Sarah E. Jacobs

Ethosphere-smaller-brighter Ethosphere-13 ethosphere_5 ethosphere_6 Ethosphere+11

Work1 Title: Odalisque 1 Year: 2016 Materials: oil on canvas Dimensions: H 31 W 74 D
Work2 Title: Ethosphere 13 Year: 2016 Materials: oil on canvas Dimensions: H 53 W 42 D
Work3 Title: Ethosphere 5 Year: 2014 Materials: oil on canvas Dimensions: H 69 W 52 D
Work4 Title: Ethosphere 6 Year: 2014 Materials: oil on canvas Dimensions: H 45 W 92 D
Work5 Title: Ethosphere 11 Year: 2015 Materials: oil on canvas Dimensions: H 42 W 42 D

Statement:

I have traveled and relocated many times. I took part in artist residencies in Colombia and Germany, I lived for three years and gained citizenship in the UK, and I have also spent extended periods of time in Italy and Central America. World travel has been a major influence on my art. I have sometimes been inspired by local traditions or ways of life that I’ve experienced in diverse places, but increasingly the compounded experience of often moving and adapting has given me a wide-view in which I have come to see different elements of society, philosophy, and the world at large interacting and changing in ways that are awe-inspiring; alluring and exciting, yet frightening in their volatility.

Traditional and contemporary patterns gathered locally and from around the globe collide and change one another in dramatic, often swirling compositions. I use visual patterns to represent modes of thought or patterns of living.  We each categorize and frame the mystery of existence in unique ways, we tell ourselves stories, but our paradigms usually do not easily accommodate those of others. These painted interactions speak of the complexity and beauty in discovering, navigating, and adapting to new philosophies. The paintings hope to illustrate the possibility of creating something fresh by combining or adapting extant ideas.

My work, although it looks hard-edged, perhaps computer generated from a distance, is meticulously hand-painted. This obsessive devotional aspect of its production is essential because the subject matter, although hopeful, relates to human vulnerability.

Resume:

New York City, USA
USA & naturalized British citizenships
Previously Represented by RandallScottProjects from  2014 – 2016

EDUCATION

MFA in Studio Art, Hoffberger School at the Maryland Institute College of Art, MD, 2010
BA in Art History, Gettysburg College, PA,2006, (Phi Beta Kappa honor society, Magna Cum Laude)
Living/Traveling in Italy, France, Ireland, the United Kingdom, Belize, Mexico, Colombia, Germany, Spain, and Poland,
2005 & 2010-2014

SELECT SOLO/TWO-PERSON EXHIBITIONS

2015 – 2016

Our Stories (solo) RandallScottProjects, Baltimore, Maryland, USA, curated by Randall Scott
Ethosphere (solo) Phaze 2 Gallery, Shepherd University, West Virginia, USA, curated by Evan Boggess
Expand/Collapse (2-person) Scott Center Gallery, Westminster, MD, exhibition with Robyn Jacobs, curated by Margaret Ball

2014

Complication & Simplicity (2-person) Stone Space Gallery, London, 2-person exhibition with Natalie Dunham,  curated by The Stone Space board
Ethosphere (solo) Galeria U, Wroclaw, Poland, curated by Dominika Łabąd
Ethosphere (solo) West Gallery at Gettysburg College, Gettysburg, PA, curated by John Kovaleski
Ethosphere 6 (solo, installation) Bristol Cathedral, Bristol, UK, curated by Jordan Kelly

2009 – 2010

Declawed (solo) Marcus Boyd, Baltimore
Kisses in the Trophy Room (2-person) Gunnar Galleries, Gettysburg, PA, exhibition with Michel Modell,      curated by Adrian Sauers

2007 – 2008

Dionysus and Friends (solo) Angelfalls Studios II, Baltimore
Mother-Daughter (2-person) Penn State, Mount Alto, Exhibition with Robyn Jacobs

SELECT GROUP EXHIBITIONS

2016

ACAC Annual Juried Exhibition, (juried annual) Schmucker Gallery, Gettysburg, PA, curated by John Shipman
Won: People’s Choice Award & Third Place Overall

2015

Misfit Toys, RandallScottProjects, Baltimore, MD, curated by Randall Scott
Ignis Fatuus: Dreams & Delusions, Mehta Bell Projects at Lights of Soho for Start Art Fair, London

Place: New York, NY

Contact: sarahjacobsart@gmail.com

Website: http://www.sarahjacobsart.com/

OZ-Keisuke Yamaguchi

WORK1_COZ-Keisuke-Yamaguchi WORK2_COZ-Keisuke-Yamaguchi WORK3_COZ-Keisuke-Yamaguchi WORK4_COZ-Keisuke-Yamaguchi WORK5_COZ-Keisuke-Yamaguchi

Work1 Title: The images of the 33 reincarnations of Kannon wave  -the sprit of tomorrow- Year: 2016 Materials: Acrylics on Canvas Dimensions: H 800mm W 1200mm D
Work2 Title: YAORAMUSUBI - God in the water – Year: 2016 Materials: Acrylics on Canvas Dimensions: H 800mm W 1200mm D
Work3 Title: anima Year: 2015 Materials: Acrylics on Canvas Dimensions: H 1620mm W 1300mm D
Work4 Title: Kiriri Year: 2016 Materials: Acrylics on Paper Dimensions: H 240mm W 360mm D
Work5 Title: AZUMAKU KANNONDOU KONJAKU EZU (large EMA ) Year: 2016 Materials: Acrylics on Wood panel Dimensions: H 800mm W 1700mm D

Statement:

I was attracted by “the round” in childhood. And also for the same period, I was shocked the world of an Ukiyoe print and Buddhist painting. After that, while receiving the influence of those, I started to make artwork using my original technique.
Mainly my artwork is expressed in abstract expression in many cases. And also I use Japanese delicate depictions. So I’m trying to blend traditional techniques with thoroughly modern imagery, considering the power of forces unseen, both natural and human. I continue to search for the “something” hidden in all things.

On the other hand, I painted a large EMA and dedicated it to Japanese Shrine in 2011. The EMA is the votive board which the holy offering to a temple and a shrine. I begin to go into EMA culture, and I also work on the spread of EMA culture which has rare Japanese original.

Resume:

Selected Solo Exhibition

2016  gallery 151A, Tokyo, JAPAN
2015  Atelier de Fromage, Tokyo, JAPAN
2015  gallery 82, Nagano, JAPAN
2014  art space FLATFILE, Nagano, JAPAN
2013  exhibition and Live Paint show, gallery HANAGURA, Nagano, JAPAN

Selected Group Exhibition

2016  “THE GREAT WAVE – Contemporary Talents of Japan -” RONIN GALLERY, NY, USA
2015  “common” with Armando Gomez Martinez from Mexico and Fred Martin from France gallery HANAGURA, Nagano, JAPAN
2011  “TOKYOTEN” Tokyo Metropolitan Art Museum, Tokyo, JAPAN

Dedication to Japanese Shrine or Temple and Japanese traditional hanging scroll

2016  large EMA to Toufukuji Kannondou Temple, Nagano, JAPAN
2015  Ceiling painting to Suwa Shrine, Niigata, JAPAN
2014  Japanese traditional hanging scroll, Nagano, JAPAN
2013  large EMA to Chitose Shrine, Nagano, JAPAN
2011  large EMA to Takei Shrine, Nagano, JAPAN

Selected Live Paint

2016  “Hotel Arts Festival” PARK HOTEL TOKYO, Tokyo, JAPAN
2016  “Ronin | Globus Artist in Residence Program 2016” Ronin Gallery, NY, USA
2015  “festival of Zenkouji Temple” painted event venue stage back wall, Nagano, JAPAN
and more 250 Live Paint since 2001

Selected Performance

2016  “Hotel Arts Festival” PARK HOTEL TOKYO, Tokyo, JAPAN
2014  “NOT ONE TREE” with Claire de Monclin and Antonio Gallego from Paris, gallery HANAGURA, Nagano, JAPAN
2014  “Fresh Winds – Art Festival International Biennale” with Samuel Guibout and Alexandre Ayed from Paris, Gardur, ICELAND

Artist in Residence

2016  “la Ceiba Grafica in Mexico 2016-2017” Toluca, MEXICO
2016  “Ronin | Globus Artist in Residence Program 2016” Ronin Gallery, NY, USA
2015  “Yalova Biennale” Yalova, TURKEY
2014  “Fresh Winds – Art Festival International Biennale” Gardur, ICELAND
2009-14  “Abiko International Open air Art Exhibition” Chiba, JAPAN
2009  “Toki no Geijyutsusai” Kagoshima, JAPAN

Award

2016  “Ronin|Globus Artist in Residence Program 2016” winner, NY, USA

Place: Nagano, JAPAN

Contact: info@oz-te.com

Website: http://oz-te.com

ISE NY Artist Registry: Online Exhibition “Installation”

05_CharlesMatsonLume

Charles Matson Lume

Title: The world’s an untranslatable language II (for Charles Wright) Year: 2013 Materials: reflective paper, rolls of “No Trespassing” tape, rolls of “Do Not Enter” tape, duct tape, tape Dimensions: H 12′ W 25′ D 6′

A-whale-is-to-a-poket-fine-art-box

Shiho Fujiwara

Title: A whale is—to a poket fine art… Year: 2009 Materials: washi ( handmade Japanese paper), Chinese ink Dimensions: H 250 W 570 D 800cm

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Kanade Hamawaki

Title: installation “ku ro” Year: 2016 Materials: cloth, metal sticks, wires

HerLetter_2

Ouma (Tomoko Omata) / Cell artist

Title: Her letter only says “yes” Year: 2016 Materials: Japanese ink on Newspapers from Kronstadt, Saint Petersburg, Russia and Acrylic on Japanese paper Dimensions: H 250cm W 1200cm D 336cm

2.-GBAJUGBAJA

OLANIYI RASHEED AKINDIYA

Title: GBAJU GBAJA / CELEBRITY Year: 2015 Materials: MIXED MEDIA SCULPTURE / TAPESTRY PAINTING INSTALLATION(RE PURPOSED PLASTIC TOY GUNS, GALVANIZED WIRE, VARIETIES COLORS PAPER, THREADS, ) Dimensions: H 10 FT W 15  FT D 7 FT

hondaeri4

Eri Honda

Title: Year: 2015 Materials: Cardboard, Recycled clothes, socks,buttons,trash Dimensions: H variable W variable D variable

Nobuko Saji

Nobuko-Saji_Luna-Sequence Nobuko-Saji_Stardust Nobuko-Saji_Prelude-II Nobuko-Saji_Prelude-III Nobuko-Saji_Rusalka-I

Work1 Title: Luna Sequence Year: 2016 Materials: mixed media, plaster, gel medium, acrylic paint Dimensions: H 36 W 24 D
Work2 Title: Stardust Year: 2016 Materials: mixed media, plaster, gel medium, acrylic paint Dimensions: H 30 W 24 D
Work3 Title: Prelude II Year: 2015 Materials: mixed media, plaster, gel medium, acrylic paint Dimensions: H 24 W 30 D
Work4 Title: Prelude III Year: 2015 Materials: mixed media, plaster, gel medium, acrylic paint Dimensions: H 24 W 30 D
Work5 Title: Rusalka Year: 2015 Materials: mixed media, plaster, gel medium, acrylic paint Dimensions: H 36 W 24 D

Statement:

“Universe” series
When I was a child I would spend the night watching the white moon and stars against the dark sky.  I would imagine the birth of the cosmos, witnessing countless stars whose light originated billions of years ago and its workings of a marvelous, unimaginable world.

No matter how small or large a role within the cycle of life, each and every creature born emits a powerful light.  The light, full of love, grows without abandonment, free beyond imagination, incessant in the creation and pursuit of love and peace.

Every time I gaze at the moon and starlight in the night sky, the daily weariness, anxiety, human suffering, and the world’s never-ending battles are quietly and peacefully lifted, released.  Feelings of love and serenity fill me, resuming their place within the depths of the psyche.

To this day, I am astounded by the universe and the fact of being alive.  I am reminded to cherish this life and the Now.  The stars, moon, sun, and planets that I paint on the canvas are no different than each of us on this small planet we call Earth.  Each work is a form of meditation from which I can tap into its power, the energy of the cosmos and its light which pours onto humanity, guides me in my creative visions.

Resume:

NOBUKO SAJI
EXHIBITIONS
2015 – Oil Painting Group Show
Freeport Memorial Library – Freeport, Long Island

2015 – Oil Painting Group Show
Manhasset Public Library – Manhasset, Long Island

2013 – Printmaking Group Show
Manhasset Public Library – Manhasset, Long Island

2013 – Lithograph Group Show
Gallery onetwentyeight – New York City

2010 – Woodcut & Etching
The Andrews Organization – New York City

2006 – Oil Painting Group Show
Gallery – New York City

CAREER
Fine Art Artist – Printmaking and Painting
2005 – present
New York City and Long Island, New York

Textile Designer, Home Furnishings
2009 – present   Freelance
1990 – 2009       Senior Designer
Swavelle Millcreek – New York City
1977 – 1989       Freelance

Freelance Illustrator and Magazine Reporter
San Francisco, California

Public Relations & Advertising
ANA Airlines – Tokyo, Japan

EDUCATION
Graphic Design major
Jyoshibi Art College – Tokyo, Japan

Place: Great Neck, NY

Contact: nobukosaji@gmail.com

Website: http://www.novistudionyc.com

Yen Yen-Jui Lai

Yen-Yen-Jui-Lai-A-Sad-Story Yen-Yen-Jui-Lai-Water-Room Yen-Yen-Jui-Lai-Dripping-Song Yen-Yen-Jui-Lai-Swimmers Yen-Yen-Jui-Lai-The-concept-of-time

Work1 Title: A Sad Story Year: 2016 Materials:plaster, video, and speaker. Dimensions: H 12 W 12 D 6
Work2 Title: Water Room Year: 2016 Materials: focus speaker, pencil, and a room (performance) Dimensions: H Depends on W room D size
Work3 Title: Dripping song Year: 2016 Materials: Ink on Paper Dimensions: H 6 W 8 D
Work4 Title: Swimmers Year: 2014- Materials: paper, ink, acrylic, pencil, and wax. Dimensions: H 5.7 W 7.8 D
Work5 Title: The concept of time Year: 2015 Materials: paper, ink, and pencil. Dimensions: H 12 W 20 D

Statement:

I draw something that I fear or something I do not understand.

By living on an isolated island in East Asia. My world is composed of stories and literature. These become the only way I connect to the outside world and feel free inside my mind. For a person who lives on an island, the ocean is the end of the world. Space and time are blocked there, like a completely closed form. An outsider cannot pass through it, and an insider cannot escape. However, for the ocean itself, it is the beginning and the endless moment. I cannot understand the possibility of infinity. The ocean contains all kinds of consciousness, and it scared me a lot. In 2014, I made a big decision to leave the island where I used to live, but I suddenly realized I had just traveled from one island to another. By trying to escape, I feel I am drowning no wonder how far I am from the ocean. However, at the same time I know I need it. The ocean is the only connection we have to live in the same space-time, like a miracle in our gloomy lives. So I keep drawing the ocean, trying to overcome it and trying to understand it.

Resume:

Yen-Yen-Jui Lai
Website www.yenyenjuilai.com Email yenyenjuilai@gmail.com

Education
2016 M.F.A. Painting and Drawing, Pratt Institute, NY
2013 B.F.A. Visual Communication Design, National Taiwan University of Arts, Taipei, Taiwan

Solo Exhibition
2016 [ ~ ], Dekalb Gallery, Brooklyn, NY

Selected Exhibition
2016, Art Mora, Chelsea, NY
2016, Art Mora, New Jersey, NY
2015, Second Fall Double Decker Show, Greenpoint Gallery, Brooklyn, NY 2015, Open Call, Lorimoto Gallery, Brooklyn, NY
2013, Meet Taipei, Taipei, Taiwan
2012, Must Die, National Taiwan University of Arts, Taipei, Taiwan
Site-Specific Installation
2016, Water Room, Pratt Studio Gallery, Brooklyn, NY 2014, Where is Amber, Taichung, Taiwan

Award
2016, ArtSlant Round 7 Showcase winner, NY

Artist Talk
2015, Artist Talk, Pratt Institute, Brooklyn, NY

Artist Books
2014, [ - ] , Self-printed and bound book. Edition 50
2014, Lonely Bottle, Self-printed and bound book with wood. Edition 5
2013, The Wardrobe, Self-printed and bound book. Edition 10

Place: Brooklyn, NY

Contact: yenyenjuilai@gmail.com

Website: http://www.yenyenjuilai.com/

Mamiko Takayanagi

-~-5月の雨-2016s -~-波音-sound-of-waves 91x91cm-oil-on-canvas-2016s SONG2-45.5x45.5cms -~-変換-~-Heavenly-views -~-S10s

Work1 Title: rain in may Year: 2016 Materials: oil on canvas Dimensions: H  W  D
Work2 Title: sound of wave Year: 2016 Materials: oil on canvas Dimensions: H 91cm W 91cm D
Work3 Title: SONG16-2 Year: 2016 Materials: oil on canvas Dimensions: H 45.5cm W 45.5cm D
Work4 Title: Heavenly view Year: 2015 Materials: oil on canvas Dimensions: H 116.7cm W 116.7cm D
Work5 Title: atmosphere in sumeer Year: 2015 Materials: oil on canvas Dimensions: H 45.5cm W 45.5cm D

Statement:

“Home”

The theme of my work is ‘interlaced scenes’. My artistic endeavors and journeys have taken me from hometown Kyoto to Tokyo, Germany, and various residence programs in different counties and cities. In each town, I have seen and experienced the ever-changing scenes in lives of people and their cultures. My art represents my innermost emotions connected to those experiences, manifested in the form of colors and shapes. Away from my home in Japan, I often wondered where I truly belonged or where I was going. There were anxiety and loneliness, but also contentment within them. These emotions, in addition to the changing seasons of my surroundings, have always been put into my artwork. In foreign lands, or in ‘blissful solitude’ as my exhibition was titled, I have continued to be creative and productive.
In 2014, I found myself based in Kyoto again, with a crowd of familiar people, whose language and culture already ingrained in me. This was unlike my days of ‘blissful solitude’, although my soul continued to question if it truly belonged there. My former style involved simply pouring my emotions onto a canvas just as I saw and felt. Since then, the process of scraping off the colors has been introduced, as a means to reflect on the past. Not only that, but by inserting new colors on top of what has been shaved, the present time is now added. The act of scraping into the ‘places I had been’ reveals an access to the past, into which I layer new colors and shapes, thereby interlacing the scenes of the past and present.
I often reflect upon “my own existence in the society”, contemplating and confronting myself and my own work. Neither changes in environment nor circumstances will prevent me from being artistically productive. Wherever I am placed at any given time becomes my ‘home’. Then, in the process of searching for a new ‘home’, new colors are added, in order to interconnect my past, present, and future.

Resume:

Nov.1976      born in Kyoto, Japan.
1997-2003    Tama art university in Tokyo, Japan
Bachelor of Arts, Master of Arts.
2003-2009    Academy of Fine Arts in Munich by Prof.Jerry Zeniuk.
Akademie der Bildenden Künste München.
2007-2009    Meister Student by Prof. Zeniuk.
2009    Diploma

Prizes,Scholarship and Residency

2014   Scholarship “The 29th HOLBEIN Scholarship” Japan
2013   Grant.”Residence scholarship, Bilbao Arte” Bilbao, Spain
2012   Grant,“ Residence scholarship” Artisthouse Schloss Balmoral. Germany
2011   Grant, “Nomura Foundation” . Japan
2009   Prize, “Culture prize Bavarian of E-ON Bayern AG” .Germany
Grant, Residence, „Young art of Lemgo city and STAFF STIFTUNG 09/10“. Germany
2008  „STIBET scholarship“, DAAD. Germany
2007   Scholarship for foreign Students of the Bavarian Ministry of State. Germany

Selected Solo Exhibitions

2016
„everglow“  Hideharu Fukasaku gallery roppongi, Tokyo Japan
“affectionate time”           Gallery Yo, Toyama Japan
2015
„Short stories“  Hideharu Fukasaku gallery roppongi, Tokyo Japan
2014
“sol, luego la lluvia”  SAN-AI gallery, Tokyo Japan
“sound of life” Green arts gallery, Ishikawa Japan
2013
„smooth affections“  SAN-AI gallery, Tokyo Japan

2011
“Happy Solitude”  Galerie Alte Vogtei, Bielefeld. Germany
“Mellow”          Villa Rosenthal, Jena. Germany
2010
„Your Place, My Place“  WINTER&WINTER,  Munich. Germany
„Your place, My place“  Städtische Galerie Eichenmüllerhaus, Lemgo. Germany
2008
„Feeling of Colour“  WINTER&WINTER,  Munich. Germany
2006
„Color-Landscape in my mind“  SHIMAYA Gallery, Kyoto, Japan

Selected Group Exhibitions

2016
“SIANOJA16”  Palacio de Albaicin  Noja, Spain
“des regards qui pensent”   Art Space MEISEI Kyoto Japan
2015
“it’s all good!” PoRto LibRE gallery, Tokyo Japan
2013
“PUERTAS ABIERTAS 2013”

Place: Kyoto, Japan

Contact: mail@mamiko-takayanagi.com

Website: http://www.mamiko-takayanagi.com/

Richard Jochum

atlas collaborativesilver crosswordproject halt immersivesurface

Work1 Title: Crossword Project Year: 2014 ongoing Materials: interactive animation Dimensions: H  W  D
Work2 Title: Collaborative Silverware Year: 2010 Materials: Installation with 2 performers, 1 table, 2 chairs, 2 plates, food, and elongated silverware (3 feet) Dimensions: H  W  D
Work3 Title: Atlas Year: 2016 Materials: video performance Dimensions: H  W  D
Work4 Title: Immersive Surfaces Year: 2011 Materials: video projection mapping Dimensions: H  W  D
Work5 Title: Halt Year: 2007 Materials: video performance Dimensions: H  W  D

Statement:

I am a post-minimalist and post-conceptual sculptor and media artist drawing from a vast variety of media and artistic practices reaching from land and public art to social sculptures, installation, photography, video, and artist’s books. To cross boundaries has proven typical for my artistic practice over the years in its attempt to explore and bridge diversity in media, technology, and the arts. I believe in the power of art; rather than in decoration. I think art continually has to find new imagery for the time we live in. For the conditions and issues we deal with: existentially, politically, physically, and globally. Searching such images is what I am aiming for.

Resume:

Richard Jochum is a media artist with a strong focus on video, video installation, performance and conceptual photography. An Austrian citizen, Richard received his MA in philosophy from the University of Innsbruck, and his PhD from the University of Vienna. He got his MFA in sculpture and media art from the University of Applied Arts in Vienna before he moved first to Berlin and later to New York. He has shown his work in more than 130 exhibitions worldwide and is represented by Gallery Bundo in South-Korea. He is a studio member of the Elizabeth Foundation for the Arts in New York and currently a Creative Resident in the Harvestworks Technology, Engineering, Art and Music T.E.A.M. Lab. An associate professor at Teachers College, Columbia University, he oversees the new Creative Technologies Curriculum as part of the Art and Art Education Program.

Place: New York, NY

Contact: mail@richardjochum.net

Website: http://www.richardjochum.net

Daisuke Satou

tumblr_obj304c4HJ1tieklfo1_500 tumblr_o6w3yscwae1tieklfo1_500 tumblr_o8p3rdyRgJ1tieklfo1_500 tumblr_nkpbo8NqkD1tieklfo1_500 tumblr_n9sgpqk9c41tieklfo1_540

Work1 Title: Untitled (Desperate painting) Year: 2016 Materials: oil, Louis Vuitton’s leather, Velcro tape, bond, graphite, on linen Dimensions: H 100 W 80.5 D 2.5

Work2 Title: Honya-rara Year: 2016 Materials: oil, spray, bond, sticker, marker, graphite on linen Dimensions: H 100 W 80.5 D 2.5

Work3 Title: Untitled (My brown hair) Year: 2016 Materials: oil, spray, bond, sticker, oil pastel, graphite on linen Dimensions: H 72.5 W 60.5 D 2

Work4 Title: Egg Tart (Untitled homage to Picasso) Year: 2014 Materials:l, tape, sticker, collage on linen Dimensions: H 72.5 W 53 D 2

Work5 Title: Big Help Year: 2013 Materials: mixed media Dimensions: H approx.400 W approx.190 D approx.50

Statement:

My works are made by a conflict between earthly desires and freedom in artistic expression. That’s super individual.
My works are only made by myself. But on the other hand they are depersonalized bureaucracies and also reflect the modern society.
I myself is what is a walking medium living in society to make an art work. Every other material used is only just a material.

I don’t want to make anything looks like art. I just want to find it and have been learning about it. I want to do it by my own way. For example, I always want to make a painting which is a painting beyond doubt and not a painting too at the same time.

On the field of art, there are possibilities that the weak could be the strong. Every disadvantage you have could totally turn over.
Politicians manage words.
Mathematicians manage formulae.
And I am an artist who manage creation. That is freedom.
Even now, musicians make a song with old instruments such as guitar, piano. So visual artists still must have a lot to make with old mediums such as oil, brush, canvas and more. And of course it is good with new mediums.

