into the unknown space. It does not always happen, but when it does, unexpected and accidental things occur along the way, often leaving my artworks looking curious, inexplicable, or awkward.

I prefer organic forms and imperfect lines. I often choose bright and vivid colors along with monotones and various kinds of marks. I like to employ pattern-like elements in my mark making. My lines vary from wide to fine, or from gestural to quite controlled, and they always have a manual aspect. When my marks are gestural, the gestures are calm. When they're controlled, they’re not sharply delineated. I also frequently use collage applications in my smaller paintings on canvas, or in my works on paper. For these, I like to incorporate pieces of patterned textiles, repurposed canvas or paper cutouts. Such pieces break the bounds of the picture plane or provide an overall irregular shape to the whole surface. Often these works become wall sculptures.

In my sculptures, I am still driven by color and shape, but it's predominantly the extra dimension that unites these elements. I make my own objects or use found ones, and materials might include clay, plaster, paper, wire, fabric, yarn, wood or various recyclables. I then cut, paint or modify them. The materials are often small, and at times I like to work on these pieces in relation to each other. I build shapes upon shapes and materials upon materials until the objects seem to attain their own identity in the sculpture. As in my paintings and other works, the colors are often very bright. 

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Hein Koh
Image Courtesy of Hein Koh

Image Courtesy of Hein Koh

Hein Koh is a distinguished artist who lives and works in Brooklyn, NY. She graduated from Dartmouth College with a dual B.A. in Studio Art and Psychology, and received her M.F.A. in Painting from Yale University. She is a recipient of a Mid-Atlantic Arts Foundation Grant, and an Artists in the Marketplace residency at the Bronx Museum of the Arts. Her work has been reviewed in Artforum, Art F City, Time Out New York, Hyperallergic, and The Brooklyn Rail. She has also received additional press in The New York Times, The Wall Street Journal, The Atlantic, The Huffington Post, and The Washington Post, among other publications. Hein has also taught and/or lectured at the California College of the Arts, Tyler School of Art, Dartmouth College, Maryland Institute College of Art, and the School of Visual Arts, among other institutions.

Most recently, Hein partnered with Art Production Fund on a public art installation called “Braving the Cold” featuring a variety of soft sculptures and digital drawings on display at Rockefeller Center. The works are saturated in passionate colors with a heavy surrealist streak. “Braving the Cold” will remain on view through April 15th. Hein is also currently working on a public art commission for the Bronx Children’s Museum, which is slated to open in February of 2020.

Image Courtesy of Hein Koh

Image Courtesy of Hein Koh

Image Courtesy of Hein Koh

Image Courtesy of Hein Koh

Image Courtesy of Dan Bradica

Image Courtesy of Dan Bradica

Image Courtesy of Dan Bradica

Image Courtesy of Dan Bradica

Image Courtesy of Hein Koh

Image Courtesy of Hein Koh

Image Courtesy of Hein Koh

Image Courtesy of Hein Koh

Ana Wieder-Blank

Ana Wieder-Blank is a contemporary artist working in oil painting, ceramic sculpture, installation, and performance. Her current project is a modern re-interpretation of world mythology from a distinctly feminist perspective, centered on the definitive stories of womyn protagonists such as Greek demigoddess Persephone and Dinah from The Book of Genesis. Employing bold colors and hefty layers of buttery oil paint mixed with impasto paste and cold wax, she re-contextualizes classic tales about rape, marginalization, and identity for modern audiences, delving into each character’s transformation from child to victim to activist. She alters, distorts, and extends their narratives to create contemporary political allegory. In her current exhibition ‘The Fairytale Protesters’ at Honey Ramka, paintings such as Badass Womyn (Dinah, Kali, and Persephone) Tear Down the Statues of Murderers and Rapists reference recent historical events including the Charlottesville white nationalist rally, the Pittsburgh synagogue shooting, and Dr. Christine Blasey-Ford’s testimony during the Kavanaugh hearings.

