A central rhythm in my work is the exploration of texture and is often combined with the disclosure of the unexpected. I am intrigued with the nuances of the natural world and the endless supply of subject matter with all its subtleties and surprises. I don’t tell you what to see but remind you to be observant and investigate beyond the surface. By layering and creating texture there seems to be an archeological direction with what is clearly visible and what is more obscure. My art practice is about the process, risk taking, discovery, and the magic of research.
Elizabeth Shull was born and raised in Southern California and lives in Los Angeles. As a painter her predominant intention is to encourage visual exploration and trigger thinking beyond the predictable. Elizabeth’s undergraduate degree is from the University of California, Santa Cruz. She holds an MFA from Otis Art Institute in Los Angeles. She has participated in many exhibitions and has pieces in several private collections.
My research and artwork are focused on the pineapple as a symbol which represents welcoming and hospitality, while also examining issues of access to food, empire, and what constitutes the feeling and or act of being welcomed. Through this research, I have discovered that the tradition of the pineapple as a symbol for hospitality is rooted in slavery and agricultural colonization of South America, the Caribbean, and the Southern United States, in particular, South Carolina and my home state of Georgia. When a new slave ship bringing enslaved Africans docked at the port, the foremen would place a pineapple at the front of the dock to notify a new shipment of enslaved Africans has arrived. This creating the pineapple as a symbol for welcoming. The investigation in the concept of welcoming is also from personal struggles as a black man navigating public spaces and environments and not feeling like I belonged or welcomed. From this research my art practice pulls from my interest in hip-hop culture, history, and science fiction. The artwork references the visual traditions from the Southern United States, Carribbean, South America, and the African continent.
I utilize clay as a historical and creative base material to inform memories of the past. The handling of clay reveals the process and shares the markings of its maker. Ceramics becomes a bridge to conceptually integrate disparate objects and or images for the purpose of creating new understandings and connections with the material, history, and social-political issues. I compare the construction and deconstruction of materials to the remix in rap music and how human beings adapt to different environments and reinvent new identities. These ceramic objects are vessels, each making symbolic allusions to the black body.
The artworks suggest the past, discuss the present, and explores possible futures interconnected to the African Diaspora. While also examining deeper social issues that broaden the conversation between all of humanity.
Donté K. Hayes graduated summa cum laude from Kennesaw State University at Kennesaw, Georgia with a BFA in Ceramics and Printmaking with an Art History minor. Hayes received his MA and MFA with honors from the University of Iowa and is the 2017 recipient of the University of Iowa Arts Fellowship. Donté, is a 2019 Ceramics Monthly Magazine Emerging Artists and Artaxis Fellow. Donté is the 2019 winner of the 1858 Prize for Contemporary Southern Art from the Gibbes Museum of Art in Charleston, South Carolina.
Artists are blessed with that rare moment when everything disappears in our studios except for our works and ourselves — when we feel the profound connection to what we have worked on as it melts with the world, space and time. Such an occasion is indeed very rare but that is what I strive to capture when I struggle in my studio. As our world continues to be subservient to the hierarchy of money and violence, I believe the exploration of artists to perceive the world reaching beyond the framework of corporatism, colonialism and militarism continues to be a crucial part of being human.
Hiroyuki Hamada (b. 1968, Tokyo) has exhibited throughout the United States and in Europe. He has been awarded various residencies including those at the Provincetown Fine Arts Work Center, the Edward F. Albee Foundation/William Flanagan Memorial Creative Person’s Center, the Skowhegan School of Painting and Sculpture, and the MacDowell Colony. Hamada’s work has been featured in various publications, including Stokstad and Cothren’s widely used art history text book Art: A Brief History (Pearseon). In 1998 he was the recipient of a Pollock-Krasner Foundation grant; he is a two time recipient of New York Foundation for the Arts Fellowships (2009 and 2017), and was awarded a Guggenheim Fellowship in 2018. Hamada lives and works in East Hampton, New York.
My work on an individual piece usually begins after I’ve cut a hundred or more elements from culled images that have attracted my eye. Once a particular image appeals to me by virtue of its shape, color, texture, or even degree of decay, it may suggest an association that triggers some remote memory or fantasy of the future, alternative mythology, or dreamscape, and if possible a combination of all of those and more, which gets me started on the road to completing the piece. As I work, I continually discover new techniques and approaches to the creative process.