Resume:

Daizuque Satou (Satou Daisuke), a Japanese artist, painter. Born in Japan in1982.
Live and work in Kanagawa, Japan.

Bachelor of Fine Art from Tama Art University 2010

2016 3men show “Gyakusankaku-kankei vol.17″ at Chikurinkaku (Tokyo)
2016 Private art fest. “Mambo matsuri” in Harajuku area (Tokyo, ((participated as a guitarist.)))
2016 Internet group exhibition and gallery “NO NAME”
2015 Independent exhibition and competition of “Chiyoda Art Festival” at 3331 Arts Chiyoda (Tokyo)
2014 Solo exhibition “You don’t pull no punches, but You don’t push the river” at Zuisho-ji Art Project (Tokyo)
2013 Artist In Residence of BankART at BankART1929 (Kanagawa)
2011 Group exhibition “Waku-waku Shibuya” at Tokyo Wonder Site Shibuya (Tokyo)

Place: Kanagawa, Japan

Contact: sumbodhy2@gmail.com

Website: https://jp.pinterest.com/daizuquesatou2/

Irene Gennaro

1_Cloud Cluster 2_Brain 3_Pelvis Cairo 5 YellowCritter

Work1 Title: Cloud Cluster Year: 2016 Materials: fabric-wood-wax-mixed media Dimensions: H 39.5 inche W 33 inches D 24 inches
Work2 Title: Brain Year: 2007 Materials: wood-oil paint-gold leaf Dimensions: H 18 inches W 18 inches D 6 inches
Work3 Title: Pelvis Year: 2007 Materials: wood-oil paint-aluminum leaf Dimensions: H 19 inches W 13.5 inche D 3.25 inche
Work4 Title: Cairo Year: 1999 Materials: wood-oil paint Dimensions: H 70 inches W 26 inches D 8 inches
Work5 Title: Yellow Critter Year: 2000 Materials: wood-oil paint Dimensions: H 29 inches W 12 inches D 3 inches

Statement:

My work explores many areas of the human condition. As a dream inspired artist I see myself as a facilitator and recorder of subconscious imagery that emerges surprisingly and without warning. These images have taken me to psychological- cultural and historic arenas.
Personal events also contribute to the emergence and development of sculptures. I have developed a number of images as seen in series. Impermanence is a group I have created which incorporates the iconic crucifix with anatomical attributions.
The Ex Votive Series initiated by a seminal dream, developed to include more than 20 pieces. It addresses religious rituals enacted by people in an effort to communicate with a higher force to ask for a healing or to give thanks for a successful outcome.
The tradition of offering Ex-Votos has been practiced for thousands of years across the globe. It was initially practiced in Greece and was introduced to Italy. Today it continues in South America and Europe.
My recent piece titled “Cloud Cluster” 2016, is an 18 month effort which allowed me to incorporated a new method of working using fabric and wax for the first time.

Resume:

SOLO EXHIBITIONS
2012      Home Coming, The Sculptors Guild, DUMBO, Brooklyn, NY
2010      Archetypes: Personal & Universal, LaGuardia Community College, Long Island City, NY
2005      Dream Catch, 55 Mercer Gallery, New York, NY
2004      The Trenton City Museum at Ellarslie in Cadwalader Park, Trenton, NJ [Two Artists]
2002      Dream Streams & Ex Votives, Edison College, Fort Myers, Fl. [Review-Photo]
The Responsibility of Dreams, Washington County Museum of Fine Art, Hagerstown, Md. catalogue [Review, Photos]
Exploring Tradition: Ex Votives, 55 Mercer Gallery, New York, NY [Review-Photo]
2001      Dream Works, Educational Testing Service, Princeton, NJ
Spirit Messengers, Sinclair Community College, Dayton, Ohio
2000      Spirit Messengers, Washington Square Windows, New York University, New York, NY
Dream Works, 55 Mercer Gallery, New York, NY
1999      Recent Sculpture, Elgin College, Elgin, Illinois, catalogue-photos  [Review-Photos]
Spirit Messengers, The Kentuck Museum of Art, Northport, Alabama, [Photos-Catalogue] [Review-Photo]
1998      Sculpture Installation, Rhode Island School of Design, Market House Gallery, Providence, RI
1997      Augury, 55 Mercer Gallery, New York, NY
1995      Myth & Symbol In Wood, 55 Mercer Gallery, New York, NY
A Language of Totems, Broadway Windows, New York University, New York, NY
1992      Sculpture On The Wall, In Celebration of Columbus, John Jay College, New York, NY
1989      Sculpture Installation, Newhouse Gallery, Snug Harbor Cultural Center, Staten Island, NY [Photo-Catalogue]
1982      Esta Robinson Gallery, New York, NY
1978      Benjamin S. Rosenthal Library, Queens College, Queens, NY

AWARDS
2013       Beatrice K. Epstein Memorial Award for Sculpture, Jurors: Joyce Pommer, and Lydia Viscardi, N.A.W.A.
2008       The “1st international openartsresidency” Erétria, Greece
2006       Edwin Austin Abbey Fellowship, National A

Place: New York, NY

Contact: gennaro.irene@gmail.com

Website: http://www.irenegennaro.com/

Michelle Jaffé

Days-Confused-Announcement1 Faces-Jaffé-_600KB Eye-Dazzled 4_Cleave_600KB WF_Front_Lighter_2-600kb

Work1 Title: Days & Confused Year: 2016 Materials: Video Dimensions: H 8′ W 12′ D 6′

Work2 Title: Soul Junk Year: 2016 Materials: 2 Channel Video Installation, Still Image, 15 minutes Dimensions: H 7′ W 20′ D 17′

Work3 Title: Soul Junk Year: 2016 Materials: 2 Channel Video Installation,  Still Image, 15 minutes Dimensions: H 7′ W 20′ D 17′

Work4 Title: Neural: Cleave – Sound Installation Year: 2015 Materials: 10 minute composition, 4 headsets, Drawings, Bed, clothing, books Dimensions: H 9′ W 25′ D 19′

Work5 Title: Wappen Field, Sculpture & Sound Installation Year: 2015 Materials: Chrome Plated Steel, Speaker Drivers, LED’s, SuperCollider, Computer, Aluminum Dimensions: H 9′ W 18′ D 9′

Statement:

I create sculpture, sound and video installations, immersing people in an experience that transforms their sensory awareness. These participatory encounters create a moment where a synaptic shift in attitude is possible and new neural connections can be made.

I explore how individual psychology and pathology is embedded and mirrored in society, in an attempt to make sense of the world we live in and to stimulate conversation for change. I ask when & where are the borders between terror, abuse & negligence blurred & crossed?

Resume:

Recent SOLO EXHIBITIONS

2017
Milton Art Bank, Milton, PA,  Soul Junk
2016
NYCEMF, New York City Electroacoustic Music Festival, Soul Junk: Work-in-Progress
2015
Transylvania University, Home and Field: Digital Explorations of Community (Wappen Field), Lexington, KY
Bosi Contemporary, Come to Bed!, 3-person solo show, curated by Roya Sachs, NY
2014
Valentine Gallery, Neural: Soul Junk, Work-in-Progress, NY
2013
Valentine Gallery, Neural: Cleave, Work-in-Progress, sound installation, NY
Queens Council on the Arts, NY, Third Space Presents Neural: Cleave, Work-in-Progress in conversation with Marta Jovanovic
2012
Bosi Contemporary, Wappen Field, New York
Bushwick Open Studios, Ridgewood, NY
Queens Museum of Art, Queens International 2012: Three Points Make a Traingle, NY
Queens Art Express 2012, Queens Council on the Arts, Wappen Field, New York
Sylvia Wald and Po Kim Art Gallery, Non Profit Foundation, Awakening,New York
2011
UICA, Urban Institute for Contemporary Arts, Wappen Field, Grand Rapids, Michigan

Recent GROUP EXHIBITIONS

2017
The Power Plant, Duke University, Soundings: Protest\Politics\Dissent, Durham, NC
2016
The Exchange Museum, Restructured, Penzance, England
2015
Songs For Presidents, Total Styrene–True Believer, NY
Shirley Fiterman Art Center, BMCC, In Conversation, In Conversation
2014
Sylvia Wald & Po Kim Art Gallery Foundation, Painting Black, NY
George Washington University, Brady Art Gallery, What Not to Wear: Women Sculptors
2013
Beall Center for Art + Technology, University of California-Irvine, Sight and Sound, (Wappen Field)
Wave Hill, Tandem Pursuits: Armor & Ichthyology, NY
Stephan Stoyanov, All of Me, NY
2012
Arizona State University, Momentum: Women/Art/Technology

Select AWARDS and RESIDENCIES

NYSCA, Individual Artist Grant, 2008, 20011
Queens Council on the Arts, QAF 2014, 2013
MacDowell Colony, Djerassi Residency, The Exchange Residency, Artist-in-Residence Brooklyn College Computer Music Dept

Place: Ridgewood NY

Contact: micai@me.com

Website: http://MichelleJaffe.com

Claire Watson

02.Ancestors 09.sum-what 11.uncle-auntie 15.The-Thing-Is 17.Endtoendto

Work1 Title: Ancestors Say Year: 2014 Materials: Ten pairs of white leather gloves, ten pairs of black leather gloves, thread; mounted on linen Dimensions: H 48 W 32 D
Work2 Title: Sum What Year: 2016 Materials: Boiled leather baby shoes, thread Dimensions: H 22 W 22 D
Work3 Title: Uncle Auntie Year: 2015-2016 Materials: Leather baby shoes, leather pants remnants, buckram, thread Dimensions: H 16 W 16 D
Work4 Title: The Thing Is Year: 2016 Materials: Two pairs of boiled leather pants, thread; mounted on 1/8″ plywood Dimensions: H 52 W 48 D
Work5 Title: EndtoEndto Year: 2016 Materials: Three pairs of boiled leather pants, thread; mounted on 1/8″ plywood Dimensions: H 30 W 92 D

Statement:

These selections are from related series in which leather garments—gloves, shoes, coats and pants—are deconstructed along seam lines and flattened like flayed skins into their distinctive pattern parts.  Unaltered, but in some cases boiled and then stretched taut until they dry, they are sewn by hand into a rough symmetry of repeating motifs determined by pairs.  I refer to readings about the earliest garments, and the origins of ancient ancestral patterns in simple alternating hide colors and shapes.  My focus is on the physicality of the leather and the effect of scale. Narrative, when it appears, is in the inherent attributes of the materials. Some of the finished works have one foot, so to speak, in reductive abstraction.  Others suggest needlework tapestries, or masks or totems but it is the evidence of wear–the stains, smudges, and wrinkles, the lingering odor of tobacco smoke–that evokes ghosts.

Resume:

After completing a BFA at the University of Texas in Austin, I earned an MFA at Tyler School of Art in Rome and Philadelphia. My work has been exhibited in New York and nationally; the most recent solo show was a 2014 retrospective at Blue Star Contemporary Art Museum in San Antonio, Texas. I received a Pollock-Krasner Foundation Grant in 1990 and a Fellowship in Sculpture from New York Foundation for the Arts in 2007; in 2014 I served as a Panelist for  the New York Foundation for the Arts Fellowship Applications in Sculpture.  I currently live and work  in New York.

For a concise cv with exhibitions history please see my website: www.clairewatson.net

Place: New York

Contact: claire.watson@rocketmail.com

Website: http://www.clairewatson.net

Naoko Ohmura 2

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Work1 Title: Yoshino River Year: 2015 Materials: Rice Paper, Indian ink Dimensions: H 270cm W 70cm D
Work2 Title: Poke Year: 2016 Materials: Rice Paper, Indian ink Dimensions: H 50cm W 60.6cm D
Work3 Title: Egg Year: 2016 Materials: Rice Paper, Indian ink Dimensions: H 50cm W 70cm D 50cm
Work4 Title: Shibuya River Year: 2016 Materials: Rice Paper, Indian ink Dimensions: H 150cm W 70cm D 60cm
Work5 Title: to tell fortunes Year: 2016 Materials: Rice Paper, Indian ink Dimensions: H 14.8cm W 10cm D

Statement:

I’d like to express the importance of each moment through the world of a mysterious Japanese calligraphy.
It is taboo to trace the same line again in Japanese calligraphy. It is same as your life. You can never return your past. As tools and materials of Japanese calligraphy are made from natural things, your lines are influenced by a lot of things; temperature, air humidity, water, your mental condition, skill and so on. Your work is a result of association of various things. That is the reason why you can never make the same work again. My theme of works is focusing on “just now”. No one can meet this moment twice, all things are in flux and nothing is permanent.
[My Work]
I’d like to hand down Japanese calligraphy culture next generation.
Through Japanese calligraphy, I’d like to make dreams of many people come true.
[My Dream]
My dream is activation of the Japanese calligraphy culture.
“Washi”, Japanese papers, was registered with the UNESCO,
but there are few people knowing how “Washi” has been used in Japan.
I’d like to introduce the Japanese calligraphy that is the traditional art using “Washi” to  people thorough the world.
I’d like to to enjoy Japanese calligraphy with people thorough the world.

Resume:

Japanese Calligraphy artist
Certificated English tour guide
My teacher is Mr, Taisen Murano
Calligraphy teacher of junior high and high schools
Tsukuba University graduate school (science of arts master)
【Exhibition】Latest years
2013.08 Private Exhibition in Kichijoji, Tokyo
2014.08 Group Exhibition with my classmate of Tsukuba
2014.10 Kagurazaka Art Square
2015.06 Private Exhibition in Shibuya, Tokyo
2015.07 Private Exhibition in Kamakura
2015.10 HaNarArt
2016.05 Private Exhibition in Harajuku, Tokyo
2016.05 Group Exhibition in Ginza, Tokyo
2016.08 Private Exhibition in Kotenmacho, Tokyo
2016.09 Private Exhibition in Nishiazabu, Tokyo
2016.10 Group Exhibition in Yokohama
【Lecturer Career】
Japanese calligraphy teacher in Tokyo private junior high school and Senior High School.
Calligraphy Lesson for foreign tourists in Tokyo
Calligraphy experience with students from Geneva
Calligraphy class for physically challenged persons
【Awards, Prizes and licenses】
03.2011 High school teaching certificate of the calligraphy
02.2012 White Snow Red Plum Prize (Shodo Geijutsu-in Exhibition)
10.2014 Prize of the Chrysanthemum flower (Shodo Geijutsu-in Exhibition)
07.2014 Award of excellence (Mainichi shodo-ten)
10.2014 Member of examination committee of the vanguard calligraphy in Shodo Geijutsu-in
02.2015 tour guide licensed for guiding foreigners in Japan(English)
07.2015 Award of excellence (Mainichi shodo-ten)

Place: Tokyo, Japan

Concept: info@hinata-an.com

Website: http://hinta-an.wix.com/artist

PAULA CRAIOVEANU

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Work1 Title: WINGED GENIUS Year: 2013 Materials: OIL ON CANVAS Dimensions: H 27 W 43 D 1
Work2 Title: GLORIOUS BASTARDS Year: 2013 Materials: OIL ON CANVAS Dimensions: H 60 W 60 D 1
Work3 Title: ATLANTES Year: 2014 Materials: ACRYLIC ON CANVAS Dimensions: H 60 W 60 D 1
Work4 Title: ADAM & EVE Year: 2001 Materials: LAMBDA PRINT Dimensions: H 15 W 11 D
Work5 Title: WINDOW Year: 2001 Materials: LAMBDA PRINT Dimensions: H 15 W 11 D

Statement:

The paintings I am working on now, male and female nudes, are symbolic characters trying to express emotion and drama. Some of my paintings have a mythological component, and represent a fantastic approach to the world.

As for my art technique – many of the works are made in gray tones, in a technique reminiscent of “grisaille” (the method by which a painting is executed entirely in tones of gray so that it produces the illusion of sculpture or relief) that come in contrast with the background or other colored elements. The result is a sculptural shape that despite gray tones exudes a certain passion and the feeling of fantastic. My paintings focus on the human body without erotic connotations.

The bodies are thus revealed leaving us to see what was hidden under layers of colors and of successive transparent layers of painting in traditional painting technique of layering. Color dresses them partially. Postmodernism brings gods in everyday life.

In the other cycle of paintings – “Nudes” – I try to remove the boundary between inner and outer beauty. My nudes are not a specific person, but beauty itself, as a symbol of moral goodness. My visual approach aims to get rid of everything that is perishable in nature, revealing what lies deeper, namely the shine of inner beauty.
The message of my works is actually the result of my personal searches, lessons and stages I’ve gone through.

Resume:

With a professional background in Architecture and in Fine Arts, I‘ve dedicated myself lately to painting only. Working in my studios in New York and Bucharest. I came along through several stages, I completed my PhD in Visual Arts, and finally I turned to the human figure in painting, as subject and ideal.

Place:

Concept: studio@paulacraioveanu.com

Website: http://www.paulacraioveanu.com

Mikhail GUBIN 2

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Work1 Title: His Majesty Year: 2015 Materials: Wood, acrylic, ink Dimensions: H 24″ W 18″ D 17″
Work2 Title: Enigmatic growths. Year: 2016 Materials: Drawings on paper pasted on canvas Dimensions: H 76″ W 64″ D
Work3 Title: Symphony №2. Year: 2016 Materials: Wood, acrylic, ink. Dimensions: H 38″ W 22″ D 21″
Works4 Title: GARDEN OF EDEN. VIEW FROM HELICOPTER. Year: 2016 Materials: Paper, wood, plastic. Dimensions: H 42″ W 42″ D 4″
Work5 Title: Silent Film Star. Year: 2016 Materials: Discarded wood, fabric, metal, ink, acrylic. Dimensions: H 35″ W 18″ D 15″

Statement:

Gubin’s two-dimensional collage works on paper emanate from myriad geometric drawings that are cut out and carefully reassembled. Part Cubist, part Surrealist, these images are best described by the artist as “Similar to the action of our memory– from fragments we reconstruct the past.”
The sculptures are three-dimensional expansions of his two-dimensional canvases. Wooden pieces are glued together to form elaborate constructions that move between recognizable forms and abstract shapes. These sculptures charge the viewer’s imagination with innumerable possibilities. Central to the artist’s practice is the fact that the material embodies a kind of mythic power energized through its manipulation and placement. Immobile, wooden configurations take on movement and gesture and beckon us to a new world.

Resume:

SHORT RESUME

BIOGRAPHY

MIKHAIL GUBIN WAS BORN IN THE SOVIET UNION IN 1953. HE STUDIED AT THE ART AND TECHNOLOGY COLLEGE, ZAGORSK, MOSCOW REGION. IN 1989 MIKHAIL GUBIN IMMIGRATED TO USA BY WAY OF VIENNA AND ROME. HIS MULTIMEDIA PRACTICE INCLUDES SCULPTURE, PHOTOGRAPHY, DRAWINGS, PAINTINGS, COLLAGE, INSTALLATION, AND VIDEO.  HE PARTICIPATED IN 36 SOLO SHOWS AND OVER 200 GROUP EXHIBITIONS IN THE UNITED STATES AND INTERNATIONALLY, RECEIVING MULTIPLE AWARDS AND PRAISING REVIEWS FROM THE NEW YORK TIMES AMONG MANY OTHERS. HE HAS BEING AWARDED A 2014 NYFA FELLOWSHIP IN THE CATEGORY OF CRAFTS/SCULPTURE. GUBIN IS A MEMBER OF THE AUDOBON ARTISTS, THE NATIONAL COLLAGE SOCIETY AND SCULPTORS GUILD OF NEW YORK.

SELECTED SOLO AND GROUP EXHIBITIONS

Fruits of Inspiration. Westbeth Gallery, New York, NY
Mikhail Gubin: Sunrise in a Dumpster. Queens Museum of Art. Queens, NY
Transmogrifications of cuts and fractures. Sculptors Guild Gallery. Brooklyn, NY
Shadows, Synchronicity Space Gallery, New York, NY
Them and variations. Atrium Lobby Showcase Gallery. LaGuardia College, CUNY, LIC, NY
Art From the Boros IV. Denise Bibro Fine Art. New York, NY
Small Things Considered II. Laurence Miller Gallery. New York, NY
Loft in the Red Zone. Tribute to 9/11. Lobby of Historic House of JP Morgan. New York, NY
Queens International 2012: Three Points… The Queens Museum of Art. Queens, NY
Sculptors Guild @ Saks 2012. Saks Fifth Avenue. New York, NY
There Is No Place Like Home 2012. Paul Robeson Galleries, Rutgers University. Newark, NJ
Audubon Artists 73rd Annual Exhibition at the Salmagundi Club, New York, NY
THE WILD magazine. Bestiary Art Auction. Garis & Hahn Gallery, New York, NY

SELECTED BIBLIOGRAPHY:

The New York Times, 06/06/99; 05/14/00; 05/28/00; 05/30/04; 26/10/14
New York Newsday, 12/19/93, 3/30/03, New York, NY
The New York Post. December 5, 2007. NYC
Surface China magazine. Spring issue. 2013
MONTEM. Issue #01, Japan. 2013

Place: Brooklyn, NY

Contact: nyart@gubinart.com

Website: http://www.gubinart.com

Kanade Hamawaki

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Work1 Title: installation in group exhibition “Lumen” in Bedburg-Hau in Germany Year: 2016 Materials: cloth, wood stick, bands Dimensions: H  W  D

Work2 Title: installation in group exhibition “Lumen” in Bedburg-Hau in Germany Year: 2016 Materials: lamp, water, waxed paper Dimensions: H  W  D

Work3 Title: installation “ku kei” Year: 2015 Materials: cloth, wood stick, metal stick, gypsum Dimensions: H  W  D

Work4 Title: installation “ku ro” Year: 2016 Materials: cloth, metal sticks, wires Dimensions: H  W  D

Work5 Title: installation in solo exhibition “tou” in Akari Kako Archive, Japan Year: 2016 Materials: panels, tapes, fluorescent lamps Dimensions: H  W  D

Statement:

narrative space
- space with story and memory

space/place has history and story from people who using or living there.
I try to find out what space tells story to people and shape it in simple ways.
Space is reconstructed through the filter named me, reborn as what something new, and people interprets in their own way. To give chance people to feel and think what it could be, there are dialogs between themselves, others or space and people.
Not only in the time to see my works, to stay it as memory, people are keeping influenced from this space and changing their point of view and way of thinking.
This king of process is my work, and the space and people are also part of my work and take important rolls.

Resume:Kanade Hamawaki was born in 1995 in Kobe, Japan and is living and studying in State Academy of Art Düsseldorf, Germany.

She is working with space and create installations inspired from history and function/character of the place, its atmosphere and its environment around there.
Many projects and exhibitions are held in Germany and in her hometown in Japan to share people her point of view to feel space.

《project》
2016
installation “Traumhaus 26” Theater Filidonia(Remscheid, DE) Streets Festival/ins Blaue e.V.

《exhibition》
2010
exhibition „My Step in 15 Years” Kakogawa Cultural Center (Kakogawa, JP)
2014
group exhibition “Meets”  Matsukaze Gallery (Kakogawa, JP)
2015
exhibition “Jump Up from Full Age” sponsored by Kobe Bunka Shien Kikin
group exhibition “SommerAufgang”  Galerie Atelier (Düsseldorf, DE)
exhibition “utsurou, kukei”  Matsukaze Gallery (Kakogawa, JP)
2016
group exhibition “Lumen” Artoll-Kunstlabor (Bedburg-Hau, DE)
group exhibition “A CO TY TAM ROBISZ” Galeria przy Sławkowskiej(Krakow, PL)
exhibition “tou” Akari Kako Archive (Kakogawa, JP) sponsored by Kansai Art Support
exhibition “(let)stay” Kakogawa Civic Gallery (Kakogawa, JP) *planned
2017
exhibition “view” ASPIA SMILE GALLERY (Akashi, JP) *planned

《scholarship, residency》
2012
Educational Exchange Program of German Government/ as representative Student of Japan
2015
International Theater Festival Okinawa for Young Audience/residency (Okinawa, JP)
2016
Artoll-Kunstlabor/residency (Bedburg-Hau, DE)

《prize》
2011
German Speech Contest for Japanese High School Student in Dokkyo University /special prize
Hunt for This Century’s Leonardo da Vinci! High School Art Competition /1. place
2012
High School Illustration und Design Competition /1. place
2013
Mainichi-DAS Design Competition Designers Association Some rights /1. place
Multi Cultural Photo Exhibition “Human Bonds” /hyogo prefectural governor’s prize

Place: Düsseldorf, Germany

Contact: kunstkanade@gmail.com

Website: http://kunstkanade.jimdo.com

Elisabeth Wedenig

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Work1 Title: the running dog #1 Year: 2016 Materials: oil and acrylic on canvas Dimensions: H 190 W 160 D

Work2 Title: the running dog #4 Year: 2016 Materials: oil and acrylic on canvas Dimensions: H 190 W 160 D

Work3 Title: the running dog #5 Year: 2016 Materials: oil and acrylic on canvas Dimensions: H 190 W 160 D

Work4 Title: Im Nebel wie die Ochsen im See Year: 2014 Materials: oil and acrylic on canvas Dimensions: H 130 W 100 D

Work5 Title: Überdachte Gedanken Year: 2014 Materials: oil and acrylic on canvas Dimensions: H 130 W 100 D

Statement:

The heart of my paintings is the intention to combine and to forge a bond with the aim to find an in-between. Between abstraction and figuration, painting and drawing, geometric and organic elements, chaos and order, reality and dream. Rooted in abstraction and narrative, most of my current paintings are the results of my interest in perception; what is real, true and important to each one of us; the flexibility and elasticity of reality; how we remember and how we forget; how we lose, hide, destroy, keep, make up, reorder and find new solutions.
During the work on my paintings, I compress and develop collected elements through selecting, reordering, replenishing, overlaying, distorting, disguising or deleting them. I never completely know how my paintings will look in the end. My interest lies in how they develop through the painting process, in seeing what materialises. It is a process of creation, reaction and reflection. A flexible process, where plans can change or coincide. I am obsessed with the act of painting itself and with colour.
My recent works are mostly series, where one work grows out of the previous one, or they are connected to one another through composing elements.
The running dog, for example, is a series of five paintings each showing the same image but, by the time of painting, every single one becomes an alteration of the previous one, getting more abstract, just like vanishing memories do.