As explained by Wieder-Blank: “The Fairytale Protesters uses characters from Torah mythology, Greco-Roman mythology, Hindu mythology, and Eastern European fairytales to explore ideas of otherness and community. These characters are strangers in their narratives and their bodies; isolated by gender, belief systems, queer sexuality, and untypical bodies. They are lesbians, trans, and genderqueer, fat and differently-abled, mutilated, and heroic, bruised, and bloodied in service of their cause. Together they are a powerhouse of protest, united by the things that isolated them.”

‘The Fairytale Protesters’ is on view at Honey Ramka Gallery now through February 24th.

Ana Wieder-Blank received an MFA from Pratt Institute and a BA from American University. She has exhibited nationally, and mounted three solo exhibitions with Honey Ramka Gallery in Bushwick. She is the recipient of multiple residencies and fellowships including a Nancy Graves Foundation Fellowship for her 2016 residency at the Millay Colony. She has been a resident at CalArts, Vermont Studio Center, Alfred University and more.  She has received reviews and interviews at The Brooklyn Rail, W magazine, James Kalm Rough Cut, Tablet magazine and more. Ana Wieder-Blank was a 2016 Joan Mitchell Grant Finalist. She is a Fellow of the Sharpe-Walentas Studio Program.

Beth Solin

OUT ME IN ME OUT ©, my new Five-Part Installation Series in progress, is an extensive group of solid clear Lucite sculptures that will consist of sixteen life-size figures, all of them animals, eight of them human, eight of them not. When finished, floating in each of their bodies will be sub-sculptures: metaphors for the vascular system, unconscious thought, and all that bridges our inner and outer worlds. In this installation, I will be addressing specific concerns about where humans as a species are headed, with respect to the increasingly isolated and insulated position, of the individual within “the pack.”  

As this series unfolds, each of the five parts will conceptually build upon the next in an effort to express my personal experience in "the pack". This will be done through re-contextualizing a persistent sensation that has been with me my entire life; a profound outsiderness I felt during my youth, which morphed into feeling like a voyeur, and finally a stranger onto myself, the ultimate voyeur on the outside of my own body looking in. What struck me with great force and caused the sizable shift in my work was the realization that humans, as an animal group, seemed to be headed down a similar path. While I ultimately have faith in our desire and ability to connect, in the age of rapid fire imagery, cyber communication, and an obsession with “the self,” I am left with an unrelenting thought: No longer are we an interdependent roaming herd searching for the greater whole. Instead, we have become millions of lone wolves disoriented and roaming, forced by lack of space to stand close, with no greater whole in sight.

Clearly, these sentiments have evolved over a lifetime. The concept of time greatly factors into formulating this series by considering the way in which the human brain and body sense, process, and remember things. No one idea or feeling ever exists in its own time frame. Whether one believes time is linear or something convoluted, it doesn't detract from the fact that humans have an inner life that is lived in the past, present, and future, simultaneously. Further, the sequences by which memories or thoughts of the future flow, are directly influenced by the experiences that have been the most impactful, and those which are anticipated to be impactful in the future. 

Time and memory also factor into the idea of transparency regarding Lucite. No one figure will be seen, without seeing the viewers and the other Lucite figures through it, or reflected in it. Everything in the installation space will become one site-specific entity. More interestingly, the installation will also become time-specific in that all of the movement in the space will be reflected or trapped within the figures as well. This is not so different from the parameters of memory recall. Memories are always experienced within the reflections of memories that preceded or proceeded them. Two people, (or individual human bodies), form different memories from the same event. One could even say that memories are body-specific, a compressed and live form of site-specificity.

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Ashley Catharine Smith


Ashley Catharine Smith is a Philadelphia based artist working in photography, video, and fibers. Through the combination of these mediums, she creates melodramatic depictions of relationships and sexuality. Smith earned her MFA in Photography, Video & Related Media from the School of Visual Arts. Her work has been exhibited internationally and throughout the United States at the Society for Contemporary Craft (2016), Marin Museum of Contemporary Art (2017), Center for Sex and Culture in San Francisco (2017), Pittsburgh Center for the Arts (2016), the Knockdown Center (2017), and the Delaware Museum of Art (2018) among others. She is currently an adjunct photography professor at Drexel University and an instructor at the International Center of Photography.