Frank Whipple is a collage artist and long-time dealer and collector of antique books and ephemera. His work has been featured on the set of “NCIS: Los Angeles,” as the cover art for the Max Laser Band’s 2017 CD “Beautiful Heartbreak,” and in the book for Cecil Touchon’s 2017 exhibition, “Dada Centennial: Day of the Dead.” Since 1995 his work has been included in group shows at the Louis Stern Gallery, Gallery 825, and the Zipper Gallery (all in West Hollywood), as well as the Fremont Center Theatre (Pasadena), the Spring Open Show of the Collage Artists of America (2006), the Space Gallery, the Lark Gallery (2014), the Sebastapol Center for the Arts (2016), the MorYork Gallery (Highland Park), the Sullivan Goss Gallery (Santa Barbara), the Nisa Touchon Gallery (Santa Fe, 2015 and 2016), and the Retroavangarda Gallery (Warsaw, forthcoming). Solo shows include “Papercuts,” at the Space Gallery in Claremont, California (2016) and “Scenic Roots…a Collage Dreamscape” and “Frank Whipple Collages” at the MorYork Gallery (2018 and 2019). He was a featured speaker for the Collage Artists of America in 2017.Find out more at frankwhipplecollage.
My work considers memory, vision and physicality. I have double vision and see dimensionality differently. When I create a space, I think of the eye and mind processing, understanding, and navigating the pictorial space. I self identify with the bird and birds have been appearing in my work as symbols for many years. Birds have graceful and majestic qualities: long necks, delicate feet and graceful forms but, are also fragile and clumsy on the ground. Birds have the unique perspective of flight, allowing them to travel, and explore an alternative point of view. My most recent work focuses on an intimate relationship with birds that are often supporting or entangled with a body. Using intense and often contrasting colors and expressive line work they create a relatable visceral connection.
Alex Stark is a painter and curator and practices in Boulder, Colorado and Chicago, Illinois. He received his BFA from the School of the Art Institute of Chicago (SAIC) and presently works at SAIC as a Disability Advisor. Stark has recently shown work in Chicago, New York and Colorado.
My work is informed by my nomadism between countries, languages and ways of seeing or thinking. My Maps Series in particular explores my identity and heritage through geographical and road maps found in my childhood home after my father’s death. The maps I use are the carrier of my personal and family migrant history. They are the support of my individual experience and of our collective knowledge.
In the artwork, the maps are drawn, cut, painted or assembled to create three-dimensional objects and works on paper. The printed matter that I transform retains its integrity as a public document, while it simultaneously holds fragments of my personal migratory journey. In an age of technology and electronic tools, the maps reflect an in-between world. By examining the tactile quality of paper in the creation of sculptural objects, I explore my own personal displacement experiences and question the inherent transience of the surrounding world.
My work becomes the witness to my migrating life and my interaction with individuals, places, and memory. The long, fastidious, repetitive action of my creative process both physicalizes and metaphorically reflects the time that it takes to integrate into new environments.
Viviane Rombaldi Seppey’s work explores personal and collective understandings of place, and is informed by her migratory upbringing and experiences. Born in Switzerland of Italian descent, Seppey has lived on four continents and is based in New York. Her work incorporates maps, phonebooks, photographs, magazines, and other materials into intricate installations, collages, sculptures, and drawings. She holds an MFA from RMIT Melbourne, Australia, and has exhibited at numerous institutions worldwide, including the Museum of Contemporary Art, North Miami, FL; the Bronx Museum of the Arts, NY; the Hunterdon Art Museum, NJ; and the Art Gallery of New South Wales, Australia. Please visit vivianerombaldi.com for more information.
The chaotic and unavoidable process of urbanization in our globalized and over populated world are the central focus of my work. I am interested in depicting clustered spaces and precarious constructions that seem to multiply and overflow with crowded objects in one continuous urban sprawl, at the same time as such structures begin to crumble and decompose from within. Through the use of exaggerated drama and distortion, my work attempts to challenge the way the viewer confronts the idea of consumerism and urbanization within contemporary culture and draw the viewer’s attention to the isolation of the transitory residents, like semi-nomads that emigrate hoping to find a better life on the outskirts of large metropolises.
Newly globalized economies have engendered major changes, from expanded trade networks to new methods of commodity production and the shifts in the labor force these activities require. In recent decades, new patterns of migration have emerged and significant populations have moved to rapidly expanding urban centers, transforming the individual’s relationship to the city. I investigate the conditions of metropolitan landscapes, including the effects of gentrification and urban renewal, political expression, and power.