Resume:

* 1980 in Austria.

1998–1999 Riga Art Academy, Latvia.
1999–2008 Academy of Fine Arts Vienna.
2001 Athens Academy, Greece.

Lives and works in Carinthia and Vienna. AT

Selected exhibitions

2015
Landvermessungen, Judith Saupper and Elisabeth Wedenig, bäckerstrasse4, Vienna, AT
SilvrettAtelier 2014, Palais Liechtenstein, Feldkirch, Vorarlberg, AT
Wir haben keinen Fisch daheim, Klagenfurter Ensemble, Klagenfurt, AT (solo)
Das graue Vlies – Das graue Bb, Deutschvilla, Strobl, Salzburg, AT

2014
Parallelwelten, Elisabeth Wedenig & Katherina Olschbaur, Galerie Gerersdorfer, Vienna, AT
b4 Selection, bäckerstrasse4, Vienna, AT
Bahar Oganer / Elisabeth Wedenig, bäckerstrasse4, Vienna, AT
Faistauerpreis für Malerei 2014, Galerie im Traklhaus, Salzburg, AT
Ich warte hinterm See, Galerie im Schloss Porcia, Spittal a. d. Drau, AT (solo)
gebrauchtsreise I, Kulturforum Amthof, Feldkirchen, Kärnten, AT (solo)

2013
Schwerpunkt Malerei, Galerie Traklhaus, Salzburg, AT
Passeur, Galerie Odile Ouizeman, Paris, FR
change your head before you lose it, Kleine Galerie im Künstlerhaus, Klagenfurt, AT (solo)

2012
Painted_interventions, Österreichisches Kulturforum Washington, US
Passeur, k/haus Passagegalerie, Vienna, AT

2011
bäckerstrasse4 on tour, Galerie 3 und Stadtgalerie Klagenfurt, AT
evening over rooftops, bäckerstrasse4, Wien, AT (solo)
imagine white, Zimmer.Küche.Kabinett. meets Vienna Art Week, Vienna, AT

2010
Don´t look now, bäckerstrasse4, Wien; London, GB

2009
Sternengärtner, Startgalerie im MUSA, Vienna, (solo)
Wie James Dean, Zimmer.Küche.Kabinett. VOL.8, Kunstprojekt, Berlin, D
Art Stays 2009, Ptuj, SLO

Place: Glanegg, Austria

Contact: mail@elisabethwedenig.at

Website: http://www.elisabethwedenig.at

Michelle Weinberg

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Work1 Title: Painting Studio Year: 2014 Materials: gouache on paper Dimensions: H 39 W 27 D 0

Work2 Title: Intricate Pattern Overlay Year: 2014 Materials: exterior latex paint mural, Wolfsonian Museum, Miami Beach Dimensions: H 25′ W 175′ D 0

Work3 Title: Stage Left/Center Stage Year: 2015 Materials: gouache and rubber stamp on paper, diptych Dimensions: H 25″ W 17″ D 0

Work4 Title: Storyboard (detail) Year: 2016 Materials: gouache and rubber stamp on paper Dimensions: H 10″ W 8″ D 0

Work5 Title: Exit the Fun House Year: 2016 Materials: gouache and rubber stamp on paper, latex paint mural Dimensions: H 25″ W 17″ D 0

Statement:

Painting is the point of origin for all my projects. It is visible thought that moves freely across mediums, platforms and surfaces. A natural extension of my work in the studio, I have produced art for interiors, architecture and public places – vivid backdrops for human activity that translate the virtual spaces in my paintings into physical space.
My paintings describe stage sets populated with stylized forms, eccentric perspectives, flickering patterns and saturated pastel and hothouse hues. Surfaces – floors, facades, courtyards, kiosks, signs, walkways and storefronts – are veneers that are activated by social energy and human presence. I respond to the sublime geometry underlying natural forms, and the rich, visible color spectrum and details from the observable world. My paintings sugest an alternate realm, a heightened, theatrical place oranized by a playful physics. Pattern is fundamental in my work, a visual rhythm that syncs the sensations of moving through spaces with internal bodily rhythms: pulse, breath, heartbeats & footsteps.

In this pretend dimension, I am inspired equally by ancient Indian miniature paintings as by contemporary digital game space. I am a restless magpie researcher, and my work derives from my eclectic interests in fashion and textile design, graphic design and typography, and more esoteric sources such as early camouflage, arabic calligraphy, bargello needlepoint, furniture design, window display, Warner Bros. cartoons, curio cabinets and more.

Resume:

Born Brooklyn, NY

BFA 1983, School of Visual Arts / MFA 1988, Tyler School of Art

Grants/Awards
2016    Pollock-Krasner Award
Mayer of Munich, Germany
CannonballMiami
Artist Access Grant
2014    ArtCenter/South Florida
2012    homesession residency, Barcelona;  Artist Access Grant, Miami
2009    Artist Access Grant, Miami;  Nordisk kunst Plattform, Norway
2008     So Fla Cultural Consortium Award
Artist Enhancement Grant, ST of FL
2006     Artist Grant, ST of Florida
2004    Fundación Valparaiso, Spain
2003    Millay Colony
2002    Eastern Frontier Society, Maine
1998     Natl Found for Advancement in the Arts
1998    New England Found for the Arts
1996    MacDowell Colony
1993    Fine Arts Work Center in Provincetown
1990    Altos de Chavon, Dom Repub

Selected Exhibitions
2016
design sublime, miami (solo)
Frost Art Museum, FIU, Miami
Curatorial + Co, Sydney, AU
Center for Book Arts, NYC
Open Source, Bklyn, NY

2015
Westbeth Annual, NYC
Satellite Show, Miami Beach
Schoolhouse Gallery, Ptown, MA

2014
ArtCenter/South Florida (solo)

2013
Cyan Gallery, Barcelona
Vizcaya Museum, Miami
Miami Intl Airport

2012
Shelf Life, DuPont Bldg, Miami (solo)
Bob Rauschenberg Gallery, Edison St College, FL (solo)
Dorsch Gallery, Miami (solo)

2011
American Design Club, NYC
Society, NYC

2010
Islip Art Museum, NY
Bleu Acier, Tampa, FL
Miami Art Museum

2009
Nordisk kunst Plattform, Norway (solo)
Schoolhouse Gallery, Ptown, MA

2008
Art@Work, Miami (solo)
David Castillo Gallery, Miami
Bernice Steinbaum Gallery, Miami
Fort Lauderdale Museum of Art

Public Art/Private Commissions
Jacksonville, FL
Pembroke Pines, FL
Young at Art Museum, Davie, FL
Wolfsonian Museum-FIU, Miami Beach
Miami-Dade Co. AIPP
Wanted Design, NYC
Facebook office, Miami
City of Tampa
City of Hollywood, FL
Royal Caribbean Criuse Lines
Celebrity Cruise Lines
Locust Projects, Miami
One Miami Riverwalk

Place: New York, NY

Contact: mail@michelleweinberg.com

Website: http://michelleweinberg.com

Theresa Hackett

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Work1 Title: Meeting Place Year: 2016 Materials: Diatomaceous earth, gesso, Flashe paint, acrylic, foam on wood panel Dimensions: H 72″ W 48″ D 2′
Work2 Title: Escape Route Year: 2016 Materials: Diatomaceous earth, gesso, Flashe paint, acrylic, ink on wood panel Dimensions: H 72″ W 48″ D 2″
Work3 Title: Pressure to Hold Year: 2006 Materials: Diatomaceous earth, gesso, Flashe paint, acrylic, ink on wood panel Dimensions: H 72″ W 48″ D 2″
Work4 Title: Running Out of Time Year: 2016 Materials: Diatomaceous earth, gesso, Flashe paint, acrylic, ink on wood panel Dimensions: H 72″ W 48″ D 2″
Work5 Title: Anxiety Attack Year: 2016 Materials: Diatomaceous earth, gesso, Flashe paint, acrylic, ink on wood panel Dimensions: H 72″ W 48″ D 2″

Statement:

I have been active as a painter for more than thirty years, and in that time I have committed much of my studio practice to the exploration and development of materials and surfaces.
For many years I have worked mostly on BFK paper stretched to linen, where the surface was a mixture of painting, drawing and collage elements. In my most recent work, I have returned to working on wood, this time using a new surface material – diatomaceous earth. The diatomaceous earth surface becomes a substitute and a simulation of the former paper on linen surface. This new surface has enabled me to create a more fluid approach to my work.
My painting practice consists of a weave of memories falling out of chaos, where still life meets landscape. It becomes a mixology; an alchemy which tends to direct the composition toward visual play, a paronomasia of textural complexities and surface variations. I have worked to redefine the concept of landscape and break down its essential relationship within the language of abstract painting. This re-contextualizing is a process which is shaped by continual questioning, and by constant construction and deconstruction. What I seek is a place where one form slips, in a kind of timeless lapse, into another.
I am interested in creating environments for my paintings. I find that this dialogue between installation and painting creates a certain dialectic that opens the possibilities to create a broader interpretation of the work. I would like my viewing audience to experience the work as if they were put into a world that slowly opens up around them and a multitude of visual sensations become realized.

Resume:

Solo and Two Person Exhibitions/ Projects

2017    DVAA, Narrowsburg, NY (scheduled show)
2013   “Theresa Hackett and Jill Levine”, The George Gallery, Laguna Beach, CA
2011   NYFA, Patron Window Residency, NY
Bryan Art Gallery, Coastal Carolina University, SC
2010   Contemporary Museum, “On View”, Baltimore, MD
2009   Haas Gallery, Bloomsburg University, Bloomsburg, PA.
2007   Florence Lynch Gallery, New York, NY
2005   Florence Lynch Gallery, New York, NY
2004   Florence Lynch Gallery, New York, NY
2002   Linda Schwartz Gallery, Cincinnati, Ohio
2001   Florence Lynch Gallery, New York, NY
2000   Soho Myriad, “At the Edge of Understanding”, Atlanta, GA
1999   Smallworks Gallery, Las Vegas, NV
1998   Florence Lynch Gallery, New York, NY
1993   Cigales et Lavandes, Turin, Italy
1992   Sue Spaid Fine Art, “Traces of Erasure”, Los Angeles, CA
1991   Sue Spaid Fine Art, “Landmark to Landmark”, Los Angeles, CA
1990   Condeso/Lawler Gallery, New York, NY
1984   Jus de Pomme, New York, NY

Selected Group Exhibitions
2016  “Space, Light and Disorder”, curated by Marilla Palmer,
Kathryn Markel Fine Arts, NY
2015    Venice Vending Machine, Edition 3, Serra dei Giardini, Venice, Italy
“Summer Salad”, Girl’s Club, Annex Space, Ft Lauderdale, FL
“Displaced Landscape”, DVAA, Narrowsburg, NY
2014   “Paintngs From Paris”, Makebish Gallery, NY, NY
“Starting Here: A Selection of Distinguished Artists from UCSB”
Art, Design &Architecture Museum, UCSB, Santa Barbara, Ca.
“The Last Brucennial”, New York, NY.
2013  “Lumen”, Film Festival, Staten Island, NY. Curated by David Terry, NYFA.
“As The Eye Is Formed”, Juried by Peter Campus, Parrish Art Museum,
Water Mill, NY.  (Video Screening)
Mass MoCA-One Minute Film Festival: 10 Years. North Adams, MA
2012  “Between the Two: Six

Place: New York, NY

Contact: hackteri@aol.com

Website: https://www.theresahackett.com

kaiser kamal

wterland30 waterland31 waterland32 positivesmMixed-media-12X122012 Recongnise-Mixed-media-12X122012

Work1 Title: waterland30 Year: 2016 Materials: Mixed Dimensions: H 20 W 16 D 1
Work2 Title: Waterland31 Year: 2016 Materials: mixed Dimensions: H 20 W 16 D 1
Work3 Title: waterland32 Year: 2016 Materials: Mixed Dimensions: H 20 W 16 D 1
Work4 Title: Positivism Year: 2012 Materials: Mixed Dimensions: H 18 W 18 D 1
Work5 Title: Recognised Year: 2012 Materials: Mixed Dimensions: H 18 W 18 D 1

Statement:

I consider my self experimental- conceptual artist .Where meaning is not absolute but suggestive. I am constantly drawing and planning .Sometimes the drawings are left in the sketchbook and other times they develop into more in-depth ideas and detailed images. I raise them in me. I may go to sleep with an idea or may wake up in the morning with a new composition. My subject matter is about people’s daily experience , human and nature. My influences are first and foremost everything I see, feel and experience. In my work I try to create multiple layers .I felt that a combination of multiple layers gives deeper meanings to a painting. The process is an internal one, inspired by personal experiences and imagination.

Throughout my career I have worked in many different media:
drawing, painting, photography, sculpture Mural and large scale scroll painting,
Video. My latest body of work combines processes. and experience in deferent
technique. I have use mixed media -like acrylic, tea dust, permanent marker,3d
paint, Black gesso etc.

Instead of explaining a certain piece of work – I wanted it to be ~ hopefully it can speak for itself and whatever it says to the viewer – it’s the right message because there isn’t a wrong and a right message. Each individual takes something, little different from each other and that make me happy

Resume:

Solo exhibition

Solo Art exhibition at Gallery 21, Dhaka, Bangladesh 2014

Solo Art Show “Chromatic” Sapphire Lounge Gallery, New York USA 2012

Solo art exhibition, Queens Library, New York USA, 2007

Solo Art exhibition at Alliance Franciase de Dhaka, Bangladesh 2003

Solo painting exhibition at Zainul Gallery, Dhaka University. Bangladesh 2002

Solo painting exhibition at Alliance Franciase de Dhaka. 2000

Selected Group exhibition

15 th Asian Biennial Bangladesh. 2012

SZPILMANAWARD 2012 Frankfurt, Germany

Group show , Think Coffee, New York, NY 2012

The Peace Project, The whole 9,2011

Group show ,PETER LOUIS SALON New York, NY 2011

Group show , FOBANA 2011 at Meadowlands Exposition Center Secaucus, New Jersey

Salon Show ,Green Point Gallery ,Brooklyn, NewYork, 2010

Group Art Exhibition arrange by BAAF, Queens, New York 2010.

Group Art Show. ICO Art &Music Gallery, , New York, 2009

Collide- Group Art Show. ICO Art &Music Gallery, , New York May 5th-29th 2009

Group Art Exhibition with Bangladeshi artist, Queens, New York.

Group Art Exhibition at Bangladesh Embassy Gallery, Washington D.C

4 Group Art Exhibitions, Nagoya, Japan 2002-2005

13-16 th   National Art Exhibition at the National Art Gallery, Dhaka , Bangladesh2000-2005

11-14 th Young Art Exhibition, Shilpakola Gallery ,Dhaka ,Bangladesh 1999-2004

Group Show in Russian Cultural Center, Dhaka 2002

Group Show Dhomimal Mal Art Gallery, New Gallery ,India 1999

Aids ,awareness art Show , Shilpakola Gallery ,Dhaka ,Bangladesh

50th Anniversary Exhibition: Institute of Fine Arts, Bangladesh National Museum.1999

International Miniature show, Gallery Tone, 1997

Participated in Annual Exhibitions, Institute of Fine Art, University of Dhaka, Bangladesh.1992-2002

Place: Jamaica, NY

Contact: kaiser0kamal@gmail.com

Website: http://kaiserkamal.com/

Jayoung Yoon

1.Crown-of-thoughts 2.Watching-the-Mind 3.The-Skull 4.Sensing-Thought-05 5.Form-and-Emptiness-08

Work1 Title: Crown of Thoughts Year: 2014 Materials: Print: Archival Pigment Print on Acid Free Cotton Paper (Sculpture: Human hair, 4x11x11inches) Dimensions: H 20 W 30 D 0

Work2 Title: Watching the Mind Year: 2009 Materials: Two-Channel Video, Still image,  1min 13secs Dimensions: H 0 W 0 D 0

Work3 Title: The Skull Year: 2016 Materials: Human hair, glue Dimensions: H 8 W 6 D 8

Work4 Title: Sensing thoughts 05 Year: 2016 Materials: Human hair, glue, thorn fragement Dimensions: H 16 W 6 D 6

Work5 Title: Form and Emptiness 08 Year: 2015 Materials: Human hair, glue Dimensions: H 8 W 8 D 8

Statement:

My art draws upon diverse spiritual practices that emphasize clearing the mind and directing attention into a heightened awareness of the present, and often the body. To convey those concepts, the artworks are a synthesis of hair sculpture, video, performance, and painting.

Human hair, at once tactile and ephemeral, has become my visual nexus for the intersection between the physical and spiritual realms. As a material, hair is intimately corporeal and focuses the viewer’s attention on the body. As it grows, hair represents the accumulation of time. Since its physical properties make it last long after death, it is an especially appropriate symbol of remembrance.

I use the hair sheared from my head, then transform the hair into wearable sculptures for my body. It comes back to my body with new symbolism, which represents invisible thoughts. In the videos, I let go of the sculptures, representing the departure of my thoughts from my body as a cleansing gesture through the meditative process. The videos become ritualistic meditation ceremonies. My head is shaved –as monks do–representing a detachment from materialist identity. I meditate with my back to the camera, embodying a detachment from gender, culture, and thought. The immersive quality of videos in conjunction with my androgynous appearance invites viewers to inhabit my body, and experience the process of clearing the mind.

Also I make stand-alone (non-wearable) sculptures, which I sometimes use in video and performance, or collectively they become an immersive installation. I tie hair lengths together piece by piece. Weaving and knotting the hair by hand instead of using machinery creates unique, organic shapes both in the details and in the larger form. The weightless hair sculptures move from the airflow created by a viewer’s movements and from the environment. Those small movements in space, on an intricate scale, shift the awareness toward subtle perceptions that are often taken for granted.

Resume:

SOLO EXHIBITIONS
Ephemerality, Theo Ganz Studio, Beacon, NY, 2016
Mind out of Time, Here Arts Center, New York, NY, 2013
Sensory Thought, Delaware Center for the Contemporary Art, Wilmington, DE, 2011
Cleansing the Memories, KEPCO Plaza gallery, Seoul, Korea, 2011
Watching the Mind, 4Art gallery, Kyunggi-do, Korea, 2009
Watching the Mind, Museum of New Art, Pontiac, MI, 2009
Ephemeral, ABBA Fine Art, Miami, FL, 2009
Line of Thought, School 33 Art Center, Baltimore, MD, 2008

Selected GROUP EXHIBITIONS
Threaded, Flatiron Project Space, New York, NY, 2016
Intricate Realities, The Catskill Art Society, Livingston Manor, NY, 2016
SOMA Drawing : Mindful Mindless, Seoul Olympic Museum of Art, Seoul, South Korea, 2015
Peekskill Project 6, Hudson Valley Center for Contemporary Art, Peekskill, NY, 2015
Repsychling, Teachers College Macy Gallery, Columbia University, New York, NY, 2015
BODY and SOUL, Kreft Center for the Arts, Concordia University Ann Arbor, MI, 2015
11th Busan International Video Festival, Busan, Korea, 2014
BBBBBREEZE, Ethan Cohen gallery, New York, NY, 2014
Fluid – Essential For Life, Newhouse Center for Contemporary Art, Staten Island, NY, 2014

Selected ARTIST RESIDENCIES
Vermont Studio Center, Johnson, VT, 2016
I-Park Foundation Artist-in-Residence, East Haddam, CT, 2014
NES Artist Residency, Skagaströnd, Iceland, 2012
Lower Manhattan Cultural Council’s Swing Space, Governors Island, NY, 2011
Sculpture Space, Utica, NY, 2011
Skowhegan School of Painting and Sculpture, Skowhegan, ME, 2009
Anderson Ranch Arts Center, Snowmass Village, CO, 2009

Selected GRANTS and AWARDS
Artist in the Marketplace program, Bronx Museum, Bronx, NY, 2016
BRIC Media Arts Fellowship, Brooklyn, NY, 2014
Franklin Furnace Archive Inc. Fund Grant, Brooklyn, NY, 2010

EDUCATION
Cranbrook Academy of Art, Bloomfield Hills, MI, MFA, Fiber, 2009
Maryland Institute College of Art, Baltimore, MD, Post-baccalaureate, Fine Art, 2007

Place: Beacon NY

Contact: jayoungart@hotmail.com

Website: http://www.jayoungart.com

Elizabeth Jordan

1_EJordan_Let-go-and-let-God 2_EJordan_Tomboy 3_EJordan_O-Tannenbaum Elizabeth N Jordan: sculptures shot at PTP studio 5_EJordan_The-Queens-Beast

Work1 Title: Let go and let God Year: 2016 Materials: wood, window chain, chicken wire, wire mesh, Paper Clay, gouache, wire, twine Dimensions: H H43” W 42″ D 14″
Work2 Title: Tomboy Year: 2016 Materials: wire mesh, wire, telephone line connector, Claystone, watercolor, India Ink, gouache, wood, nails Dimensions: H 24″ W 12″ D 10″
Work3 Title: O Tannenbaum Year: 2016 Materials: hangers, wire mesh, wire, Christmas tree, burlap, Paper Clay, India Ink, gouache, Christmas tree stand Dimensions: H 78″ W 18″ D 18″
Work4 Title: Speak to me Year: 2016 Materials: wood, latex paint, canvas, wire hangers, wire, twine, Paper Clay, burlap, chicken wire, pallet Dimensions: H 36″ W 24″ D 10″
Work5 Title: The Queen’s Beast Year: 2014 Materials: wire, hangers, chicken wire, Claystone, Paper Clay, watercolor, Gouache, India Ink, umbrella fabric, burlap, hemp, window chain Dimensions: H 22″ W 11″ D 42″

Statement:

I carry on a conversation with my work in the studio. It is private, between me and my materials, and would likely not be understood by an outsider. Ultimately, it is my hope that this conversation will result in answers to the secrets that are hidden in the potential of my materials. I think this is true for anyone who engages in the creation of a handmade object…the secrets are really revealed only to the maker.

These objects emerge from different repetitive processes: winding, wrapping, layering leads to distorting, altering, scarring. Materials are added, building up an object’s patina and history: wire mesh, wood, plaster, paint, clay, wire, burlap, leather. It is the combination of materials and actions which make an object that is as rich in its quirkiness and uniqueness as is found in nature.

Some pieces or elements are made over and over again, all the same but also different. The process of repetition has a calming effect, giving me the patience to create prototypes of objects, which I refer to as three-dimensional sketches. These sketches are a means to try out ideas and see where they lead. Trying to piece together something out of nothing is a mystery that I am intrigued with.

Beauty is subjective, and perfection in nature is frequently surprising. My work isn’t beautiful in a traditional sense. It has its own unique beauty, which may seem dark, but it isn’t without humor.

My connection to nature, the earth, the beauty and grimness of the world are some of the topics of my studio conversations. In nature, there is no sentimentality about life and death; life is temporal and fragile. My work exists in the same place, in that I attempt to create objects that are both vulnerable and powerful.