My current work lives at the intersection of photography and sculpture. In all of these works, I begin with a printed photograph and embroider into the print to embellish important parts of the image or add something new. An intervention on the surface of the print creates a new reality. The embroidery speaks to a shift in perception that can occur when viewing images of our past. The work is driven by my desire to unpack how societal expectations and gender roles affect our interpersonal relationships and sense of self. It also aims to construct moments of closeness with the subject of the photographs through their printed image.

Alex Youkanna

Growing up as a Queer Middle Eastern male in the 90s meant living life as an outsider. I was constantly struggling to blend in with whatever people deemed “acceptable.” It didn’t help that English was not my first language – instead it served as a reminder that I was an outsider.

Having grown up to immigrant parents, I have been exposed to many languages. I consider speaking through images or objects to be the most significant language for me. Looking back on the past I found the time that I’ve spent in the studio the most important. Here I am able to be me. I can create a story, stimulate a conversation and try to connect with anyone. I have noticed that there are no judgments, just acceptance and understandings of different beings bringing knowledge to any that desire to learn.

I studied at Western Michigan University to obtain my bachelors degree in photography and intermedia. After that I spent years working as a graphic designer/art director. Then from 2016-2018 I studied under Anders Ruhwald and Ian McDonald among other artists to obtain my Masters in Fine Arts in Ceramics from Cranbrook Academy of Art. 

I still reside just outside of Detroit with plans of moving into the city soon. Currently I am working in my studio based in Royal Oak, MI, making new work for a solo show in 2019 as an emerging artist. 

Artist Statement

Communication has always been a struggle for me. As a child, it was because Aramaic was my first language. As an adult, it is because of being a minority for more than just my skin color. Through art, however, I’ve found the clearest and most effective channel for communicating my life experiences.

My practice is an expression of personal experiences, conveyed in my most comfortable way of communicating. 

I am currently interested in sharing my story, thoughts, and feelings through objects that I feel comfortable communicating with. I am interested in the relationship that these objects have with one another and how they make each other stronger.

Ben Dallas

Ben Dallas, a long-time Chicago resident, presently lives in Santa Fe, New Mexico. He received degrees in Art History from Indiana University, Bloomington, and The University of Illinois, Champaign/Urbana. He was Professor of Art at Harper College, Palatine, IL until 2001.


The visual form a perceived object or situation exhibits offers a kind of template by which our minds maneuver toward what meaning to give it; thus, the concerns I have in making my art are embodied in its appearances. I’m not interested in storytelling, symbols, and new information. The challenges presented by more perplexing visual presentations have the potential to undermine expectations and reorient viewers to their own processes of perception and thought.


Erica Green

Erica Green is a fiber-based artist who lives and works in Boulder, Colorado.  Erica received a Bachelor of Fine Arts with an emphasis in Ceramics from the University of Nebraska and completed a two-year post-baccalaureate program in Ceramics at the University of Colorado. Her work has varied from clay sculpture to thread drawings to fiber installations.  She has exhibited work in notable galleries such as RULE Gallery, Redline Contemporary, the Firehouse Art Center, The Diary Center for the Fine Arts and was included in the Art of the State show at Arvada Center for the Arts in Arvada, CO. She has also participated in several artist in residencies around the country including receiving a fellowship at Skidmore College in Saratoga Springs, NY.


My work focuses on the seemingly unending process of repairing and rebuilding one's self.  I 'mend' or knot simple fibers and thread together in meditative and obsessive manner.  The work gradually becomes a visual accumulation — a visual record — of the time it takes to heal.  Each moment, each struggle amasses and blends and eventually becomes impossible to distinguish.  Looking back, the viewer sees that this fundamental human undertaking is simultaneously strong and fragile, messy and disciplined, heavy and light.  This work tries to find comfort in such fraught moments.