Alexis Duque holds a Bachelor of Fine Arts from The University of Antioquia, Colombia. His work has been exhibited in numerous venues including: at The Heckscher Museum Of Art, El Museo del Barrio, The Drawing Center and Praxis International Gallery in New York; The Museum of Latin American Art (MOLAA), Long Beach, CA; Champion Contemporary, Austin, TX; The Alden B. Dow Museum of Science and Art, Midland, MI; RudolfV Gallery, Amsterdam, Netherlands and Galleri Oxholm in Copenhagen, Denmark. Duque’s work has been featured in several publications, including: “Imagine Architecture: Artistic Visions Of The Urban Realm”, “Caribbean: Together Apart Contemporary Artists from (part of) the Caribbean” Imago Mundi – Luciano Benetton, Blue Canvas Magazine, LandEscape Art review, Beautiful Decay, Artistaday, New American Paintings, Studio Visit Magazine, The East Hampton Star, The East Hampton Press and El Diario of New York. Duque currently lives and works in NYC.
My work in ceramics and mixed media collage revolves primarily around issues of family and my Asian-American background. Cultural marginality and blending, tradition vs. Westernization, language and translation are key elements in my work. Since the birth of my son in 1987, I have been drawing inspiration from major events in my family’s history, the day-to-day challenges of parenting, and my own childhood memories of being raised in a minority culture in the United States. I use the image of a child as a symbol of innocence, potential and vulnerability.
Beth Lo makes work in ceramics and mixed media about family, culture and language. Her Good Children vessels and sculptures have been exhibited internationally and she has been the recipient of a United States Artist Fellowship, a National Endowment for the Arts Individual Artist Fellowship, Montana Arts Council Individual Artist Grant and an American Craft Museum Design Award. She is also a children’s book illustrator and professional bass player. She retired after 30 years of teaching ceramics at the University of Montana in 2016.
Making art is a function of living, a material practice that allows me to examine the ordinary and illuminate the familiar. My creative attitude and working process are largely informed by the inherent displacement and fragmentation characteristic of contemporary life and the landscape we now inhabit, against a diminishing wilderness. Allusions to aftermath and anachronism reflect my fascination with the experience of time. Finding that text and sound are potent collaborators, I now make short time-based media projects alongside painting, which constitutes the core of my studio practice.
Miriam Hitchcock lives and works in Santa Cruz, California. Born in San Francisco, she grew up in a nature loving family on the peninsula, attended University of California at Santa Cruz and went on to complete an MFA in Painting from Yale University. Miriam has taught Painting, Drawing and Design at Brown University, Rhode Island School of Design and Cornell University. Returning to the San Francisco Bay Area in 1990, she instructed studio Art courses at Stanford University, San Jose State University, and continuously from 1992 to 2012, the University of California at Santa Cruz. Miriam has led studio intensive courses in Rome, Italy through the Cornell University Dept. of Art and Architecture and The American University in Rome as well as University of California at Santa Cruz. She began incorporating animation and time-based media into her life-long painting practice in 2012, and received an award for Best Experimental Film in the 2018 Annual Copenhagen Film Festival, Denmark.
In my artwork I create visual parallels between rational and cosmological worlds through constructing and deconstructing, layering and erasing, scraping and marking, unraveling and reconnecting. I incorporate techniques of drawing, painting, sewing and weaving. I started using thread in my work more than twenty years ago. I liked the practical properties of the material, thread’s use to put things together, to mantle, to unify. Threads also soothed my desire for fluidity: I could manipulate them to create mass, sculptural forms, to penetrate the canvas or just leave them loose. I would sew different layers of colored yarns to create chromatic filters where underneath you could see shimmering shapes.
Eozen Agopian was born in Athens, Greece. She received her MFA in Painting from Pratt Institute (1993) and her BFA from Hunter College (1989). Her first solo show was at Michael Wall Gallery (N.Y. 1993). Since then her work is shown in several solo, three person and group exhibitions in Greece, France, Italy, Germany, China, Russia and the United States, such as, Shiva Gallery of the John Jay College (New York), Fox Gallery NYC (New York), Lesley Heller gallery (New York), Hellenic American Union (Athens), AAW Gallery, (Beijing), Museum of Contemporary Art of Crete (Greece), State Museum of Contemporary Art, Thessalonica, (Greece),Smack Melon (New York) In 2014 she was a resident artist at the Triangle Arts Foundation in Brooklyn. The last years she lives and works both in New York and Athens. Currently she has a solo exhibit at the Consulate General of Greece in New York. Her next solo show will take place at Eleftheria Tseliou Gallery (Athens, Greece) in the Spring of 2019.