Resume:

SELECTED EXHIBITIONS
2016
WILD, Cornell Museum of Art, Delray Beach, FL, curated by Melanie Johanson

2014
CURRENT: Gowanus, Gowanus Loft, Brooklyn NY, curated by Benjamin Sutton
THAW, Dorsky Gallery, Long Island City, NY, curated by Jill Conner

2013
AS | Artists Studios, Pop-Up Group Show, 111 Front Street, Dumbo Galleries, Brooklyn NY
Gowanus Artists Open Studio Weekend
AS | Artists Studios, Boom & Bloom, The Phatory, New York, NY
Real TIme, Pop-Up Show, hosted by AS | Artists Studios, New York, NY

2012
GoBrooklyn Open Studio Weekend
Annual Gowanus Artists Open Studios

2009
A Book About Death: A tribute to Ray Johnson and Emily Harvey, Queens Museum, NY
Wish You Were Here 8, A.I.R. Gallery Exhibition and Benefit, New York, NY
Annual Gowanus Artist Studio Tour, Brooklyn, NY

2008
Annual Gowanus Artist Studio Tour, Brooklyn, NY

1999
In the Hands of an Artist, Wilmer Jennings Gallery, New York, New York, juried by Howardena Pindell
1989
The Return of the Cadavre Exquis, The Drawing Center, New York, NY

1988
Visiting Artists Exhibi tion and Lecture Series, Uni ver sity of Wis consin Center, Marshfield, WI
Contem porary Interpre tive Land scape, Rice Univer sity, Hous ton, TX

1984
Eliza beth Jordan, Oil on Paper, Mason Gross School of the Arts, Rutgers Univer sity, NJ
Director’s Choice, 7 Guest Artists, Terry Dintenfass Gal lery,  New York, NY
Retro spective, Florida Center for Con tempo rary Art, Tampa, FL
The Third Coast Exhibi tion, Mid town Art Center, Hous ton, TX
Between Endo and Exo, Chris Hanson & Eliza beth Jor dan, Artist Alliance Gallery, Tampa, FL
Masters Thesis Exhibi tion, Teach ing Gallery, Univer sity of South Florida, Tampa, FL
Seven Walls & Ten Artists, Artist Alliance Gallery, Tam pa, FL

EDUCATION
MFA, 1984, Phi Kappa Phi Honor Society, University of South Florida, Tampa FL
Tamarind Master Printer, 1979, Tamarind Institute of Lithography, Albuquerque NM
BA, 1977, Departmental Honors, Douglass College, Rutgers University, New Brunswick NJ

Place: Brooklyn NY

Contact: elizabeth@enjordan.com

Website: http://www.enjordan.com

Amir Hariri

ahariri1 ahariri2 ahariri3 ahariri4 ahariri5

Work1 Title: Pool House Year: 2016 Materials: oil and acrylic on board Dimensions: H 36 W 36 D 0
Work2 Title: Domino Cubic Year: 2016 Materials: oil and acrylic on board Dimensions: H 36 W 36 D 0
Work3 Title: Smoke Under Water Year: 2016 Materials: oil and acrylic on board Dimensions: H 36 W 48 D 0
Work4 Title: Navy Yard Year: 2016 Materials: oil and acrylic on board Dimensions: H 36 W 36 D 0
Work5 Title: Highrise the Roof Year: 2016 Materials: oil and acrylic on board Dimensions: H 48 W 36 D 0

Statement:

Influenced by my training in design and engineering, my work is an examination of how perceived notions of weight, density and inertia influence the conceptualization and subsequent projection of equilibrium in abstract compositions.

In my most recent work, I attempt to expand upon the contemporary tradition of making and un-making and to expose the blurred lines between evolution and decay. I not only use the current urban state of New York City, with its rapid growth and transformation, as reference but have also looked to ‘architecture under duress’, such as modes of destruction due to natural disasters and war, as a guide. Furthermore, I look to the construction site as an architectonic theater to further examine ideas relating to notional weight and austerity, material roughness and, in general, systems in entropy. With the help of reference sculptures, I formulate a path towards understanding how projections of such elements intuitively influence visualizations in painting. With the application of an iterative method, which includes installations and demolitions, ironically, we may find that the new represents a form of decay, itself.

Resume:

Amir Hariri was born in Tehran, Iran, and immigrated to the U.S. to attend college in the early 1990′s. His broad academic and professional experiences and interests, which include professional degrees in design and management from Cornell and Harvard Universities, form an integral part of his highly analytical and disciplined art practice and vision. Amir spent over 10 years working on design projects ranging from airports, stadiums, concert halls and museums to award-wining glass designs, such as stairs for various Apple stores. In addition, Amir spent 5 years studying painting and printmaking at the Art Students League of New York, during which time he also served as a teaching assistant and as a member of the board of directors. His work incorporates this extensive professional background in design and engineering, together with rigorous studies of anatomy, into an organic, “bio-mechanical” unity. Amir has exhibited widely, both nationally and internationally, with pieces included in various public and private collections in the U.S, as well as Spain, Italy and Japan.

Place: Brooklyn, NY

Contact: hariri_amir@hotmail.com

Website: http://www.amirrhariri.com

Lecture by Hiroko Nishida

“Kutani, but Fired in Arita”

- Discoveries from New Archeological Findings -

Old Kutani Ware: Fired not in Kutani, but in Arita

ISE Cultural Foundation NY is pleased to present a special lecture “Kutani, but Fired in Arita: Discoveries from New Archeological Findings” by Hiroko Nishida from Japan. This lecture will be in Japanese with English interpretation.

Kutani

Lector:

02_photo_01

Hiroko Nishida, The Nezu Museum

Interpreter:

Takeshi Watanabe

Presented by: ISE Cultural Foundation NY

Place: Rose Room (2F) at The Nippon Club, 145 W 57th St, New York, NY 10019

Date: Friday, October 28, 2016

Time: 6:30-8:00PM  (Open: 6:00PM, Start: 6:30PM)

How to Register: Ticket will be available in September. Please come back to this website after September 6.

Erika Stearly

Erika-Stearly_01 Erika-Stearly_02 Erika-Stearly_03

Erika-Stearly_05 Erika-Stearly_04

Work1 Title: 30 E. Main Street, No. 10 Year: 2016 Materials: Watercolor and Acrylic on Paper, Mounted on Panel Dimensions: H 12 in W 9 in D 1 in
Work2 Title: 511 Briar Cliff South, No. 02 Year: 2016 Materials: Watercolor and Acrylic on Paper, Mounted on Panel Dimensions: H 12 in W 9 in D 1 in
Work3 Title: 140-1 Hill Road, No. 03 Year: 2016 Materials: Watercolor and Acrylic on Paper, Mounted on Panel Dimensions: H 12 in W 9 in D 1 in
Work4 Title: 131 E. Main Street, First Floor, No. 04 Year: 2016 Materials: Watercolor and Acrylic on Paper, Mounted on Panel Dimensions: H 12 in W 9 in D 1 in
Work5 Title: 30 E. Main Street, No. 21 Year: 2016 Materials: Watercolor and Acrylic on Paper, Mounted on Panel Dimensions: H 12 in W 9 in D 1 in

Statement:

My paintings feature furniture and other household objects as a way to contemplate abstraction and representation. As their titles suggest, these paintings depict actual residences. These paintings balance an impulse to faithfully render the objects in these spaces against the emphasis on the hand of the artist. The coexistence of abstraction and representation, along with the liminal hybrid of the two, serve to orient the viewer, inviting them to construct their own narrative of the scene.

Resume:

Education
2014
MFA, Painting and Drawing, Indiana University of Pennsylvania (IUP), Indiana, PA
2009
BFA, Painting, Kutztown University, Kutztown, PA
2010
Summer Painting Intensive, Tyler School of Art, Philadelphia, PA

Professional Experience
2016-
Teaching Artist, The Banana Factory, Bethlehem, PA
2015
Emerging Artist in Residence, Pennsylvania State University, Altoona, PA
2012-14
Editorial Assistant, The Journal of the National Art Education Association

Awards/Grants/Residencies
2016 Artist Residency, Wilson College, Chambersburg, PA
2014 (2) Travel Grant, Graduate Scholars Forum, IUP, Indiana, PA
Trespass Artist Residency, Carnegie Mellon University, Pittsburgh, PA
Artist Grant, Black Rock Arts Foundation, San Francisco, CA
Professional Development Grant, IUP, Indiana, PA
2013 (2) Graduate Student Research Grant, IUP, Indiana, PA
Travel Grant, IUP, Indiana, PA

Selected Exhibitions
** Catalogue

2017
C’mon In, The Cohen Gallery, The GoggleWorks, Reading, PA
Project Wall, New Arts Program, Kutztown, PA
2016
**27th Invitational Salon Exhibition of Small Works, New Arts Program, Kutzown, PA
The Big Draw, Catalyst Gallery, Beacon, NY
Curated by Theresa Goodman
2015
**26th Invitational Salon Exhibition of Small Works, New Arts Program, Kutztown, PA
This is Where We Used To Live, Penn State University, Altoona, PA
2014
Take a Painting, Kutztown University, Kutztown, PA
Take a Painting, Carnegie Mellon University, Pittsburgh, PA
**Take a Painting, IUP, Indiana, PA
2013
IMAGO, Annex Gallery, IUP, Indiana, PA
The Great Indoors, Harrisburg Area Com. College, Harrisburg, PA
2012
Coup d’Espace: Palmipsest, Washington Project for the Arts, Washington, D. C.
Curated by Steven H. Silberg and Neil C. Jones
Juried Visual Art Exhibition, Three Rivers Arts Festival, Pittsburgh, PA
Curated by Linda Benedict-Jones, Murray Home, and Michael Olijnyk
**Take Our Word For It, University Museum, Indiana, PA
Curated by Oliver Herring

Place: PA

Contact: erikastearly@gmail.com

Website: http://www.erikastearly.com

Mikhail Torich

Mikhail_Torich_2AM Mikhail_Torich_AMANDA_LEPORE Mikhail_Torich_LADY_BUNNY Mikhail_Torich_KAREEM Mikhail_Torich_PEPPERMINT

Work1 Title: 2AM Year: 2016 Materials: mixed media on canvas Dimensions: H 40 W 30 D 1
Work2 Title: Amanda Lepore / the Melt Year: 2015 Materials: Acrylic and mixed media on canvas Dimensions: H 30 W 24 D 2
Work3 Title: Lady Bunny / the Mess Year: 2015 Materials: mixed media on canvas Dimensions: H 30 W 24 D 2
Work4 Title: Kareem / the Clown Year: 2015 Materials: mixed media on canvas Dimensions: H 30 W 24 D 2
Work5 Title: Dollar in my Titty Year: 2015 Materials: mixed media on canvas Dimensions: H 30 W 40 D 2

Statement:

As a Russian man who worked in Moscow, St.Petersburg, Berlin, Miami, Los Angeles and New York City, I’ve been always fascinated by the forms of Art that involve Social Studies.
Multi-culturalism and diversity mean different things in Russia, Europe and the US and it is for this reason all of my video art, digital art and fine art work has been dedicated to interdisciplinary and interracial studies. Multimedia manipulated art and mixed-media on canvas allow incredible variety of themes and styles, yet staying focused on the main topics of today’s society – fame, ambition, social niche, questionable values coming along with success – or, values coming with specific success rejection and alienation. My works – on canvas or projection screen – are made to start a conversation. In over 15 years of travels I’ve collected impressive library of images, photos, video footage which I utilize in convenient manner to deliver the vision. MFA in Media-Design, I’ve received classical fine art training in St.Petersburg, Russia along with digital savviness achieved in Berlin and stirred in a mix of vivid New York art scene.

Resume:

Mikhail Torich, video artist and award-winning filmmaker, Master of Fine Arts in Media-Design, international music video director, photographer and visual artist. His over 15 year artistic work spans across Russia and Germany and into the United States.

Experimental short film “Nothing”, directed and produced by Mikhail Torich has been featured & screened at 2013 Cannes Film Festival, France, underground independent musical film “Testo”, also directed and produced by Mikhail Torich has received the “Best Experimental Film – 2012″ award at the 3d annual “International World Music and Independent Film Festival” in Washington, DC and “Honorary Mention Award” at 3d annual 2013 Los Angeles New Wave Film Festival.

In 2011 his video art film “Hold Me Closer” has been officially selected to become a part of the Short-List at the annual Cologne-OFF festival, which resulted in worldwide showcases all over the world, including Mexico Museum of Modern Art, Belgrade, Cologne, Koln, Kiev, Habana and many more. “Hold Me Closer” has been selected along with around 40 others out of more than 700 international submissions.

As a video artist, Mikhail Torich is a recipient of a prestigious “Best Artist Piece and performance 2011″ for his Live-Mix Video Art performance at the annual Re:Vision showcase by Forward Motion Theater at the Tank Theater, New York.

Studio Photography and Editorial shoots by Mikhail Torich featured the most influential characters of todays world and media – he photographed Anna Wintour, Mikhail Gorbachov, Julianne Moore and many more.

Currently, Torich is running a cutting-edge sensory-stimulating interactive digital visual art and movement showcase SynthesisRGB, launched in Summer 2016 in Williamsburg, Brooklyn, NY.

Place: Brooklyn, NY

Contact: mtorich@gmail.com

Website: http://torich.nyc/start.html

ISE NY Artist Registry: Online Exhibition “Line”

4_OHARA_2005-Macau-Art-Museum-Kung-Fu

Morgan O’Hara

Title: KUNG FU BATTLE Year: 2005 Materials: flat black acrylic paint on white wall Dimensions: H 13.1 feet W 24.6 feet

5

Roeya Amigh

Title: Collision response Year: 2014 Materials: Mixed media Dimensions: H 66 W 59 D 18

ho5

HIDEYO OKAMURA

Title: They Don’t Know You Year: 2016 Materials: oil on canvas Dimensions: H 53″ W 50″ D 1.5″

Willcox-Vulture-Peak

Chris Willcox

Title: Vulture Peak Year: 2015 Materials: Oil and acrylic on canvas Dimensions: H 72 W 84

OLYMPUS DIGITAL CAMERA

Carol Boram-Hays

Title: Tomorrow’s Parties Year: 2010 Materials: reclaimed materials Dimensions: H 132″ W 48″ D 175″

Interplay-oil-on-canvas-44x57inchess-2014

Lacey Kim

Title: Interplay Year: 2014 Materials: oil on canvas Dimensions: H 44 W 57 D 2

5-series-copy

Elizabeth Knowles

Title: 5 Series Year: 2014 Material: acrylic on canvas Dimensions: H 300 W 70 D 5

Netherlands

Daniel Mirer

Title: Sundial on Wall, Netherlands Year: 2015 Materials: Photography Dimensions: H 40 W 40 D 2

Ouma (Tomoko Omata) / Cell artist

Ouma_Cellular-13s HerLetter_2 workInGermany Omata_Tomoko_woodAndYOU world3_04

Work1 Title: What lets me live for. Year: 2016 Materials: Acrylic on Japanese paper, 2016 Dimensions: H 254cm W 285cm D 300cm
Work2 Title: Her letter only says “yes” Year: 2016 Materials: Japanese ink on Newspapers from Kronstadt, Saint Petersburg, Russia and Acrylic on Japanese paper Dimensions: H 250cm W 1200cm D 336cm
Work3 Title: Stones and YOU Year: 2016 Materials: Aclyric on Stones in Hohenstein, Germany Dimensions: H changeable W  D
Work4 Title: Wood and YOU Year: 2016 Materials: Acrylic on board (painting both sides) Dimensions: H 45cm W 90.5cm D 1cm
Work5 Title: The World Ⅲ Year: 2015 Materials: Mixed Media, Dimensions: H 100 W 120 D 160

Statement:

My profession being a veterinarian, I am missioned to heal people by treating their pets. I aim, as my vocational quest to future healthcare, to creating “therapeutic” works of art from “celluar” views which help the veiwers experience their natural healing potential enhanced.
Our world is the Only One Planet Earth. The Spaceship Earth in itself, with all the lives and things its crew, is indeed the Gaia, the whole single maternal life. Therefore, Individual life-forms, humans and others, respectively are the cells which are composing our world as the one living body. This is how the world appears to me, my unfettered perception to which I have come to reach gradually but steadily through my long veterinarian practice.
Letting the each and every cell, organic or inorganic, sparkle, shine radiantly with their respective properties fully activated! Then, we will gain and enjoy the whole beautiful world in her every components in a perfect harmony of beauty.
I am trying to express the whole world as one life by creating works which enable a viewer to experience them and become aware of his/her existence and which live and wither, as if they were lifeforms, while interacting with the natural environment.

The cutting edge art shows the world after 200 years.
That’s why art is innovative and we can see the unexplainable world before prove them theoretically. I’ll show you that there are no “Death” and “Comparison” in the world.

Resume:

Solo Exhibitions
2016
“Her letter only says “yes”.”, Art-League gallery, Saint Petersburg, Russia. (April 24)
“Cellular”, Werner Thöni Artspace (WTA), Barcelona, Spain (March 3 – 19)
2015
“The will for changing the world”, Gallery Natsumikan Daikanyama, Tokyo, Japan (September 4 – September 13)
“After Big Five”, Unac Tokyo, Tokyo, Japan (April 8 – April 18)
2014
“OM”,  Ouchi gallery, New York, USA (July 29 – August 3)
“Mi”,  Gallery coen, Kanagawa, Japan (May 13 – Jun 1)
2013
The art of “self‐healing and self‐certification”, UNAC Tokyo, Tokyo (January 10 – 24)

Group Exhibitions
2015
Curves & Lines, Linus Gallery LA (February, Selected online Exhibition)
2014
Homing Pigeon「3rd, Yokohama」, Nitehi works 509kadoue (Yokohama, Japan)(October 27 – November 2)
The Senses, Linus Gallery, Los Angeles (March, Selected online Exhibition)
Pop up art show, Los Angeles (March 15 – March 31)
2013
Onward – Navigating the Japanese Future 2013 by Artrates, Hive Gallery, Los Angeles(December 19 – 28)
ACTLABO X 2013 Final by The Artcomplex Center of Tokyo×C/LABORATORY, Tokyo (December 13 – 15)
ACTLABO X 2013 by The Artcomplex Center of Tokyo×C/LABORATORY, Tokyo (October 15 – 20)

2011
“Residence in the Gallery” The Artcomplex Center of Tokyo, Tokyo (July 10 – August 2)

Residencies
2016
ALTE SCHULE, Hohenstein, German (May 10 – 31)
NCCA Art Residence Kronstadt, St Petersburg, Russia (April 4 – 26)
Werner Thöni Artspace, Barcelona, Spain (January 5 – March 23)

Award
2016
Granship art competition 2016, Encouragement award, Japan
2014
PM AWARDS CONTEST 2014, Landscapes, Ecology,Travel/Tourism Best photographer of the year, Uruguay
2013
Granship art competition 2014, Encouragement award, Japan

Place: Tokyo, Japan

Contact: art@ouma.in

Website: http://oumavet.com

Charles Matson Lume

01_CharlesMatsonLume 02_CharlesMatsonLume 03_CharlesMatsonLume 04_CharlesMatsonLume 05_CharlesMatsonLume

Work1 Title: Partial installation view of: whatever returns from oblivion (for Louise Glück) Year: 2014 Materials: reflective paper, duct tape, reflective tape, hologram stickers Dimensions: H 11′ W 19′ D 100′
Work2 Title: Partial gallery view of: The limits of knowledge (for William Bronk) Year: 2016 Materials: proofing paper, stickers, balloons, helium, balloon ribbon, stake markers, book Dimensions: H 18′ W 29′ D 40′
Work3 Title: of air, once, analogous (for Gustaf Sobin) Year: 2012 Materials: proofing paper, tempera paint, straws, straws with parasols Dimensions: H 12′ W 16′ D 42′
Work4 Title: The birth of Venus (for Muriel Rukeyser) Year: 2016 Materials: acetate, cellophane, plastic Dimensions: H 8′ W 6′ D 4′
Work5 Title: The world’s an untranslatable language II (for Charles Wright) Year: 2013 Materials: reflective paper, rolls of “No Trespassing” tape, rolls of “Do Not Enter” tape, duct tape, tape Dimensions: H 12′ W 25′ D 6′

Statement:

My art examines manufactured materials such as proofing paper, shrink-wrap, or acetate, and considers them through different lenses such as: desire, ephemera, literature, or epistemology. Moreover, through an object’s interaction with light, I try to tease out new meanings. Light is seemingly capable of releasing a kind of secret, unforeseen knowledge or pleasure from the ordinary. Sometimes the material’s transformation comes about through quantity, while at other time it is manifest through the placement or pattern created on a wall, floor and/or ceiling. The intersection of light, architecture, and object(s) create reflected light patterns in a space that often seem so improbable as to be false. The physics involved can be incomprehensible, untrue or disorienting. Many viewers feel compelled to block the light or touch the installation, which may destroy it, in order to begin to understand how light is interaction with the materials and space. This desire to know at the cost of something else seems to be an inherent, and necessary, part of the human condition as old as Adam & Even are to the apple.

Whatever the world may be, it’s not what we think we think it is. —William Bronk

Resume:
SELECTED SOLO EXHIBITIONS
Forthcoming, North Park College, Chicago, IL, 2017
Forthcoming, Bloomington Art Center, Bloomington, MN, 2017
Forthcoming, Moraine Valley Community College, Palos Hills, IL, 2016
Grand Marais Art Colony, Grand Marais, MN 2016
Prescott College, Prescott, AZ, 2015
Kemijärvi Art Gallery, Kemijärvi, Finland, 2015
New York Mills Cultural Center, New York Mills, MN, 2015
Anderson Gallery, Drake University, Des Moines, IA, 2014
Augsburg College, Minneapolis, MN, 2013
Gallery Gray, Gallery-Gray.com, 2013
Walker’s Point Center for the Arts, Milwaukee, WI, 2012
Living Arts, Tulsa, OK, 2011
College of Visual Arts, St. Paul, MN, 2011
University of Wisconsin-Stout, Menomonie, WI, 2010
Central College, Pella, IA, 2009
Babel Kunst, Trondheim, Norway, 2009
University of Rochester, NY, 2008
Washington & Jefferson College, Washington, PA, 2007
Eastern Oregon University, OR, 2006

SELECTED TWO-PERSON & GROUP EXHIBITIONS
De Vos Art Museum, Marquette, MI, 2016
Soo Visual Art Center, Minneapolis, MN 2016
Manifest, Cincinnati, OH, 2014
Kendall College School of Art & Design, Grand Rapids, MI, 2013
SadieHalie Projects, Brooklyn, NY, 2012
Prøve Gallery, Duluth, MN, 2012
Bowling Green State University, Bowling Green, OH, 2011
University of Toledo, OH, 2010
University of Minnesota, St. Paul, MN, 2010
Hunter College, New York, NY, 2010
621 Gallery, Tallahassee, FL, 2008
The Dock, Carrick-on-Shannon, Co. Leitrim, Ireland, 2007
Urban Institute of Contemporary Art, Grand Rapids, MI, 2007
Stone Gallery, Dublin, Ireland, 2007
University of Louisville, KY, 2006

SELECTED FELLOWSHIPS/GRANTS
Minnesota State Arts Board Artist Initiative Grant, 2002, 2004, 2009, 2012, 2014, 2016
University of Wisconsin-Stout Professional Development Grant, 2006, 2009, 2012, 2015
MCAD/Jerome Foundation Emerging Artist Fellowship, 2003
Bush Foundation Artist Fellowship, 2002

Place: St. Paul, MN

Contact: cmlume@hotmail.com

Website: http://registry.whitecolumns.org/view_artist.php?artist=11863

HIDEYO OKAMURA

ho ho2 ho3 ho4 ho5

Work1 Title: lol Year: 2016 Materials: oil on panel Dimensions: H 12″ W 12″ D 1.5″

Work2 Title: btw Year: 2016 Materials: oil on panel Dimensions: H 12″ W 12″ D 1.5″

Work3 Title: ttyl Year: 2016 Materials: oil on panel Dimensions: H 12″ W 12″ D 1.5″

Work4 Title: fyi Year: 2016 Materials: oil on panel Dimensions: H 15″ W 11″ D 3/4″

Work5 Title: They Don’t Know You Year: 2016 Materials: oil on canvas Dimensions: H 53″ W 50″ D 1.5″

Statement:

All things are in a constant state of motion whether visible or not. Some of these changes can be immediately observed, yet others are small incremental transformations occurring continuously over time without being consciously perceived. This reshaping does not evolve in a linear neat package that can be observed but is a chaotic, energetic, constant alteration that humans are an integral part, not observers or masters.

My drawings and paintings are abstract and executed with basic materials and simple marks. Each piece has no beginning and no end similar to the way the sky or the ocean has no starting or ending point. By employing these elements and concepts and using repetition, overlays, and transparencies in work that cannot be immediately summed up by its image I can prevail upon people to look more closely and be an active part of the experience of viewing, not just a passive separate entity. Without having a recognizable representation something new, never before seen or experienced can be created, much the way music, no matter what its style, is organized sound. By contemplating these changes, one can also reflect on how the same metamorphosis is taking place in one’s own life.

Resume:

EDUCATION
1986-87 School of the Museum of Fine Arts, Fifth Year Traveling Scholars Program, Boston, MA
1984-86 School of the Museum of Fine Arts, Four year studio program, Boston, MA

SELECTED EXHIBITIONS
2015
Thompson Giroux Gallery, TO EACH THEIR OWN, Chatham, NY
Berkshire Museum, Immortal Present: Art and East Asia, Pittsfield, MA
2014
MCLA GALLERY 51, Things You See, two person exhibition, North Adams, MA
Timken Museum of Art, Installation of Proun and Victory over the Sun portfolios by
El Lissitzky, San Diego, CA
2008
University of Virginia Art Museum, Installation of Proun and Victory over the Sun     portfolios by El Lissitzky, The University of Virginia, Charlottesville, VA     http://www.virginia.edu/uvatoday/newsRelease.php?id=6542
Spencer Museum of Art, Installation of Proun and Victory over the Sun portfolios by
El Lissitzky, The University of Kansas, Lawrence, KS

http://www.spencerart.ku.edu/exhibitions/lissitzky.shtml

2006
The Phillips Collection, Installation of Proun and Victory over the Sun portfolios by
El Lissitzky, Washington, DC
Bennington Museum, Bennington, VT
2004
The Wilde Gallery, Williams College, Williamstown, MA
1999
Katharina Rich Perlow Gallery, NY, NY
1993
Struve Gallery, Chicago, IL
Galerie Scheffel, Bad Homburg, Germany
Metropolitan Structures, Boulevard Towers, Chicago, IL; Curator: Natalie van Straaten
1990
Metropolitan Structures, 3 Illinois Center, Chicago, IL; Curator: Dennis Adrian
1935 Gallery, Chicago, IL
1988
1935 Gallery, Chicago, IL

GROUP EXHIBITIONS
2009
Albany Center Gallery, 5th Annual Members Show, Albany, NY
Bennington Museum of Art, Regional Arts Program 5th Anniversary, Bennington, VT
1999
Exhibition by Artists of the Mohawk-Hudson Region, Harmanus Bleeker, Library     Building, Albany, NY; Juror: Mike Glier
1998
Katharina Rich Perlow Gallery, “GALLERY ARTISTS and NEW TALENT”, NY, NY

The Berkshire Museum, 1998 Exhibition of Painting and Sculpture, Pittsfield, MA.

Place: NORTH ADAMS, MA

Contact: hokamura19@gmail.com

Website: https://www.instagram.com/hideyo_okamura/

JOHN CHANG

LANGUAGE_1 LANGUAGE_2 LANGUAGE_3 LANGUAGE_4 LANGUAGE_5

Work1 Title: LANGUAGE_1 ”LOOKING THROUGH A WALL” Year: 2016 Materials: Spray Paint, and Carving letters (HD PVC) on WALL (INSTALLATION) Dimensions: H 12 W 12 D 10
Work2 Title: LANGUAGE_2 ”LOOKING THROUGH A WALL” Year: 2016 Materials: Spray Paint, and Carving letters (HD PVC) on WALL (INSTALLATION) Dimensions: H 12 W 18 D 10
Work3 Title: LANGUAGE_3 ”LOOKING THROUGH A CANVAS” Year: 2016 Materials: Spray Paint, and Carving letters (HD PVC) on Wood box Dimensions: H 48 W 72 D 12
Work4 Title: LANGUAGE_4 ”ONGOING PROJECT” Year: 2016 Materials: Spray Paint, and Carving letters (HD PVC) on Wood box Dimensions: H 22 W 28 D 12
Work5 Title: LANGUAGE_5 ”ONGOING PROJECT” Year: 2016 Materials: Spray Paint, and Carving letters (HD PVC) on Wood box Dimensions: H 28 W 36 D 12

Statement:
I was born and raised in Shanghai. By the 1980s, Deng Xiaoping initiated a more opendoor
policy, but I still had a deep desire to experience America and Western culture.
Immigrating to Boston to study art in graduate school, I discovered a more complex
society than I had imagined. Longing for a democratic system, I wasn’t prepared for the
magnitude of consumption both promoted and practiced. The great chasm between
Communist China and capitalist America was quite a shock and heightened my
awareness of self. Belonging to both worlds and to neither, I recognized the social
construction of cultural codes and their impact on identity.
Calligraphy expresses the shared space of the personal and the political. Chinese
students must devote many years to memorizing several thousand characters. Each
character must be written flawlessly and must be both neat and pleasing to the eye,
and such rote exercises condition one to submit to authority. In the public square and
all walls everywhere, big calligraphic characters were a constant reminder of a collective
voice, and so people discounted the empty rhetoric of the official media. Yet in classical
Chinese, the script, or shu, is so sacred that it is believed to be capable of affecting
change in the natural order of things. By invoking calligraphic forms, I am commenting
on the distortion of language, but I am also reclaiming the energy of the written word.
Tapping into my ancestral roots, I also use pigments for their symbolic power. For
example, black and white are the colors of most ink painting but also represent yin and
yang; red and yellow represent happiness, wealth, and health. I consider myself a
“spiritual escapist.”

Resume:

EDUCATION:
M.F.A., College of Art and Design, Lesley University Boston, Massachusetts
B.A., Decorative Arts and Design Shanghai Light-Industry College Shanghai, China
SELECTED SOLO EXHIBITIONS:
2017 Mildred M. Cox Gallery (TBA) William Woods University Fulton, MI
2016 MILL CONTEMPORARY Santa Fe, NM
2014 Away From Home The SF Gallery San Francisco, CA
2013 UNTITLED Cecelia Coker Bell Gallery Coker College Hartsville, South Carolina
2013 “NO” series Ongoing Projects: Persistence & Transformation Gallery Temenos Kalamazoo, MI
2013 ENCONTERS OF SPACE NORTHWEST MISSOURI STATE UNIVERSITY,
DEPT. OF FINE AND PERFORMING ARTS
2012 NOT SO BLACK AND WHITE INSIGHT Art Talks/Solo Exhibition LAWRENCE ARTS CENTER Lawrence, KS 66044
2012 Mill Fine Art Gallery Santa Fe, NM
2011 “EMBRACE THE CHAOS” San Diego International Airport Public Project San Diego, CA
2011 “Chaos” Gallery-Gray Mankato, MN
2011 “The Gap” Alexander Brest Museum Jacksonville University Jacksonville, FL
2011 “Language” Mill Fine Art Gallery Santa Fe, NM
TWO PERSON EXHIBITIONS:
2014 Body/Language Cannon Gallery of Art Western Oregon University Monmouth, Oregon
2013 ”In Ink” COS ART GALLERY College of the Sequoias Visalia, CA
SELECTED GROUP EXHIBITIONS:
2017 Text vs. Context HERE Arts Center NYC, NY
2016 INTERNATIONAL BIENNIAL PRINT EXHIBIT 2016 ROC National Taiwan Museum of Fine Art Taiwan, ROC
2016 RE CALL Mill Contemporary Santa Fe, NM
2016 DADA LIVES UC Blue Ash College Art Gallery Blue Ash, OH
2016 TEXT AS A THEME Rosemary Duffy Larson Gallery Broward College, Davie, Florida
2015 13+2 The San Francisco Art Gallery San Francisco CA
2015 MEDIA MATTERS Foundry Art Center St. Charles, MO
2015 THE MASK OF THE ARTIST The San Francisco Art Gallery San Francisco CA
2015 TAKE ME WITH YOU: AN EXHIBITION WITHOUT BORDERS JOHN MICHAEL KOHLER ARTS CENTER Sheboygan, WI
2014 EMOTIONAL RESCUE: Art as Escapism or Cause Art Cube Gallery Laguna Beach, CA 92651
2014 INTERNATIONAL BIENNIAL

Place: PASADENA, CA

Contact: johnc@johnychang.net

Website: http://www.johnychang.com/

Morgan O’Hara

E I Foundation  138684  003 2_OHARA_2013-Prague-Czech-Republic-percussionist 3_OHARA_2002_OKINAWA 4_OHARA_2005-Macau-Art-Museum-Kung-Fu 5_OHARA_JTLewis

Work1 Title: LIVE TRANSMISSION: KASHIWAGI SOBA MASTER Year: 2001 Materials: graphite on Bristol paper Dimensions: H 28 inches W 38 inches D
Work2 Title: ROBLEDO PERCUSSIONIST Year: 2013 Materials: flat black acrylic paint on white wall Dimensions: H 15 feet W 40 feet D
Work3 Title: OKINAWA RINKEN BAND Year: 2002 Materials: graphite on Bristol paper Dimensions: H 14 inches W 17 inches D
Work4 Title: KUNG FU BATTLE Year: 2005 Materials: flat black acrylic paint on white wall Dimensions: H 13.1 feet W 24.6 feet D
Work5 Title: JT LEWIS PERCUSSIONIST Year: 2008 Materials: graphite on Bristol paper Dimensions: H 14 inches W 17 inches D

Statement:

LIVE TRANSMISSION: conceptually based performative drawing

I am interested in the human experience of time and space. My work is culturally contextualized in the practice of drawing as a fundamental human endeavor and is continuous with the time-honored practice of drawing from life. It requires connection, direct observation and LIVE TRANSMISSION. I draw from and build on the historical continuum of the field. Through this work, I transcend the arbitrary “oppositions” between abstract and figurative art, between purely gestural expression and documentary intent, creating narrative work which results in a final product which is not figurative. The drawings themselves become a third actor or mediator in the experience. That which was beneath notice becomes concretized on the page as the paper receives the image.

The method I have developed requires close observation and actual drawing in real time with multiple razor-sharp pencils and both hands. Simultaneous to an action taking place, I condense movement into accumulations of graphite line, combining the controlled refinement of classical drawing with the sensuality of spontaneous gesture. My LIVE TRANSMISSIONS render visible normally invisible or fleeting movement patterns, through seismograph-like drawing. The time-space coordinates for each drawing are written across the bottom of each page, thus contextualizing each activity in a specific continuum and geographic place.

SITE-SPECIFIC WALL DRAWINGS

My site-specific wall drawings are based on the LIVE TRANSMISSIONS which are projected onto a large wall, using the architectural elements and the function of a given space to determine concept, scale and position. The spaces between the lines are then painted by a team of volunteers using flat black house paint on the white wall. The large scale site-specific drawing charges the energy in a given space by bringing to life a concept and image related to that specific place.

Resume:

SOLO EXHIBITIONS (selected)

2016
Mitchell Algus Gallery, New York
Museo Nacional de Bellas Artes, Santiago, Chile
Tenri Cultural Institute, New York
2015
Galeria Skolska 28, Prague, Czech Republic
2014
Centre d”Art Contemporain Project Room, Geneva, Switzerland
Gallery Operation Table  Kitakyushu, Japan
2012
Galerie Früsorge, Berlin, Germany
Center for Recent Drawing, London
2011
Nha San Gallery, Hanoi, Vietnam
2010
Alterna y Corriente, Mexico City, LIVE TRANSMISSION: site specific wall drawings
2008
Brooklyn Academy of Music, Brooklyn, New York
2005
Museu de Arte de Macau, Macau, China
2002
Gallery 360, Tokyo, Japan
1997
The Drawing Room at the Drawing Center, New York

AWARDS (selected)

2016
Foundation for Contemporary Arts Emergency Grant
2011
Adolph and Esther Gottleib Foundation Fellowship
Pollock-Krasner Foundation Grant
Foundation for Contemporary Arts Emergency Grant
2009
MacDowell Colony / Leon Levy Foundation
David and Rosamond Putnam Travel Fund
2007
Pollock-Krasner Foundation Grant, New York

PUBLIC COLLECTIONS

Arkansas Art Center, Little Rock, Arkansas
The British Museum, London
Cranbrook Art Museum, Detroit, Michigan
Czech National Gallery, Prague
Hammer Museum, Los Angeles, California
Hood Museum of Art – Dartmouth College, New Hampshire
Janacek Museum, Brno, Czech Republic
Macau Art Museum, Macau, China
Moravian Gallery, Brno, Czech Republic
National Gallery of Art, Washington, D.C.
Olomouc Museum of Art, Czech Republic
Stedelijk Museum, Amsterdam
Weatherspoon Gallery, North Carolina USA

GROUP EXHIBITIONS (selected)

2016
Gallery Mitchell Algus, New York  Photography, Concept, Performance, Documentation, Drawing, Language
Cranbrook Art Museum, Detroit, Michigan The Cranbrook Salon, My Brain is in My Inkstand
Columbus Museum, Columbus, Georgia, USA  Let There Be Art!
Schema Projects, Brooklyn, New York  BABEL
2015
BankART Studios NKT, Yokohama, Japan International Womens’ Art Forum

Place: New York, NY

Contact: morgan@morganohara.com

Website: http://www.MorganOHara.com

Zeren Badar

very-first-accident art-is-fresh gluttony endless-love baby-love

Work1 Title: Very First Accident Year: 2013 Materials: archival print on metallic paper Dimensions: H 30 W 20 D 1 1/2
Work2 Title: Art is Fresh Year: 2014 Materials: archival print on metallic paper Dimensions: H 30 W 20 D 1 1/2
Work3 Title: Gluttony Year: 2013 Materials: archival print on metallic paper Dimensions: H 30 W 20 D 1 1/2
Work4 Title: Endless Love Year: 2013 Materials: archival print on metallic paper Dimensions: H 30 W 20 D 1 1/2
Work5 Title: Baby Love Year: 2015 Materials: archival print on metallic paper Dimensions: H 30 W 20 D 1 1/2

Statement:

“Take an object. Do something to it. Do something else to it”-Jasper Johns
I’m hugely influenced by dada and neo-dada.
In this photography project, I explore a peculiar combination of photography, painting & collage.
I create three dimensional collages with found objects, food and cheaply printed old paintings.
I turn pre-existing works of art into Duchampian ready mades and take photographs of them.
I use strong shadows, layering, crumpling and folding effects to give a three dimensional sense in the final work.
I reduce the details and forms of painting by covering objects, food.
Copies of old masters paintings initially evoke viewers’ memory.
By using unexpected juxtapositions of objects, I try to create ambiguity and pull viewers’ attention deeper to my photographs.
In many ways, I examine new type of still life.

Resume:

Zeren Badar is a self-taught conceptual artist lives currently in NYC. He is originally from Turkey.  His works have been exhibited internationally including in Aperture Foundation,New York; The Center for Fine Art Photography, Fort Collins, CO; Aljira Center of Contemporary Art NJ. He is obsessed with art. He enjoys long walks all around Manhattan and takes long breaks at art shows.

Selected Exhibitions
2016
– “A Process 2.0″curated by Lars Willumeit and Der Greif Magazine at Krakow Photo Month (Poland)
– “OPEN 16” curated by Paula Tognarelli at Vermont Photography Center
– “DADA LIVES”—UC Blue Ash College Art Gallery, Cincinnati, Ohio
– “Comic Art: Fantasy & Imagination” –Ann Street Gallery, Newburgh, NY
– “ Benefit Auction Exhibition” at Silver Eye Photography, Pittsburg
2015
– “Voice of Artist”— Scope Art Fair, Miami, during Art Basel
– “No limits, No Lines” curated by Gigi Campos at One For All Gallery, Miami, during Art Basel
– “Ways to Lighten Up” curated by Deric Carner at Splinters & Logs, Brooklyn
– “Fresh” at Jankossen Gallery Chelsea NY
–“On the Inner & Outer Self”—at Openings, Manhattan NY–“Postcards from the Edge” at Luhring Augustine Gallery, Chelsea, NY
–“View Points” at Aljira Center for Contemporary Art, NJ
– “Boston Print Fair” with 555 Gallery, Boston– “Eumetadotas” at Nave Gallery LES, NY June 2015
–‘Last Dance at Arts@Reniassance, , Brooklyn –“After Image” at Art House Gallery, NJ
– “The Comedies & Tragedies” at Hudson Guild Gallery, Chelsea NY
–“Emerging Artists 2015” at Limner Gallery, Hudson NY –“NYC Salon Showcases” at Arts@Reniassance, , Brooklyn
–“Bite” at Nave Gallery, Somerville MA, February
–“Small Works” at Pleiades Gallery Chelsea, NY
2014
–“Summer Open” at Aperture Foundation, Chelsea NY
–“Open” at The Center of Fine Art Photography, Fort Collins CO –“Fall Benefit Exhibition” at Nurture Art, Brooklyn NY
–“Year in Review 2013” at See me Gallery

Awards
–Director’s Honorable Mention at Open Exhibition at The Center for Fine Art, Fort Collins, 2014
–Finalist at Year in Review at See Me, 2013

Selected Publications
–L’oeil de La Photography, 2104, 2015
–Fahrenheit Magazine 2015
–Art Sheep 2015–Mundo Flaneur 2015
– Fahrenheit Magazine 2015
–Acruator 2014, 2015
–Inprint Magazine Issue 16,2014
–Saatchi Gallery Blog 2014–Wired, Italy 2014
–Hashtag Magazine, Issue 10, 2014
–Nakid Magazine 2014
–SFMOMA blog 2013, 2014, 2015
–Design Taxi 2013
–Beautiful Decay 2013
Books
–Contemporary Portraits 2014
–Uno Kudo Volume 4, 2014–Share 2015

Place: New York, NY

Contact: zeren.badar@yahoo.com

Website: http://www.zerenbadar.com/

Judyta Bernaś

01.Bernaś_the_cycle_Way_IX_V_digital_print_hydromatt_wood_220x91_2008_Contemporary-Art-Gallery-in-Opole_Poland_2009 02.Bernaś_the_cycle_Way_IX_digital_print_hydromatt_wood_220x91_2008_Contemporary-Art-Gallery-in-Sandomierz_Poland_2010 03.Bernaś_ONENESS_01_ink_print_paper_220x91_2015 04.Bernaś_ONENESS_08_ink_print_paper_220x91_2015_Utazu_Art_Award_Japan_2016 05.Bernaś_Untitled_skin_butchers-hooks_rope_700x400_2016

Work1 Title: Droga (The Way) IX, V Year: 2008 Materials: ink print, hydromatt, wood Dimensions: H 220 cm W 91,4 cm D -

Work2 Title: Droga (The Way) IX Year: 2008 Materials: ink print, hydromatt, wood Dimensions: H 220 cm W 91,4 cm D -

Work3 Title: Jednia (The Oneness) 01 Year: 2015 Materials: ink print, paper Dimensions: H 220 cm W 91,4 cm D -

Work4 Title: Jednia (The Oneness) 08 Year: 2015 Materials: ink print, paper Dimensions: H 220 cm W 91,4 cm D -

Work5 Title: Untitled Year: 2016 Materials: skin, butchers’ hook, rope Dimensions: H 700 cm W 400 cm D -

Statement:

J.B. deals with the issues of the sacred and the profane, male and female nude, border between the interior and exterior of the body, formation across different fields of visual arts (traditional and modern), experiment in graphic arts and photography.

The Oneness is unity, one and the same, unification, merger of the illustration of god and man, man and woman, sacrum and profanum. It is one icon, intense in its meaning and created by the accumulation of several representations that merge and combine to form the oneness of the metaphysical and physical body. When visualized, it reminds one of a stop-motion animation of 14 station-images. Its earliest beginnings were the cycles The Way and The Light.

28 large-format prints from the cycles The Way and The Light is a personal interpretation of the Way of the Cross and the Way of Light; the result of deep personal perspectives and subjective forms of artistic expression on faith and art. They combine into one entity contradictory terms: man and woman, man and god, the physical and the metaphysical, the sacred and the profane. They introduce a new iconography to the usual patriarchal image of the Western canon of art history, break the boundary of traditional fine art as well as a canon of Jesus and Jesus Christ. They combine tradition with contemporary Christian view on religious art and the contemporary art of women.
In the presentations physical body becomes metaphysical – clear, there is no me – Judith, it is a woman-man, diagram of the human body – the art of iconography canon close Nowosielski. Individual qualities are superseded by the recipient of the reasoning iconography, they are moved by the wayside with the result that the content is meant for a primary perception. Through the multiplicity of possible interpretations of the works art becomes open to each recipient. An attempt to integrate the two spheres is a pretext for verification views on art, life and religion. Secularism creates unity with holiness.

Resume:

J.B. was born in 1978 in Sosnowiec (Poland). In 2000-2005 she studied at the Academy of Fine Arts in Katowice, Faculty of Graphic, Painting and Design. She received her diploma (with distinction) under the direction of professor Ewa Zawadzka in Relief Printing Studio 2. After graduating, she worked at her alma mater. Currently, she works as an assistant professor at the Multigraphic Actions Studio of professor Ewa Zawadzka (Chair of Intermedia and Scenography). In 2012, she received the title of Doctor of Arts (Discipline: Fine Arts) at the Faculty of Arts at the Academy of Fine Arts in Katowice. She had more than 15 solo exhibitions and participated in over 140 group exhibitions, competitions and festivals.

solo exhibitions
2015
The Oneness, Wozownia Art Gallery, Torun, PL
2013
Wydobyte z zacisza, Museum of the History of Katowice/City Art Gallery in Czestochowa, PL
2012
The female nude in the sacred and the profane – The Way of Light, Extravagance Gallery, Sosnowiec, PL
2010
The Way, Independent Association of Fine Arts in Czestochowa – ZACHETA, KONDUKTOROWNIA GALLERY/Contemporary Art Gallery in Sandomierz, PL

group exhibitions
2016
Utazu Art Award 2016, Arts Center Yu Plaza Utazu, JP
XIX  International  Contest of Digital Photocreation CYBERFOTO 2016, ART-FOTO Gallery, Czestochowa, PL
2015
9 Polish  Print Triennial, Silesian Museum, Katowice, PL
2014
Graphic Art is a Woman. Polish Graphic Art of XX and XXI century, International Centre for Graphic Arts – Centrum Gallery, Krakow, PL
2013
Exchange – Japanese and Polish graphic exhibition, Rondo Art Gallery, Katowice, PL
2012
III International Biennial of Graphic Digital Arts, Gdynia, PL
International Print Triennial, Krakow/Torun, PL
2011
Contemporary Polish graphics, Museum of Regional Studies, Vitebsk, BY
2010
4 th INTERNATIONAL EXPERIMENTAL ENGRAVING BIENNIAL – WoMen’s World – Polish Experimental Engraving, Anaid Art Gallery, Bucharest, RO
International Print Triennial, Vien, AT/Oldenburg, DE

Place: Będzin, Poland

Contact: j_bernas@onet.pl

Website: http://icondata.triennial.cracow.pl/judyta_bernas

Laura J. Stein

1_Silver_and_Color_22x30_collage_2016 2_Almost_Black_and_White_22x30_collage_2016 3_Mixed_Color_29x41_collage_2016 4_Beige_and_Gold_22x30_collage_2016 5_Blue_With_Gold__26x40_collage_2016

Work1 Title: Silver and Color Year: 2016 Materials: paper collage Dimensions: H 30 W 22 D

Work2 Title: Almost Black and White Year: 2016 Materials: paper collage Dimensions: H 30 W 22 D

Work3 Title: Mixed Color Year: 2016 Materials: paper collage Dimensions: H 29 W 41 D

Work4 Title: Beige and Gold Year: 2016 Materials: paper collage Dimensions: H 22 W 30 D

Work5 Title: Blue With Gold Year: 2016 Materials: paper collage Dimensions: H 26 W 40 D

Statement:

I make collages out of paper.  I use auction catalogs, with displays of jewels, silver, and gold antique pieces or reproductions of paintings and drawings that I repurpose for my own use. Usually, I have some preconceived ideas about the colors and the composition.  Sometimes I successfully execute the idea right off.  But many times I realize it is not working, the energy is not there, and the picture is stagnant.  In those cases I scrape away and try to find an answer in the the sources that are splayed out around me. I am making patterns out of cutouts or paper brushstrokes .  The tricky part is when I assemble many pieces together in an actionable way and then have to figure out the mechanics of attaching them to the paper.  I use a razor to cut around and inlay the strokes and fragments. I began as a painter, and often I discovered that in the course of painting I would be holding several brushes in my hand at once. Now I do that with cut outs of paper.

Resume:

EDUCATION

1977    BFA, Cornell University, major painting, minor printmaking, Ithaca, NY

2015    Art Student’s League, life drawing, New York, NY

1992    Parson’s School of Design, life drawing, New York, NY

1983    New York Academy of Art, plaster cast drawing, New York, NY

1978    Pratt Graphics Center, etching, New York, NY

1977    School of Visual Arts, printmaking, New York, NY

EXHIBITIONS

2015    “22 x 30” Show, Manhattan Borough President’s Office, New York, NY

2013     Fresh Paint Digital Outdoor Show, Philadelphia, PA

2010     The Nature of Collage, Next Gallery, New York, NY

2009     Small Works Show, Grey Art Gallery, New York, NY

1983     Jacob Fanning Gallery, Wellfleet, Ma

1982      Condesco Lawler Gallery, New York, NY

1981      Des Refuses, Westbeth Painters Space, New York, NY

PUBLICATIONS

2015      365 Artists/365 Days.com, November 19, 2015

2015      Dialogist.org, Vol. III, Issue II

2015      Agave Magazine. com, Vol. 3, Issue I

2013      Fresh Paint Magazine. com, Issue I

ORGANIZATIONS

2015      Local-Artists.org, Viewing Program

2015      Nurtureart.org, Registry

2009      Drawing Center, Viewing Program

2008      Artists Space, Irving Sandler Viewing Program

Place: New York, NY

Contact: stein.laura.j@gmail.com

Website: http://laurajstein.com

Suyeon Na

01 02 03 04 05

Work1 Title: Moirai Year: 2016 Materials: watercolor, gouache, collage on paper Dimensions: H 32 W 46 D 0.2
Work2 Title: Vision Year: 2016 Materials: watercolor, gouache, collage on paper Dimensions: H 18 W 24 D 1
Work3 Title: Northern Stars Year: 2016 Materials: watercolor, gouache, collage on paper Dimensions: H 9¾ W 7¾ D 1
Work4 Title: Empress Year: 2015 Materials: watercolor, gouache, collage on paper Dimensions: H 14½ W 14½ D 1
Work5 Title: Flow Year: 2015 Materials: watercolor, gouache, collage on paper Dimensions: H 36 W 48 D 0.1

Statement:

My work focuses on the interaction of female psychology with the fluctuating contemporary world, using mythological figures and symbols. I have been interested in the transformative power of visual storytelling. By weaving my own personal mythology into my work, I investigate the psychology of self, which revolves around changes in personal, social and cultural environments. The images in my work mirror dreams, fairytales and fantasies that are closely linked to the subconscious and animalistic instincts of humans.
I investigate the powerful female archetypes and symbolic meanings of a female body. They have been portrayed both classically and divergently in the history of art and culture, ranging from ancient folktales to movies, games and animation in the contemporary world. I explore these feminine archetypes and symbols, and display them in a cryptic space filled with patterns and images on paper and textiles. By cutting, pasting, and drawing, I deconstruct and reconstruct the existing images and patterns in various contexts, such as women’s clothing, upholstery and quilting fabric as well as accessories and cosmetic advertisements, which attempt to attract consumer desires and to manifest life styles in the contemporary society. By employing these female prototype and natural forms, which have influenced the formative stages of the human psyche, with the remnants of today’s world, I examine who we have become and where we are now.

Resume:

EDUCATION

2009 M.F.A in Painting, Pratt Institute, Brooklyn, NY, USA
2004 B.F.A in Korean painting, Seoul National University, Seoul, Korea

SOLO EXHIBITIONS
2016 Lucid Dream, Hutchins Gallery, Long Island University, Brookville, NY
2015 Scheherazade, Vitrina, New York, NY
2014 Drawing Outside the Lines, Brooklyn Public Central Library, Brooklyn, NY
2013 Life is Everywhere, Studio Kura, Fukuoka, Japan
2012 Drifting in the City, Chashama 303 Gallery, New York, NY
Counterpoint, LaMer Gallery, Seoul, Korea
2005 Playing Alice, Mc Gallery, Seoul, Korea

SELECTED GROUP EXHIBITIONS

2016 Ars Nova, Tabla Rasa Gallery, Brooklyn, NY
2015 Archimedes’ Bathtub: A Show of Work by NYFA Immigrant Artist Program, Lorimoto Gallery, Ridgewood, NY
Weaving Time: The Archive of Korean-American Artist, Part Three 2001-2013, Gallery
Korea at Korean Cultural Service, New York,
Chashama & Materials for the Arts Winter Auction, Paddle8, New York, NY
Drums on Paper: Risograph Print show, Glasshouse, Brooklyn, NY
One Bryant Park: Kipton Art Auction, Bank of America Tower, New York, NY
2014 Over the Edge: Paper Works Unbound, Williamsburg Art & Historical Center, Brooklyn,
NY
SCOPE New York, New York, NY
Bridging the Gap, Washington Korean Cultural Center, Washington, D.C.
2013 SCOPE New York, New York, NY
Historical Commentaries, Castle Gallery at the College of New Rochelle, New Rochelle,
NY
Stuck, Arcilesi & Homberg Fine Art, Brooklyn, NY
Transmutation: the Future of Man, Soapbox Gallery, Brooklyn, NY
Hotels Curated NYC, curated by Indiewalls
2012 Dumbo Art Festival (Juried Public Installation), Brooklyn, NY
Korean Art Show, New York, NY
It came from Chashama, Austrian Cultural Forum, New York, NY
2011 Pink City Art Project, Jawahar Kala Kendra, Jaipur, India

Place: Brooklyn NY

Contact: suyeonna@gmail.com

Website:  http://www.suyeonna.com

Nishiki Sugawara-Beda

1-Voyage-I-72-1024 2-Voyage-II-72-1024 3-complete-verticle-from-high-72-2014 4-complete-from-left-72-1024 5-close-up-tiny-72-1024

Work1 Title: Voyage I Year: 2014 Materials: acrylic, watercolor, ink on paper mounted on wood Dimensions: H 35.5″ W 47.5″ D 1″

Work2 Title: Voyage II Year: acrylic, watercolor, ink on paper mounted on wood Materials: 2014 Dimensions: H 35.5″ W 47.5″ D 1″

Work3 Title: Kotodama Converse -  front view Year: 2015 Materials: rice paper, ink, mesh wire, fishing line, glue Dimensions: H 10′ W 10′ D 13′

Work4 Title: Kotodama Converse – side view Year: 2015 Materials: rice paper, ink, mesh wire, fishing line, glue Dimensions: H 10′ W 10′ D 13′

Work5 Title: Kotodama Converse – above Year: 2015 Materials: rice paper, ink, mesh wire, fishing line, glue Dimensions: H 10′ W 10′ D 13′

Statement:

As a child, I learned Japanese calligraphy at school. Together with Sumi-e (Japanese ink painting), Japanese calligraphy has become an activity that immediately connects me to my foundation as an individual and artist. In my current series of work, I use this foundation as a basis for exploring the relationship between written language and visual images in both virtual and physical spaces. For painting, I start by searching for characters that embody a phrase or word expressing a particular theme. I draw the phrase in one layer and add another layer that explores possible nuances of the phrase, which creates a sense of space. I prefer paper as my surface, for the immediacy and finality with which it actively drinks up the ink. Finally, I add other elements that travel through the space, introducing more nuance, supporting the ideas, and making the space more complex or contradictory.
Through researching Japanese calligraphy and Sumi-e, and creating my artwork on paper derived from them, I have become interested in the use of seals in Japanese calligraphy and Sumi-e works. There are various kinds of seals including names and pseudonym, and they all have particular purposes. By borrowing the meaning of the seals, I create a sculptural installation to invite viewer to engage, participate and ultimately be part of the work.

Resume:

Selected Solo Exhibitions
2017 – Thompson Gallery, Furman University, Greenville, SC (up-coming)
2017 – Doris Ulmann Galleries, Berea College, Berea, KY (up-coming)
2016- McGlothlin Center for the Arts, Emory and Henry College, Emory, VA, (up-coming)
2016 – Northcutt Steele Gallery, Montana State University Billings, Billings, MT, (up-coming)
2015- Trace, Fitton Center for Creative Arts, Hamilton, OH
2015 – Written Unwritten, Cultural Arts Center Gallery, Montgomery College, Silver Spring, MD
2014- Now, Written Unwritten, CSN Artspace Gallery, College of Southern Nevada, North Las Vegas, NV
2014 – Re:Word Within, The Studios Gallery, Derbyshire, England, UK
2014 – Word Within, FireHouse Gallery, Rogue Community College, Grants Pass, OR
2012 – Kotodama, University of Cincinnati Clermont College Art Gallery, Clermont, OH
2011 – Goodship Friendship Kinship, Empire Arts Center, Grand Forks, ND

Selected Two – Four person Exhibitions
2014 – inflocks, Shircliff Gallery, Vincennes University, Vincennes, IN
2012 – From Dark into Light, North Dakota Museum of Art, Grand Forks, ND
2011 – Parkwood Gallery-Arts Commission of Greater Toledo, Toledo, OH
2006 – Emersion, Art Institute of Portland Gallery, Portland, OR

Selected Group Exhibitions/Performances
2015 – Art by America: A Review of 2-Dimensional Contemporary Art, The Art House and Arts on Elston, Chicago, IL
2015- Louisiana Biennial, SOD Gallery, Louisiana Tech University, Ruston, LA
2015 – The Seventh National Juried Exhibition, Prince Street Gallery, New York, NY
2014- OVER THE EDGE: PAPERWORKS UNBOUND Part II, Williamsburg Art & Historical Center, Brooklyn, NY
2014 – ArtGeminiPrize 2014, TriSpace Gallery, London, UK
2014 – ViewPoints, Aljira-a Center for Contemporary Art, Newark, NJ
2014 – Paint Like You Mean It, IR11 Gallery, Edinburgh, Scotland, UK

MFA in Painting, 2010, Indiana University (Bloomington, Indiana)
BA in Fine Art, 2005, Portland State University (Portland, Oregon)

Place: Moscow ID

Contact: nishiki@nishikibeda.com

Website: http://www.nishikibeda.com

Emiko Oeda

2015.09 2015.11 2015.03 2013.003 2015.11-

Work1 Title: East wind Year: 2015 Materials: Acrylic on canvas Dimensions: H 60 W 50 D Work2 Title: Red popee Year: 2015 Materials: Acrylic on canvas Dimensions: H 80 W 100 D Work3 Title: Fill up Berliner Reichstag Year: 2015 Materials: Acrylic on canvas Dimensions: H 80 W 100 D Work4 Title: Mt.Fuji Year: 2013 Materials: Acrylic on wood panel Dimensions: H 90 W 120 D Work5 Title: Wild life Year: 2015 Materials: Acrylic on canvas Dimensions: H 60 W 60 D

Statement:

I am painting girls surround by nature.
Both girls and nature are naive.
They cannot defend themselves alone.
They represent circle of life and fertilisation.
They are the same we are the nature, The nature is our mother.
We have to understand the connection.
In my art girls are wearing camouflage to identify with nature but still they wear military uniform
which represents will to fight for life!

First we look in eyes.
They do not lie.
They are the window to our souls.
On my pictures girls have big eyes looking toward us curiously looking at future.
They are no reflection in eyes.
There is no future there.

By my works I want to bring the message about future of girls,future of nature and future of us.

Resume:

1986 Born in Kyoto Japan.
2009 Graduated Kyoto Seika University Department Cartoon.
2015 live and work in Berlin.

<exhibitions>

2016.solo exhibition -Solastalgia- /Berlin
Japan festival /Berlin

2015. 2+1 /JONES FOOD STORE,Berlin
Ruberoid Festival / Berlin
ADABANA / Prima center,Berlin
48 Stunden Neukölln/Berlin
2013. L Art Contemporain Japonais /Une Identite Particuliere Paris

2012. GEISAI#16/Tokyo
Design festa#35/Tokyo
2010. solo exhibition -LOVE-/Kyoto,Japan

2009. Geaduation exhibition/Kyoto,Japan
NEXT ART CHICAGO/U.S.A
Young Art TAIPEI/Taiwan
solo exhibition -Pray-/Tokyo,Japan
Bloom /Tokyo,Japan
Amuse Art Jam 2009/Kyoto,Japan
GEISAI#12/Tokyo
2008. GEISAI#11/Tokyo

Place: Berlin.Germany

Contact: flowerarmy.emiko@gmail.com

Website: http://www.flowerarmy.net/

Michael Lehemu

6 IMG_0547 58 35 058

Work1 Title: Summer morning Year: 2013 Materials: oil paint,plywood Dimensions: H 1000 W 600 D 0 Work2 Title: Birth and joys Year: 2014 Materials: oil paint,plywood Dimensions: H 400 W 400 D 0 Work3 Title: Himeji castle on Noah’s ark Year: 2014 Materials: oil paint,plywood Dimensions: H 800 W 500 D 0 Work4 Title: Friends Year: 2015 Materials: oil paint,plywood Dimensions: H 400 W 400 D 0 Work5 Title: Gilaf Year: 2015 Materials: oil paint,plywood Dimensions: H 300 W 180 D 0

Statement:

I was born in Tanzania,as Makwa tribe.
Mr.Edward.S.Tingatinga is my uncle and he is the founder of TingaTinga painting.
From 30years I continue to
paint and make a shape of message from animals,and wisdom of Africa.
I I want to carry on the my local traditions and show really Africa all over the world.

Resume:

EXHIBITIONS
2004 Group exhibitions at Tokyo,Chiba,Yamagata
2005 painting performance at Tanzania Pavilion Expo Aichi
2006-2009,2011 Solo Exhibition and workshop Hyogo,Aichi,Osaka,Kyoto,Tokyo,Kanagawa
2010 painting performance at Tanzania Pavilion Expo Shanghai
2012 painting performance at Tanzania Pavilion Expo Yeosu
2013 Solo Exhibition and workshop Hyogo,Aichi,Osaka,Kyoto,Tokyo,Kanagawa,Sapporo,Toyama
2014
2015 painting performance at Tanzania Pavilion Expo Milan

Award
2014  sekai kaiga taisyo Award by supporting company
2014  Artstream Osaka Award by supporting company

Place: Hyogo, JAPAN

Contact: tenatena2009@gmail.com

Website: http://tinga2.org

Chris Willcox

Willcox-Vulture-Peak Willcox-To-Catch-a-Falling-Knife Willcox-In-Love-With-an-Apparition Willcox-Desert-Dance Willcox-My-Lover-My-Oppressor-My-Friend

Work1 Title: Vulture Peak Year: 2015 Materials: Oil and acrylic on canvas Dimensions: H 72 W 84 D Work2 Title: To Catch a Falling Knife Year: 2015 Materials: Oil and acrylic on linen, yellow mirror Plexiglas Dimensions: H 48 W 108 D  Work3 Title: In Love With an Apparition Year: 2014 Materials: Oil and acrylic on linen Dimensions: H 105 W 247.5 D Work4 Title: Desert Dance Year: 2015 Materials: Oil and acrylic on linen, bronze mirror Plexiglas Dimensions: H 84 W 96 D Work5 Title: My Lover, My Oppressor, My Friend Year: 2013 Materials: oil on panel, oil on canvas Dimensions: H 60 W 69 D

Statement:

My paintings are rooted in reverence and stewardship for the raw potential of color and form. Early in my career, I came to realize that the basic formal elements of painting — line, color, texture, and the like — could be employed as a work’s explicit subjects, the same way a dancer’s movements are both the site and subject of choreography. Like the body, I found color could jump, spin, pause, and recoil. I found the fewer narrative and theoretical devices my work employed, the more emotion and energy it carried. On this I base a deep personal belief that color, line, and form are imbued with inherent meaning and power.

When presented at a large scale, this raw potential is especially potent, and has the power to energetically redefine the space it inhabits. For this reason, I endeavor to create very large, public works as often as possible. I hope to use the visual force of my work to create uplifted, humanized, and engaging environments.

Resume:

Select Exhibits

2015
Summer Show, Leila Heller, New York, NY
invisible -> visible, AD:DS, Brooklyn, NY
Reclaim Reboot Renew, Royal Society of American Art, Brooklyn, NY
Time to Hit the Road, Leila Heller, New York, NY

2014
Bye Felicia!, B.H.Q.F.U., New York, NY
Guilty Pleasures, No Home Gallery, New York, NY
Push/Pull/Plow, Idio Gallery, Brooklyn, NY
Build Your Own University, B.H.Q.F.U., New York, NY
Chris Willcox: Superpositions, Gerson Zevi, New York, NY, and Washington DC

2013
The London Project, Yorkshire Sculpture Park, West Bretton, Wakefield, UK
In/finite Earth, The Smithsonian Institution, Washington DC
Our Show Needs a Name, Brooklyn Fireproof, Brooklyn,  NY
Grand Opening, Idiosyncrasy, Brooklyn,  NY
In on the Ground Floor, Gerson Zevi, New York, NY

Education
2013-2015 B.H.Q.F.U.
2010 BFA Washington University in St. Louis
2009 Glasgow School of Art

Place: Brooklyn, NY

Contact: willcox@gmail.com

Website: http://www.chriswillcox.com

CJ Nye

CJNye_Zephyr CJ-Nye_Cabbages-and-Kings-I-VI_7 CJ-Nye_The-History-of-Fish-I-_-Paper-Tiger CJ-Nye_Redons-Butterflies CJ-Nye_Boxies_I-IX

Work1
Title: Zephyr
Year: 2015
Materials: Oil on muslin, chain, beads
Dimensions: H 92 W 32 D 32

Work2
Title: Cabbages and Kings
Year: 2015
Materials: Plaster, salvaged ring boxes
Dimensions: H 2.75 W 2 D 3

Work3
Title: The History of Fish I (with: Paper Tiger)
Year: 2015
Materials: Oil on canvas, wool given by my aunt, hardware
Dimensions: H 73.5 W 11.5 D 11.5

Work4
Title: Redon’s Butterflies
Year: 2014
Materials: Oil on gauze, branches brought down by Sandy, hardware
Dimensions: H 79.75 W 26 D 26

Work5
Title: Boxies I-IX
Year: 2012
Materials: Oil on canvas, salvaged ring boxes
Dimensions: H 2.75 W 2 D 3

Statement:

Drawing on immediate experiences I describe the world as I feel it and as I understand it rationally, in broad strokes.

To find the lexicon of my work, look through the filter of modern painting to the decorative arts: the fluidity of Art Nouveau, the sleekness of Deco, the geometry of the Wiener Werkstatte, the deliberate imperfection of Islamic art, and the graphic tempo of Japanese woodblock prints and screens. Ply that stylistic breadth with the liberty of materiality granted by the Abstract Expressionists.

Then take it further, take it off the picture plane.

Resume:

Select solo & feature shows
2015-16 | Prepositional Painting, Chashama 300, NYC—Awarded NEA Grant
2014 | Venn, solo, Tompkins Square, NYPL, NYC—Artcritical “Pick”
2013 | Source, Bernard Klevickas & CJ Nye, Second Avenue Firehouse Gallery, Bay Shore, NY
2011 | Eponymous solo, The George Bruce, NYPL, NYC
2010 | Shave & a Diptych – Two Bits, solo, Barber Bart, NYC

Select group shows
2015-16 | Sideshow Nation: Thru the Looking Glass, Sideshow Gallery & Life on Mars Gallery, Brooklyn, NY
2015 | A Weekend at the Old Gem, presented by Arts@Renaissance with support from the NYC DCA, Brooklyn, NY
2014 | Cavellini Festival, c: Mark Bloch, White Box, NYC
2014 | Content in Absence & Those Little Things, Montclair Art Museum Young Curators Program at Pierro Art Gallery, South Orange, NJ
2012 | Joie de Vivre, the Hullaballoo Collective at PS Project Space, NYC
2012 | It’s a Small, Small, World, c: Jayson Musson, Family Business, NYC
2011 | Occupy the Walls: A Poster Show, AC Institute, NYC
2010 | Power to the People, Feature Inc., NYC
2010 | B.Y.O.A., X Initiative, NYC

Select publications
2015 | On Relationships, With Self & Others, portfolio, Stone Voices, Summer 2015 Issue 16, pp. 14-21
2014 | River Lit, Volume 4, No. 14, Cover
2013 | Calyx, Volume 27, No. 3, portfolio & Cover
2013 | The Thing About Drawing, Praeterita, Philip A Hartigan
2012 | A View from the Easel, Part 8, Hyperallergic
2012 | Art Word: CJ Nye, Cincinnati Art Snob

Select projects & events
2015 | Moon Drawing #04802, The Moon Drawings project, Carnegie Mellon University
2014 | Bob & Roberta Smith Art Amnesty, MoMA PS1, Queens, NY
2013 | Selected for Curate NYC online exhibition by guest curator Debra Simon
2013 | Selected for Curate NYC online exhibition by guest curator Amanda Hunt
2013 | The Art of Japanese Fashion, Community Gallery, the Toledo Museum of Art, Toledo, OH

Education
2007 | TC, Columbia University, MA Arts Administration
2000 | School of Visual Arts, BFA

Place: New York, NY

Contact: cjnye@cjnye.com

Website: http://cjnye.com/

Lacey Kim

Before-Mind-1-oil-on-canvas-51x115inches-2015 Formless-1-oil-on-canvas-24x24inches-2016 Formless-3-oil-on-canvas-30x40inches-2016 Interplay-oil-on-canvas-44x57inchess-2014 Leverage-oil-on-canvas-38x51inches-2014

Work1 Title: Before Mind 1 Year: 2015 Materials: oil on canvas Dimensions: H 51 W 115 D 2 Work2 Title: Formless 1 Year: 2016 Materials: oil on canvas Dimensions: H 24 W 24 D 1 Work3 Title: Formless 3 Year: 2016 Materials: oil on canvas Dimensions: H 30 W 40 D 1 Work4 Title: Interplay Year: 2014 Materials: oil on canvas Dimensions: H 44 W 57 D 2 Work5 Title: Leverage Year: 2014 Materials: oil on canvas Dimensions: H 38 W 51 D 2

Statement:

My work is expressed through lines, which are a means of expressing my freedom. Sometimes curved, other times straight, the line represents something that exists not just in one field, but throughout infinite experience. I believe the deep spatial effect created by various layers urges the viewer’s senses to transcend the two-dimensional world of painting. Colorful lines meet one another freely and create unexpected forms. When working, I follow the flow of my unconscious mind. The harmony of opposites – real and relative, free flowing and driven by rules – is what my paintings express.

Resume:

Education
2009 MFA Pratt Institute NY, USA
2007 MA Nottingham Trent University, UK
2003 BFA Seoul Women’s University, South Korea

Solo Exhibitions
2015 IN BETWEEN / Gallery Pirang – Heyri , South Korea
IN BETWEEN / Gallery Space Sun Plus – Seoul, South Korea
2014 IN BETWEEN / Gallery IMAZOO – Seoul, South Korea
2012 Dialogue of Silence / Yashar Gallery – Brooklyn, NY
2011 Dialogue of Silence / Gallery M – Vienna, Austria
Dialogue of Silence / Amos Eno Gallery – Brooklyn, NY
2010 Dialogue of Silence / Pop Art Factory – Seoul, South Korea
Dialogue of Silence / Chelsea West Gallery – New York, NY
2009 MFA Thesis Show / Steuben South Gallery – Pratt Institute, Brooklyn, NY
2005 Seeking / Galerie Gaia– Seoul, South Korea

Selected Group Exhibitions
2015 Art Canvas Project / Gallery41 -Seoul, South Korea
Art Canvas Project / Gallerie Kunst Direkt, Regensburg, Germany
Sewol Ferry First Anniversary Commemorative Exhibition /
Ansan Cultural Art Center, South Korea
Objects standing in between (The Gift) / Gallery Space Sun Plus – Seoul, South Korea
2012 Movement of Passion / Peter Louis Gallery – New York, NY
2011 You Can Have Your Void And Eat It Too / Two Moon Gallery – Brooklyn, NY
AHL Foundation’s 2nd Silent  Auction / The Space on White – New York, NY
Lucid Dreaming / Tompkins Square Gallery – New York, NY
Pop Up Art Show / Intermix Gallery The Chelsea Room in Hotel Chelsea – New York, NY
Better by The Dozen / Beacon Artist Union – Beacon, NY
Better by The Dozen / Beacon Artist Union – Beacon, NY
In Vivid color / Euro Asian Art Center – Vienna, Austria
2010 Crossroads – Seven Acts / Amos Eno Gallery – Brooklyn, NY
Unwind / Lana Santorelli Gallery – New York, NY
National Juried Show Media Mix / Bancroft Gallery South Shore Art Center – MA
National Juried Show Image Attitude Impression / Union Street Gallery – Chicago, IL

Place: New York, NY

Contact: lkimstudio@gmail.com

Website: http://www.laceykim.com/

K Y Fina Yeung

Feminine-Lines-In-A-Cage_01 Feminine-Lines-In-A-Cage_02 City-After-Dark-1 City-After-Dark-2 White-Space-6

Work1
Title: Feminine Lines In A Cage
Year: 2015
Materials: Installaion with cardboard, arcylic paint, thread, photograph
Dimensions: H Variable W  D

Work2
Title: Feminine Lines In A Cage (detail)
Year: 2015
Materials: Installaion with cardboard, arcylic paint, thread, photograph
Dimensions: H Variable W  D

Work3
Title: City After Dark I
Year: 2015
Materials: Giclee Print
Dimensions: H 13″ W 19″ D

Work4
Title: City After Dark II
Year: 2015
Materials: Giclee Print
Dimensions: H 13″ W 19″ D

Work5
Title: White Space VI
Year: 2015
Materials: White paper and cardboard mounted on primed panel
Dimensions: H 12″ W 16″ D

Statement:

My recent works express my feeling of reconnecting with city life through cardboard installation, photography and works on paper. I use cardboard and paper materials to construct shapes that give forms to my emotional relationship with urban living. My photographic work captures the unique architectural sensibility of my sculpted forms with cardboard and paper. I consider architecture a form of meditation, a path toward finding one’s identity and spiritual home.

The installation, entitled “Feminine Lines In A Cage”, focuses on migrant women’s living space in New York City. The installation consists mixed media of cardboard painting, photography and personal interviews, expressing the contemporary reality of urban living. The conceptual living space is constructed with cardboard and thread, painted and arranged on walls. “Feminine lines” are not only the visual lines created on cardboard but also the spoken lines from the migrant women, whose stories reveal the complex experiences living in the urban cage. Their interviews are placed alongside the cardboard arrangement.

Another body of work on paper, entitled “White Space”, I meditate on the idea of living space and the structure of buildings in a city. I cut out white papers into stripes and geometric shapes, then, carefully placing them on cardboard to create an architectural relief sculpture. Alongside the reliefs are a series of photographic presentation of light and shadow of the reliefs. The photographic work is to reflect the spirit of architecture and what has remained in my memory of a city—a sacred place come alive in shadow.

Resume:

K Y Fina Yeung was born in Hong Kong and has lived in different places in United States for 25 years. She was a resident of Guam, major in painting and photography at the University of Guam and University of Montana. In 2012, Fina moved to Brooklyn and settled her studio in Bushwick. Fina’s artworks have been exhibited in New Jersey and New York, including Rutgers University, Paul Robson Galleries, Brooklyn Arts Council, BRIC Arts Media House, Williamsburg Art & Historical Center, and open studios in Brooklyn. In May and June 2015, she exhibited her black and white photos of Hong Kong urban architectural structures in a two-woman exhibition in Greenwich Village. Another mixed media cardboard installation, entitled “Feminine Lines In A Cage”, was on view at Walls-Ortiz Gallery and Center in New York City from September 2015 to January 2016. During Bushwick Open Studios 2015, Sinovision TV gave a detail coverage and interview for her latest installation work. Fina strongly believes that working with the community can empower people with diverse backgrounds, especially migrant women. In addition, her large-scale paintings are permanently displayed at the Ronald McDonald House in New Brunswick, NJ (associated with the children’s hospital), as well as in the Bornean Sun Bear Conservation Centre in Malaysia.

Place: Brooklyn, NY

Contact: fina@veryfinaart.com

Website: http://www.veryfinaart.com

Cybèle

01-cybele-control3 02-cybele-control1 03-cybele-control2 04-cybele-transgenesis1691 05-cybele-transgenesis1692

Work1 Title: control 3 Year: 2015 Materials: gouache and Japanese pigment on paper Dimensions: H 15 W 11 D
Work2 Title: control 1 Year: 2015 Materials: gouache and Japanese pigment on paper Dimensions: H 15 W 11 D
Work3 Title: control 2 Year: 2015 Materials: gouache and Japanese pigment on paper Dimensions: H 15 W 11 D
Work4 Title: transgenesis 16:9 1 Year: 2014 Materials: ink and Japanese pigment on paper Dimensions: H 22.5 W 44 D
Work5 Title: transgenesis 16:9 2 Year: 2014 Materials: ink and Japanese pigment on paper Dimensions: H 22.5 W 44 D

Statement:

I have a belief in a deep interconnectedness of humans, animals, and our broader ecosystem. My paintings and drawings question the incursions of science and technology on animal species and the environment. My recent series of drawings, “transgenesis”, is a response to a contemporary scientific attitude towards genetics in which DNA can be divided into fragments and spliced together to our choosing. This attitude perhaps stems from our recombinant digital culture of mashups and Twitter feeds, however there are serious ecological issues at stake when these operations are translated to material bodies.

Resume:

Cybèle is a self taught painter living and working in New York City. Her B.F.A. in Photography was received from the University of Maryland, Baltimore County. In 2007 she began a consistent art practice, which lead to working as an artist assistant. In 2011 Cybèle stopped assisting and since then has been focusing exclusively on her own art through regular committed studio practice resulting in several bodies of work.

Group exhibitions include Can’t Hear the Revolution, Kunsthalle Galapagos, New York; Transform, SHO gallery, New York. In 2009 she participated in Gesai 12, Tokyo Big Site, Tokyo.

Place: New York, NY

Contact: cybele@drawingkind.com

Website: http://www.drawingkind.com

Daisuke Ujuan

938647_orig 9053977_orig 6381176_orig 148747_orig 2902477

Work1 Title: Genome Year: 2014 Materials: oil on canvas Dimensions: H 45.9 in W 28.6 in D 1.18 in
Work2 Title: Reach for the Abstract Year: 2014 Materials: oil on canvas Dimensions: H 39.3 in W 25.6 in D 1.18 in
Work3 Title: Illusion Year: 2015 Materials: oil on canvas Dimensions: H 28.6 in W 45.9 in D 1.18 in
Work4 Title: Lux Aeterna Year: 2015 Materials: oil on canvas Dimensions: H 39.3 in W 25.6 in D 1.18 in
Work5 Title: Genesis Creation Narrative Day 3 Year: 2015 Materials: oil on canvas Dimensions: H 35.8 in W 45.9 in D 1.18 in

Statement:

“Where Do We Come From? What Are We? Where Are We Going?”
I am always confused whenever I explain about my artwork to someone.
That is because, offering an explanation of my artwork is as difficult for me as answering the questions below:
“Where Do We Come From? What Are We? Where Are We Going?”
If I am to explain about my artwork out of necessity, my artwork would be my purely instinctive answers to those​ questions.

Resume:

2008 The End of the World, solo exhibition, Gallery Art Point, Tokyo, Japan
2009 The Birth of Right and Left, group exhibition, Ico Gallery, New York, USA
2014 International art fair WORLD WIDE ART, Los Angeles, USA

Place: Kanagawa, Japan

Contact: daisuke.ujuan@gmail.com

Website: http://www.daisuke-ujuan.com

Michi Nakayama

1 2

Work1 Title: Ripple Mark Year: 1998 –Continuation Materials: Iron, Salt Dimensions: H 196″ W 78″ D 3″ Work2 Title: Ripple Mark Year: 1998 –Continuation Materials: Iron, Salt Dimensions: H 196″ W 78″ D 3″ Work3 Title: Ripple Mark Year: 1998 –Continuation Materials: Iron, Salt Dimensions: H 196″ W 78″ D 3″ Work4 Title: Ripple Mark Year: 1998 –Continuation Materials: Iron, Salt Dimensions: H 196″ W 78″ D 3″ Work5 Title: Ripple Mark Year: 1998 –Continuation Materials: Iron, Salt Dimensions: H 196″ W 78″ D 3″

Statement:

The beauty of the Japanese consciousness is that which they have considered and conserved the richness of nature. The ripple is used as a metaphor to express this mentality, which is like a continuous lightly spreading wave.

This work has been in progress since 1998. Iron and salt are the sole materials. The gradual penetration of rust due to the attached salt is used to convey the passing of time. As the face of the object changes day to day, you may feel something different each time you view it. Hammering the round shaped iron creates a slanted lip. This process is done by hand so as for each plate to have differing depths. A 5 kg paper bag of salt is used. Once the salt is placed onto the iron plates through a sieve, ripples can be drawn by brush. Salt is layered once again through the sieve to create a shape. Water is sprayed and then dried by hair-dryer in a short time. As a result, the salt fixes well on the iron. The fixed salt can resist jolting to an extent. The layering salt represents an accumulation of time is one of the important elements of the piece.

Resume:

2016    Nakayama Michi Solo Exhibition “Tsuchiten” at Sawada Apartment Gallery “room38″ / Kochi, Japan
2015    Nakayama Michi Solo Exhibition “Land’s Song: an installation using soil from Haruno” at Sawada Apartment Gallery “room 38″ / Kochi, Japan
Small piece/New Year’s decoration “Ranryo-oh”(Monkey/earthly branches) at Flower-Cafe Gallery “FOREST” / Kochi, Japan
2014    Portfolio exhibition at Sawada Apartment Gallery “room38″ / Kochi, Japan
Nakayama Michi Solo Exhibition “Land’s Journey: an installation using soil from Haruno” at Sawada Apartment Gallery”room38″ / Kochi, Japan
Small scale piece/ New Year’s deco. exhibition “Yo-ji” (Sheep/earthly branches) at Flower-Cafe Gallery “FOREST” / Kochi, Japan
2013    Small-scale piece/ New Year’s deco. exhibition“Teitetsu-Maru” (Horse/ earthly branches) at Flower-Cafe Gallery “FOREST” / Kochi, Japan
2012    Small-scale piece/ New Year’s deco. exhibition“Otsumi” (Snake/ earthly branches) at Flower-Cafe Gallery “FOREST” / Kochi, Japan
2011    Small-scale piece/ New Year’s deco. exhibition“Sho-Ryu” (Dragon/ earthly branches) at Flower-Cafe Gallery “FOREST” / Kochi, Japan
2010    Small-scale piece/ New Year’s deco. exhibition“Otsumi” (Rabbit/ earthly branches) at Flower-Cafe Gallery “FOREST” / Kochi, Japan
2009    Mold exhibition “Sound of Water” at Flower-Cafe Gallery “FOREST” / Kochi, Japan
2008    Small scale pieces exhibition “From the soil of spring season” at Gallery-Cafe “Odd eye” / Kochi, Japan
2007    ”NO BORDER 3″ at Museum of Art, Kochi / Kochi, Japan
Solo exhibition “SENDAN NO SHA -Shape of heart-” at Sendan no sha, Yamasaki House / Kochi, Japan
“Garaku Project” at Kochi City Culture-Plaza CUL-PORT / Kochi, Japan
2005    ”Slow art exhibition #3″ at Teahouse “Cezanne”/ Kochi, Japan
“The 1st exhibition of Kuraku for Contemporary Art” at Nakamachi Ikedaya / Seiyo, Ehime
2004    ”The 10th Azuma commerce & industry association festival stone engraving exhibition” at Azuma commerce & industry association/ Azuma, Seta, Gunma: Judge’s encouragement Prize

Place: Kochi, Japan

Contact: info@nakayamamichi.jp

Website: http://nakayamamichi.jp

Jessica Gondek

OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA

Work1 Title: Enterprising Machines Year: 2014 Materials: Oil and Digital Print on Canvas Dimensions: H 36 W 36 D Work2 Title: Enterprising Machines Year: 2015 Materials: Charcoal, Pastel, and Digital Print Dimensions: H 46 W 29 D Work3 Title: Enterprising Machines Year: 2015
Materials: Charcoal, Pastel, and Digital Print Dimensions: H 46 W 29 D Work4 Title: Enterprising Machines Year: 2014 Materials: Oil and Digital Print on Canvas Dimensions: H 36 W 54 D Work5 Title: Enterprising Machines Year: 2014 Materials: Oil and Digital Print on Canvas Dimensions: H 36 W 54 D

Statement:

Enterprising Machines

The primary focus of my work is abstract stemming from an interest in technology, geometry, machine aesthetics, nature, and architecture.  My work explores a dichotomous relationship between the hand and the machine that has evolved over time. This creative journey has taken me from works engaged in 3D modeling to create forms and compositions to recent explorations of gendered domestic machines from the early part of the twentieth century referencing trade catalogues and actual utilitarian objects.  These works hold in common a marriage of both traditional media and digitally mediated computer approaches intrinsic to the development of the images.  The mechanical forms within these compositions are simultaneously transformed asserting an animated physical presence and internal narrative

Resume:

Jessica Gondek

•Educational Background

-M.F.A. Washington University, Saint Louis, MO, 1992
-B.F.A. The School of the Art Institute of Chicago, IL, 1990

• Teaching Experience

-2002- Present  Associate Professor, Loyola University Chicago, IL. (Tenured 2002)

• Upcoming Solo Exhibitions

-2017 Solo Exhibition, A.I.R. Gallery, Brooklyn New York, NY.

-2016    Solo Exhibition, ARC Gallery and Educational Foundation, Chicago, IL.

• Recent Invitational Exhibitions

-2015    •  Associate Members Group Exhibition, Phoenix Gallery, New York, NY.
•  23rd Annual Friends Exhibition, Ceres Gallery, New York, NY.
•  Evanston Art Center, Works From Around Our State, Invitational Group
Exhibition, Evanston IL.
•  Urban Threads, Members Group Exhibition, ARC Gallery and Educational
Foundation, Chicago, IL.
•  Luma at Ten Greatest Hits, Group Exhibition, Loyola University Art Museum,
Chicago, IL.

•Selected  Grants and Fellowships

-2002  The Pollock-Krasner Foundation, Artist Grant, New York City, NY.

• Selected Artist Residency Awards

-2008  Artist in Residence, Can Serrat International Art Center, El Bruc, Spain.-
-2006  Artist in Residence, Frans Masereel Center, Kasterlee, Belgium.
-2003  Artist in Residence North Dakota State University, Printmaking Education and
Research Studio, “PEARS”  Program, Fargo, ND.
-2002  Artist in Residence, Beecher Center, Butler Institute of American Art,
Youngstown, OH.
-1997  Artist in Residence, Cite Internationale des Arts Residency Program, Paris,
France.
Artist in Residence, Tamarind Institute, Albuquerque, NM.

•Gallery Representation and Affiliations

-Phoenix Gallery, Associate Member, New York, NY.
-ARC Gallery and Educational Foundation, Member, Chicago, IL.
-Woman Made Gallery, Member, Chicago IL.

Place: Montgomery IL

Contact: jgondek@luc.edu

Website: http://www.jessicagondek.com/gondek/Jessica_Gondek/Welcome.html

Laura Christensen

forgotten-under-1MB Racing-under-1MB underconer-under-1MB tie-72dpi To-Float-To-Breathe-To-Hear-after-John-Cage-150-dpi

Work1 Title: Forgotten, Remembered, and Imagined (after Stephen C. Warren’s Memory Ware Tower, Bennington Museum) Year: 2015 Materials: Vintage photograph, acrylic paint, cherry wood, vintage velvet fabric Dimensions: H 11 W 7.5 D 2 Work2 Title: Racing Under the Sun Year: 2014
Materials: Acrylic paint, vintage photograph, velvet, and maple wood Dimensions: H 13 W 10 D 3 Work3 Title: Undercover Year: 2014 Materials: Two vintage photographs, acrylic paint, maple wood, brass Dimensions: H 7 W 10 D 2 Work4 Title: Tie Year: 2015 Materials: Vintage photograph, acrylic paint, velvet, cherry wood, black dye Dimensions: H 8 W 6 D 1.25 Work5 Title: To Float, To Breathe, To Hear (after John Cage) Year: 2014 Materials: three vintage photographs, acrylic paint, cherry wood, curly maple veneer, metal leaf, brass Dimensions: H 29.5 W 15 D 3

Statement:

People look out from the past. They make eye contact. But they are not here. They are illusions on paper or metal, arrangements of shapes and tones reflected from a camera. Each person was unique, but their image can become like an every-person or a character in a myth.

In my art, figures in vintage photographs play roles in ambiguous, mysterious narratives. I make new stories from old ones.

Antiques shops often sell old photographs. You can find stacked in old boxes and hidden in drawers throughout the shop. I resurrect some from obscurity. And I change them. I paint directly onto the old photographs cancelling parts of the image and adding new scenes and characters: Chickens scrambling across a stage, a slow flowing river in which a girl wades waist deep, or a cat whispering into a toddler’s ear. The painting work is precise and subtle to look as if each new element had been there when the camera recorded the image.

For most painted photographs I design and craft small cabinets from maple or cherry wood. Some act as custom frames. Others work as cases or altars. Some have doors that open and close or slide left and right.

I am interested in how art and stories can help us glimpse profound meanings that are difficult to express directly. For me, each painted photo set in its cabinet, is like a poem for which I have no words.

Resume:

EDUCATION
1997   M.F.A. Utah State University
1987   Honors B.S. Saint Louis University
1987   Honors B.A. Saint Louis University

SOLO EXHIBITIONS
2013  Bennington Museum  Bennington, VT
2004   MCLA  North Adams, MA
2002   SVAC  Manchester, VT

SELECTED GROUP EXHIBITIONS
2015   Bennington Museum  Bennington, VT
Good Purpose Gallery    Lee, MA
2014   Brattleboro Museum and Arts Center
Brattleboro, VT
Albany Public Library  Albany, NY
2013  Albany International Airport Albany, NY
2011  The Second Avenue Firehouse Gallery
Bay Shore, NY
2010  MASS MoCA    North Adams, MA
2009  Greylock Arts    Adams, MA
2008  Gallery 51    MCLA    North Adams, MA
2007  Kidspace at MASS MoCA
2005  The Arts Center of the Capital Region
Troy, NY
2002  Offenes Haus Oberwart
Oberwart, Austria
1997  Tweed Museum of Art    Duluth, MN
1995  Utah Museum of Fine Arts
Salt Lake City, UT

AWARDS AND HONORS
2016   Artist’s Resource Trust (A.R.T.) Grant,
a fund of the Berkshire Taconic
Community Foundation
2014   Adjunct Faculty Award  MCLA
2011   Individual Artist Grant
A fund of the Cultural Council of
Northern Berkshire, a local agency
which is supported by the MCC, a
state agency
2007   Artist’s Resource Trust (A.R.T.) Grant, a
fund of the Berkshire Taconic
Community Foundation
1999   Artist Residency
Anderson Ranch Arts Center
Snowmass Village, CO
1994 -1996    George B. and Marie Eccles
Caine Foundation Scholarship
Utah State University    Logan, UT

SELECTED PRESS
John E. Mitchell, “Christensen adds to the past in hybrid works,” North Adams Transcript, MA, Dec. 4, 2009

Joseph Dalton, “Art & Facts,” Times Union, Albany, NY, April 24, 2005

Place: Williamstown, MA

Contact: laura.chrstnsn@gmail.com

Website: https://laurachristensen.wordpress.com/

Vesna Jovanovic

2015-Lucy-V 2015_Harold-G 2014_Frank-Z 2014_A-Boy 2014_Sadi_Carnot

Work1 Title: Lucy V. Year: 2015 Materials: Ink and Colored Pencil on Paper Dimensions: H 16 W 12 D  Work2 Title: Harold G. Year: 2015 Materials: Ink, Colored Pencil, and Gouache on Paper Dimensions: H 16 W 12 D  Work3 Title: Frank Z. Year: 2014 Materials: Ink and Colored Pencil on Paper Dimensions: H 16 W 12 D  Work4 Title: A Boy Year: 2014 Materials: Ink and Colored Pencil on Paper Dimensions: H 16 W 12 D  Work5 Title: Sadi Carnot Year: 2014 Materials: Ink, Watercolor, Gouache, and Colored Pencil on Paper Dimensions: H 24 W 18 D

Statement:

My process developed out of a desire to relinquish control and leave some things to chance. And so I began to spill ink on paper before proceeding to draw. Much as one would with a Rorschach test, I recognized images in the spilled ink; initially, these were clusters of interweaving laboratory glassware. Yet with each drawing, the glassware progressively morphed into blood vessels, intestines, and neurons.

Given that my drawings increasingly resembled medical illustration – a visual language that effectively reduces the human body to a diagram – I felt the need to create an alternative visual representation to the scientifically objectified body. As my work developed, my focus on human anatomy expanded to include various contexts, such as architectural, environmental, and interspecific (between species). My practice led to a study of how it feels and what it means to have a body, as well as how the body is culturally perceived. I became interested in embodiment, biopolitics, phenomenology, and various other ideas and theories of the body.

Instead of regarding the human body as a machine-like component of the human entity, I think of it as a lived, subjective experience. I use drawing as a bodily act, and medical illustration as a visual trope. By integrating unpredictability, intimacy, and intuition into otherwise carefully rendered medical drawings, I address the perception and value of the human body in an increasingly technologically mediated world.

Resume:

EDUCATION
2005 MFA, The Ohio State University, Columbus, OH
2003 BFA, The School of the Art Institute of Chicago, Chicago, IL
2000 BS and BA, Loyola University Chicago, Chicago, IL

SELECTED EXHIBITIONS
2016
Delaware Center for the Contemporary Arts, Wilmington, DE (solo)
International Museum of Surgical Science, Chicago, IL (solo)
Ohio University Art Gallery, Athens, OH (invitational) (catalog)
Reno City Hall, Reno, NV (solo)
2015
Post Contemporary, Troy, NY (invitational)
Packer Schopf Gallery, Chicago, IL (solo)
2014
Haggerty Art Gallery, University of Dallas, Irving, TX (two-person)
2013
BMoCA, Boulder, CO (invitational)
Packer Schopf Gallery, Chicago, IL (solo)
Chashama Gallery, New York, NY
2012
OSU Urban Arts Space, Columbus, OH
2010
Hyde Park Art Center, Chicago, IL (invitational)
The Drawing Room HU at Ráday Képesház Galeria, Budapest, Hungary
2009
International Museum of Surgical Science, Chicago, IL (solo)
Gordon Center for Integrative Science, University of Chicago, Chicago, IL (solo)
2007
Sue Ryder Gallery, Herceg-Novi, Montenegro
2006
Primo Piano Living Gallery, Lecce, Italy (invitational) (catalog)

SELECTED PRESS
2015
Maria Girgenti. “Portrait of the Artist.” Newcity. Print.
B. David Zarley. “Insert Here.” New American Paintings. Web.
2014
Sid Perkins. “Surgery Museum Holds Wonders for the Brave.” Science News. Print.
2009
Dehlia Hannah. “Hybrids.” Art:21 Blog. Web.
Phil Plait. “Pareidolia Inside of Us.” Discover Magazine Blogs. Web.
“Critics’ Picks.” Time Out Chicago. Print.
Amy B. Puma. “Art in Science.” University of Chicago Magazine. Print.

RESIDENCIES
2013-2016 International Museum of Surgical Science, Chicago, IL
2014 Ucross Foundation, Clearmont, WY
2012 ChaNorth, managed by Chashama, Pine Plains, NY
2011, 2013 Santa Fe Art Institute, Santa Fe, NM

PUBLIC COLLECTIONS
Cincinnati Children’s Hospital Medical Center, Cincinnati, OH
International Museum of Surgical Science, Chicago, IL
Koehnline Museum of Art, Des Plaines, IL

Place: Chicago, IL

Contact: vesna@vesnaonline.com

Website: http://www.vesnaonline.com/

Haruna Sugimoto

sakai1 sakai2 sakai3 sakai4 sakai5

Work1 Title: sakai#1 Year: 2013 Materials: Digital Pigment Print Dimensions: H 11.69 W 16.54 D Work2 Title: sakai#2 Year: 2013 Materials: Digital Pigment Print Dimensions: H 11.69 W 16.54 D Work3 Title: sakai#3 Year: 2013 Materials: Digital Pigment Print Dimensions: H 11.69 W 16.54 D Work4 Title: sakai#4 Year: 2013 Materials: Digital Pigment Print Dimensions: H 11.69 W 16.54 D Work5 Title: sakai#5 Year: 2013 Materials: Digital Pigment Print Dimensions: H 11.69 W 16.54 D

Statement:

Going out into the world with a camera becomes a mission to find something special.

As I walked through Awaji-shima and drew near my subject, I was able to perceive a sense of
boundary.

It is a boundary I cannot see, but know I cannot cross.

Gazing into the water reveals a place both near and far.

As if the scenery before me was the meeting of life and death.

How easy I can imagine the feeling of falling into the cold water

and the story that would follow.

Resume:

Haruna Sugimoto
1986 Born in Kochi,Japan.

Selected Solo Exhibitions
2015 “Miyama” (Sawada Mansion Gallery room38,Kochi)
2014 “Boundary” (Gallery Kai,Osaka)
2014 “Sakai” (Sawada Mansion Gallery room38,Kochi)
2013 “Sakai” (Shinjuku Ganka Gallery,Tokyo)
2013 “Boundary” (Sawada Mansion Gallery room38,Kochi)
2012 “Camellia” (Sawada Mansion Gallery room38,Kochi)
2011 “hiver” (Sawada Mansion Gallery room38,Kochi)
2010 “inside” (Sawada Mansion Gallery room38,Kochi)
“Next Generation” (RICOH Photo Gallery RING CUBE,Tokyo)
2009 “-SIRIUS-” (graffiti,Kochi)
2008 “-Moment-” (graffiti,Kochi)
“Pictures of Light” (odd eye,Kochi)
2007 “Photo Cinema” (Peace Cafe,Kochi)
2005 “17″ (Civic Art Gallery,Kochi City Culture Plaza)

Selected Group Exhibitions
2012 “Renovation Project of Warakoh warehouse” (Warakoh Museum,Kochi)
2010 “Shinjuku Tokyo Japan” (Shinjuku Ganka Gallery,Tokyo)
2009 “Foto residents” (TOTEM POLE PHOTO GALLERY,Tokyo)
“Art of Power Born of Pleasure” (Hiroshima City Museum of Contemporary Art,Hiroshima)

Selected Awards
2009 “ALSACE WINE PHOTO CONTEST 2009″ Grand Prix
“Onaeba vol.5 Kansai” Award of Reviewers Selection (recommended by Gallery Kai)
2005 “JEANS FACTORY CONTEMPORARY ART AWARD 2005″ Award of Excellence

Place: Kochi, Japan

Contact: info@sugimotoharuna.com

Website: http://www.sugimotoharuna.com

Cheryl Safren

1.SAFREN.Bronze-Age 2.SAFREN.Primitive 3.SAFREN.Lydian-Tablet 4.SAFREN.Indus_ 5.SAFREN.Coupling

Work1 Title: Bronze Age Year: 2011 Materials: chemistry on copper Dimensions: H 36 W 48 D Work2 Title: Primitive Year: 2012 Materials: burned wood Dimensions: H 36 W 48 D Work3 Title: Lydian Tablet Year: 2014 Materials: plaster on plaster Dimensions: H 36 W 48 D Work4 Title: Indus Year: 2014 Materials: acrylic enamel paint Dimensions: H 36 W 48 D Work5 Title: Coupling Year: 2015 Materials: copper, glass and yarn on aluminum Dimensions: H 36 W 48 D

Statement:

A symbol is a particular visual mark that represents some piece of information.  Symbols, as a form of communication, have been scratched onto rocks by cavemen and used by physicists employing powerful computers to explain string theory.  Some symbols may only be understood in a certain place or time in history or by those educated in a certain field of endeavor. Rather than represent historical eras in a literal sense, the materials and symbols I use, are suggestive of a particular time and place.
The ten works in this series in the order they were created are: Alchemy, Bronze Age, Primitive, Iron Age, Lydian Tablet, Indus, Lanna Kingdom, Kana, Runic and Coupling.  The next panel I will undertake will be Ogham, a Celtic Tree Alphabet and will likely be made from slate and soil.  Here is a little info about the five images that accompany this statement.
Bronze Age, the second panel in the series, was created on copper and made to look like aged bronze. These symbols are drawn from research about the languages of the time, and within each symbol are very ornate designs that do not repeat. Primitive’s symbols are burned into wood; a common substrate used by primitive peoples, and the frame constructed for this work is made from found tree bark. Lydian Tablet is a plaster on plaster artwork consistent with the materials and tools used by artisans of that time and place. Indus is the only artwork in this series to use paint on both the colorful background and the faux Sanskrit symbols.  Coupling, the tenth and last panel I completed is based on early electrical symbols and is made from copper, glass and yarn on aluminum.
During our era, a time of rampant selfies, this art which reflects  historic societal changes will hopefully remind us that we are part of a continuum bigger than ourselves. The Ice Age, Bronze Age, Industrial Revolution, Computer Revolution, etc. each profoundly affected mankind propelling progress and contributing to who we are today.

Resume:

PUBLIC ART COMMISSIONS, LECTURES
•    2015     Public Art, University of Montana, Chemistry Building, Missoula, MT
•    2013     Public Art, Anna Philbrook Center, Concord, NH
•    2012     Public Art, Iowa State University, Hach Hall, Ames, IA
•    2011     Public Art, University of Utah, Sorenson Molecular Biotechnology Building
•    2009     Public Art, Florida State University, Psychology Building, Tallahasee, FL
•        Speaker, Southeast Region American Chemical Society Symposium, San Juan, PR
•    2008    Intersections of Art & Science, Symposium keynote speaker, Adelphi Univ., Garden     City, NY
•    2007     Public Art, University of Montana, Skaggs Building, Missoula, MT
•    2005     Public Art Commission Tallyn’s Reach Municipal Building, Aurora, CO
•    2002     Residency, Hungarian Multicultural Center, Balatonfured, Hungary
SELECTED REVIEWS (30 TO DATE)
•    1/15     Artvoices Magazine, Geo-Celestial Layers Process in Oxidation-Time by Amir Bey,     cover, p64-67
•    8/08     Pulse Magazine, “VIP Artists” the editors, p76-80
•    8/08    Copper.org, “Chemistry on Copper: The Works of Cheryl Safren,”
by Michael Cervin
•    10/06     Chemical and Engineering News, “Chemistry for Art’s Sake” by Ivan Amato,
p53-56
•    3/04    Art and Science Collaborations Inc by Rich Leslie, critic, author, curator, professor
•    11/03    Hyle: International Journal of Chemistry, special issue “Aesthetics and Visualization in     Chemistry,” published in Germany (funded by BASF)
•    7/02    Hungarian Cultural Television, interviewed on MTV1, MTV2
•    6/02    NYArts Magazine, “Copperworld” p94
SELECTED SOLO SHOWS (15 SOLO SHOWS TO DATE)
•    2008    ”Alchemy” University Center Gallery, Adelphi, Garden City NY (3 person)
•    2006    ”Percolations,” Great Neck Art Center, Great Neck, NY
•    2005    ”Chemistry on Copper,” Discovery Museum, Bridgeport, CT.
•    1990    ”Interior Landscapes,” The American Association for the Advancement of Science,         Washington, D.C.
SELECTED GROUP SHOWS (OVER 100 JURIED SHOWS TO DATE)
•    2012     Alchemy of Change, NY Hall of Science, Queens, NY
•    2011     GREEN, Attleboro

Place:

Contact: Tzayaret@artlover.com

Website: http://safren.com

Alexandra Masson

blue Pedazos de Caracas

Work1 Title: Blue Year: 2015 Materials: digital untouched photo on clear acrylic box Dimensions: H 24 W 24 D 3 Work2 Title: pinkcir Year: 2015 Materials: digital untouched photo on clear acrylic box Dimensions: H 24 W 24 D 3

Statement:

Alexandra Masson (1960) seeks beauty in the quotidian aspects of life, captures the aesthetics of evanescence and the blur and fast pace of modern, technology-driven life. She apprehends moments of having and having not/losing, commotions and shocks caused in her by external events, travelling as a metaphor of introspective displacements and exotic flora to translate them into a personal cosmovision of the transient nature of life, passing beauty and encounters/falling outs. Through direct untouched/modified digital photos and paintings, she privileges color and erases the limits of shape and form to express, codify, sublimate and re-channel her personal life-story. Heiress to two cultures by her Italian flight engineer and her Trinidadian English teacher mother and assimilated to a third one, the Crayford, Kent, England-born artist has lived in Madrid, Buenos Aires, San Fernando (Trinidad) and Caracas, Venezuela, where she currently resides and moves between art, photography, simultaneous interpretation and translation.

Resume:

Solo Shows
2014
¨Eden¨, photo exhibit, Galería Cubo 7, Hacienda La Trinidad, Caracas, Venezuela
2012
¨Eclectic Mix by Alexandra Masson¨, at Chacao Bistro, Caracas, Venezuela
2011
Individual show of photos taken in Angkor Wat, Siem Reap, Cambodia at the Alliance Francaise,
La Tahona, Caracas, Venezuela
2009
¨Beauty&Garbage¨, series of recycled art, Restaurant Coffee & Art, Altamira, Caracas, Venezuela
Collective Exhibits
2014
12th Salon Dycvensa, Caracas, Venezuela
39 Aragua Art Salon, Museo Mario Abreu, Venezuela
XLIII Juan Lovera Salon, Caracas, Venezuela
IX International Postal Art Salon in Homage of Books, Venezuela
2013
38 Aragua Art Salon, Museo Mario Abreu, Venezuela
¨Portas Abertas¨, international exhibit at Fundación Fórum Eugénio de Almeida, Evora, Portugal
SCOPE Miami 2013, See / Me Booth New York
XLII Juan Lovera Salon, Caracas, Venezuela
¨The Story of the Creative¨ International exhibit, See / Me Gallery, NY 11101
¨Arte Com Sentido¨, MIB Galería de Arte Contemporánea, Copacabana, Rio de Janeiro, Brazil
Salvador Valera Salon, Trujillo, Venezuela
¨Snap to Grid¨collective, Los Angeles Center for Digital Art (LACDA), USA
2012
ArtConneKt International Exhibit, Swansea, Wales, UK
10th Dycvensa Salon, Celarg Caracas.
1st Salón Comarte Baruta, Caracas, Venezuela
Art Takes Times Square, NY, USA sponsored by Chashama and Artists United
Collective “Postales que caminan”, postcards by Venezuelan artists in 5 capital cities in South America: Bogota, Quito, Lima, La Paz and Buenos Aires.
La Escondida contest, topic ¨Liberty¨.
1fotoxdíax29días at Roberto Mata Escuela de Fotografía
XII Velada de Santa Lucía, Maracaibo, Venezuela. C100sqft, Cholmsey Boys Club, London, England.
International art project ¨A Book About Death¨, Museum of Modern Art of Wales, United Kingdom
XIIth edition of Contemporary Latin American Art, Museum of the Americas, Broward College Florida, USA.Mailart exhibit, Elder Street Gallery, Houston, USA

Place: Venezuela

Contact: alexandra.masson79@gmail.com

Website: http://www.saatchionline.com/profiles/index/id/247732

Margaret Withers

tired of reading the Eternities California Dreamin' rich time, cash poor An everyman's flight from distraction I didn't know you meant now

Work1 Title: tired of reading the eternities Year: 2015 Materials: flashe paint, ink, acrylic gouache, wood, small people, telephone poles;1960 Ford F100 Pickup Truck Dimensions: H 49.5 W 79.5 D 5 Work2 Title: California Dreamin’ Year: 2015 Materials: Flashe paint, ink, acrylic gouache on linen with driftwood, small people, Bugatti Veyron, telephone poles Dimensions: H 61.5 W 49.5 D 5 Work3 Title: rich time, cash poor Year: 2015 Materials: flashe paint, ink, acrylic gouache, wood, small people, telephone poles;Lamborghini Aventador LP 700-4 Dimensions: H 49.5 W 79.5 D 5 Work4 Title: An everyman’s flight from distraction Year: 2015 Materials: flashe paint, ink, acrylic gouache on linen, wood, small people, telephone poles;1972 Chevrolet Camaro Z28 Dimensions: H 79.5 W 49.5 D 4 Work5 Title: I didn’t know you meant now Year: 2015 Materials: flashe paint, ink, acrylic gouache on linen, wood, small people, Porsche 356 Speedster, telephone poles Dimensions: H 61.5 W 49.5 D 4

Statement:

I create different series of visual art that have their bases in abstraction and narrative, these sets alternate between stylistically thematic groups of paintings, photographic/paint mash-ups, three-dimensional paintings and digital art. Stylistically, they contain a layering of lines, geometric and biomorphic shapes, and are bold in color palette.  They almost always incorporate recognizable icons or juxtapositions of visual narrative elements, such as homes, telephone poles and other architectural structures. These icons are pictorial representations for habitation and human connection.  The larger context being the complexity of the physical and emotional space in the dwellings and the surrounding ‘landscape’.

Resume:

SOLO EXHIBITIONS
2013 One Mind’s Imagining into Another at Landau Gallery, Belmont, MA
2012 Painting the American Anti-Story at Arcilesi & Homberg Fine Art (AHA), Brooklyn, NY
2010 feeling untethered I laid down my memories at Amos Eno Gallery, NY, NY

Group Exhibition
2014 La Bellone Fait Le Mur! Trésor Caché at La Bellone, Brussels, Belgium
2014 The Intuitionist curated by Lisa Sigal at The Drawing Center, NY, NY
2014 Déjà vu, NoOSphere Gallery, curated by ArtForProgress, NY, NY
2014 Home, Therese A. Maloney Art Gallery, curated by Ginny Butera, Morristown, NJ
2014 Shifting Alterity:Otherness in our Social Landscape,Skylight Gallery,curator:Vida Sabbaghi,NY, NY
2014 AS | Orchard, curated by Jill Conner at Orchard 33, NY, NY
2014  Layers, curated by Aimee Hertog at City Without Walls, Newark, NJ
2014 The Democracy of Drawing at AirSpace Projects, Sydney, Australia
2014 Other Worlds at Skylight Gallery, curated by Jill Slaymaker, NY, NY
2013 Abstraction  at William Baczek Fine Art, Northampton, MA
2013 Striations at G Gallery, curated by Diane Barber, Houston, Texas
2013 Connecting the Dots at ISE Cultural Foundation, curated by Lovina Purple NY, NY
2013 Unhinged at Pierogi Gallery, NY, NY
2013 AS Boom and Bloom at The Phatory, curated by Jill Conner, NY, NY
2012 Das Wird Sich Alles Finden at Bloc Project Space, Sheffield, UK

RESIDENCIES AND AWARDS
2015 Artist Grant Vermont Studio Residency
2014 BWAC, Best in Show, Gold, Awarded by curator Paulina Pobocha of MoMA
2013 USA Project Grant for “one mind’s imaging into another”, New York
2013 Fellowship, Millay Colony for the Arts, Austerlitz NY
2013 Artist Grant Vermont Studio Residency
2012 Art Kudos International – ‘Award of Distinction’ judged by David Cohen of ArtCritical
2012 SAAC; Best in Show, awarded by Curator Manuela Well-Off-Man
2012 BWAC; Best Watercolor, awarded by Curator Brooke Kamin Rapaport

Place: New York, NY

Contact: mwithers.artwork@gmail.com

Website: http://margaretwithers.com/paintings

Esther Podemski

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Work1 Title: Monument Year: 2015 Materials: Oil on wood panel Dimensions: H 20 W 26 D 2 Work2 Title: Thinking of Papova Year: 2015 Materials: Gesso and oil on wood panel Dimensions: H 18 W 24 D 2 Work3 Title: Draftt of a Landscape Year: 2015 Materials: Silkscreen and oil on wood panel Dimensions: H 14 W 18 D 2 Work4 Title: Fold Year: 2015 Materials: Silkscreen and oil on wood panel Dimensions: H 14 W 18 D Work5 Title: Almost an Elephant Year: 2015 Materials: Digital print, water based pigments, ink, colored pencil on paper Dimensions: H 13 W 19 D

Statement:

Images gleaned from newspapers, snapshots from family albums, Polaroids, stills from my documentary films, as well as direct painting and drawing provide points of departure for these works. The relationship between painting and photography, including the role of painting as a form of contemporary cultural expression, is fundamental to my work. Some imagery is derived from archival footage which has been captured from my own documentary films and synthesized through drawing. I use various media to transform the images and to challenge the widespread belief that photography records a more faithful representation of the world than painting.

This recent work on paper and wood panel is titled The Color Corrections series. The work on paper originated as screen grabs from color corrections of individual frames in my documentary film, The Peasant and the Priest. The source for these images comes from film footage frames of a priest on a Florence street at night; he is ministering to women who have been trafficked to Italy to work as sex slaves. I transform these still frames so that the figures and narrative are no longer visible; the imagery becomes geometric abstraction. In making these works, I first responded to the way a particular frame looked on a computer screen when it interacted with the post-production software. I took screen grabs of these frames and then manipulated the shapes digitally and with water-based pigments to further abstract the image. I think of the paper works as accidental drawings, a kind of digital image still marked by the hand. The works on panel are either painted directly in oil or a combination of silkscreen and oil paint.

Resume:

SELECTED SOLO EXHIBITIONS
2008    ”5 Days in July, a video installation about the Newark Riots of 1967,” Aljira, A Center For Contemporary Art
“5 Days in July,” Birmingham Civil Rights Institute, Birmingham, AL
2005    ”A History of the Shadow,” Alysia Duckler Gallery, Portland, OR
2004    ”Drawings, A Survey of Drawings, 1999-2004,” Pacific Northwest College of Art, Feldman Gallery, Portland, OR
2001    Alysia Duckler Gallery, Portland, OR
1997    ”The Planets and Other Works,” Jersey City Museum, Jersey City, NJ (catalogue)

SELECTED GROUP EXHIBITIONS
2014    New Jersey State Museum in Trenton, “5 days in July” installation, Aljira  Center for Contemporary Art at 30, Dreams And Reality, Trenton NJ
2012    ”Float: Group Exhibition,” Sears Peyton Gallery, New York, NY
“Transport: Works by Henk Pander and Esther Podemski,” Oregon Jewish Museum, Portland, OR
2010    ”Directors Lounge,” Urban research/ The Symbol’s City Life, Berlin, Germany
2008    ”2008 1968: Then and Now: New York University,” Tisch School of the Arts Photography and Imaging Dept, New York, NY (Catalogue)

GRANTS AND AWARDS
2014, 2012    Virginia Center for the Creative Arts
2013    Ucross Foundation Residency Fellowship

2008    PRX Zeitfunk Award for rRadio, “5 Days in July,” radio program, Los Angeles, CA
2007     New Jersey Humanities Council Grant for Radio program, “5 Days in July”
2001    New School For Social Research, Parsons School of Design Grant
1999    Distribution Grants, Puffin Foundation, Eastman Foundation, ETC Grants, “House of the World,” NJ, NY
1997    Soros Foundation, Post Production For Documentary Film
1996    Memorial Foundation For Jewish Culture
New York State Council For The Arts, Production Film Grant, “House of the World,” NY
1995    New School For Social Research Faculty Development Grant for Documentary Film, NY
1994    Jerome Foundation
Mary Duke Biddle Foundation
1992, 1996    Oregon Council for the Humanities
1992    New York State Council for the Arts, Painting Grant, Hillwood Art Museum, Long Island University, NY

Place: Brooklyn, New York

Contact: epodemski@verizon.net

Website: http://www.estherpodemski.com/

Rosa Martha Baez Padilla

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Work1 Title: No Title Year: 2013 Materials: Asphalt, oil, cardboard. Dimensions: H 60 cm W 60cm D Work2 Title: No Title Year: 2013 Materials: Asphalt,oil,cardboard. Dimensions: H 60cm W 60cm D Work3 Title: No Title Year: 2013 Materials: Asphalt,oil, cardboard. Dimensions: H 60 cm W 60cm D Work4 Title: No Title Year: 2013 Materials: Asphalt,oil, cardboard. Dimensions: H 60cm W 60cm D Work5 Title: No Title Year: 2013 Materials: Asphalt,oil, cardboard. Dimensions: H 60 cm W 60cm D

Statement:

You can only paint what one is. The use of different materials in a work is to enrich the proposal, the oil, asphalt, cardboard sheet is a building material that is disappearing is that each work with objects besides we reaffirm the concept itself is performed.

Resume:

Born in Fresnillo, Zac. Mex. also it has several solo exhibitions. A permanent exhibition in the General Hospital of Fresnillo, also benefiting the stimulus to the creation in the state of Zacatecas 2013 program.

Place: Mexico

Contact: baez18@live.com

Website: https://es.pinterest.com/rmbaez18/

Fumi Amano

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Work1 Title: Beyond my expectations 1 Year: 2015 Materials: Glass Dimensions: H 33 W 19 D 16 Work2 Title: Beyond my expectations 2 Year: 2015 Materials: Glass Dimensions: H 33 W 22 D 15 Work3 Title: Beyond my expectations 3 Year: 2015 Materials: Glass Dimensions: H 22 W 14 D 30 Work4 Title: Beyond my expectations 4 Year: 2015 Materials: Glass Dimensions: H 26 W 17 D 17 Work5 Title: Beyond my expectations Year: 2015 Materials: Glass Dimensions: H 70 W 70 D 100

Statement:

When blowing glass one might find it difficult to shape the glass exactly as one envisions it. Letting go of oneself; blowing air into hot glass allows the glass to take on a new shape of its own. An alluring shape beyond one’s expectations. A product of the combination of air and heat, a new form begins to emerge. A form that mirrors our own world in a refreshing way. The light reflected on its surface creates a world beyond all belief. A world beyond my expectations.

Resume:

Education
2008 Aichi University of Education
2010 Toyama city Institute of Glass Art
2011 research student at Aichi University of Education for one year 2014.8- student at VCU, Richmond, VA
Employment
2011-2013 General Art teacher at junior high school and high school in Aichi, Japan.
Exhibition
2009 5 “Garasu no katachi”(Shape of Glass) Group exhibition at Gallery Voice in Gifu, Japan
2010 5 “Futa noaru katachi”(Shape of rid) Group exhibition at Gallery Voice in Gifu, Japan
2011 2 Graduate exhibition Toyama Simin Gallery in Toyama, Japan
2011 3 GEN Group exhibition at Tokyo-to art museum in Tokyo, Japan
2012 5 Solo exhibition Gallery APA in Aichi, Japan
2013 2 Solo exhibition Gallery APA in Aichi, Japan
Award
2008 Fine work, Ecchu art festa
2008 Best Student Prize, at Niijima glass art festival workshop
2010 Scholarship from Niijima to take Glass art workshop at pilchuck Seattle,WA.
2010 Selected, Itami craft triennial
2011 Selected, Contemporary Glass Triennial in Toyama
2013 Selected, The International Exhibition of Glass KANAZAWA

Place: Richmond VA

Contact: amanof@vcu.edu

Website: http://www.fumiamano.com/

arthorymen

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Work1 Title: HORYMAN and killer whale Year: 2012 Materials: paper,ball point-pen, marker, pencil Dimensions: H 196cm W 145cm D Work2 Title: HORYMAN and killer whale Year: 2015 Materials: paper,ball point pen, marker, pencil Dimensions: H 42cm W 29cm D Work3 Title: ANIMI-ZOOM Year: 2015 Materials:l Cutting sheet Dimensions: H 296cm W 570cm D Work4 Title: The atomic bomb by style of Jomon ware Year: 2015 Materials: paper,marker,ball-point pen, pencil Dimensions: H 90cm W 60cm D Work5 Title: ANIMI-ZOOM Drawing Year: 2015 Materials: paper,boll-point pen,marker, pencil Dimensions: H 42cm W 29cm D

Statement:

These concepts have been inherited in Shintoism and still form the backbone of the Japanese people’s spiritual world. I call this exhibition of drawings created using manga techniques “manga installations.” In my stories, which take place in an imaginary city, a monster called HORYMAN is first misunderstood by residents and is portrayed as a villain. However, he saves people who became ghosts after the atomic bombings by serving them the meat of killer whales. Those works strongly reflect modern Japanese history and animism beliefs.

WORK1:
Installation has been exhibited at the manga reading,
this drawing works is composed of 200 sheets.
WORK2:
Is the last scene of the story, ancient spirits are gathered to eat the killer whale.
WORK3:
Allegorical Installation of Japanese nationalism by cutting sheet.
Red and black line is a color that represents the modern Japanese history, yellow’s the color of the sun that connects the modern from ancient times. Japan tells the world of the modern that it is a civilization of the sun faith.
WORK4:
There is a pot that is baked in the shape of a flame that was made in Japan Neolithic era, it depicts the atomic bomb in its style.
WORK5:
Ghost, nature, mantis….., this is the animistic world.

Resume:

1973 born in Kumamoto, Japan.

Education
2003 Graduated from Kumamoto Gakuen University

Solo show
2004 “Down in the hole!” Kumamoto, Japan
2005 “HORYMAN goes to boodootown” Fukuoka,Japan
2007 “HORYMAN’S BLOOD” IAF SHOP Fukuoka,Japan
2010 “HORYMAN” Bambinart Gallery Tokyo, Japan
2012 “HORYMAN and killer whale” Bambinart Gallery Tokyo,Japan
2015  “BARAMAN1/ANIMI-ZOOM” Bambinart Gallery Tokyo,Japan
“ANIMI-ZOOM” CO., LTD Oral Care Tokyo, Japan

Group show
2003 ”Art parede Kumamoto” Contemporary Art Museum, Kumamoto
2005 GEISAI#8 Tokyobigsight Tokyo,Japan
2006 GEISAI#9-10 tokyobigsight Tokyo,Japan
2008 GEISAI#11 Tokyobigsight Tokyo,Japan
2009 “ANIMI-ZOOM” Asohakusuigou Museum Kumaoto,Japan
2010 “Kumamoto artists index” Contenporary Art Museum,Kumamoto
“Art star is generated by the Hongo” Tokyo, Japan
2014 Taro Okamoto Award for Contemporary Art Exhibition, Taro Okamoto Museum of Art, Kawasaki City, Kanagawa

Award
2005 Bronze prize, Yuko Hasegawa prize, GEISAI#8
2014 “Special award” Taro Okamoto Award for Contemporary Art Exhibition

Place: Kumamoto-Ken, Japan

Contact: projecthm@hotmail.co.jp

Website: N/A

Christian Rieben

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Work1 Title: European Transportation Year: 2015 Materials: Oil on canvas Dimensions: H 60 W 72 Work2 Title: Primavera Year: 2015 Materials: Oil on canvas Dimensions: H 60 W 66 D Work3 Title: Catch and Release Year: 2015 Materials: Oil on canvas Dimensions: H 78 W 60 D Work4 Title: The Last Dejeuner Year: 2014 Materials: Oil on canvas Dimensions: H 48 W 60 D Work5 Title: Grendel Rises Year: 2014 Materials: Oil on canvas Dimensions: H 48 W 60 D

Statement:

I make greedy attention-seeking paintings. They want it all. They want to be paintings and objects; they want to be abstract and representational. There is a movement afoot (which I’ll address in a moment) to redefine painting, to cleave work which is process-oriented from work which depicts images. My work wants to do both. I have grown increasingly interested in the process of painting, how a painting is an object that records its own construction. How the process of the construction – the movement of the artist’s body, the artist’s decisions, both good and bad, the serendipitous phenomena, all contribute to a work’s ability to generate empathy in the viewer. And in a world where social interaction grows evermore detached, the chance to connect with another during their creative process can be a powerful and intimate experience.

But we can achieve empathy as well through what is depicted, and I am a sucker for a good story. Mysterious characters, evocative locations, dramatic actions, they inspire my imagination and I connect with the image. However, I want the narrative in my paintings to be in a state of action – “being” as a process and not a resolved state. Events happen, characters perform, but there is not a static definition of what is happening or who is performing. All that we know is that something happens. We cannot define or categorize it. It defies us. These painted environments are landscapes of the psyche as much as they are physical places. They hold secrets, but they are venues for activity. They obfuscate but they illuminate. They are windows into another painted world, but pure illusionism is thwarted by the process of creation: gestural strokes, paint drips, and the evident weave of the canvas belie any effects from naturalistic light depiction. The viewer is reminded of the painting’s very real surface. In the end I want my painting to serve as both a “window” and an object which records its own making.

Resume:

MFA,     School of the Art Institute of Chicago, Chicago, Illinois            2006

BA,     University of California, Santa Cruz, California                1990

Post-Baccalaureate Certificates

School of the Art Institute of Chicago, Chicago, Illinois                2004

University of California, Santa Cruz, California                    1991

Non-degree Course Work

Central Saint Martins, London, England                        2000

University of Wisconsin, Madison, Wisconsin                    1991

Solo Exhibitions

2015    Ectoplasm from the Underworld, The Bike Room, Chicago, Illinois
Ryan Richey: Ghostbuster, The Newhart Promenade, Loyola University,     Chicago, Illinois (curator)

2012    Christian Rieben: The Failure of Rational Thought, The Bike Room,     Chicago, Illinois

2011    Christian Rieben: Meat for the Siren, Gallery UNO, Chicago, Illinois

2009    Christian Rieben: Recent Work, Gallery 73, Belgrade, Serbia
Christian Rieben: Phallusy, Stumptown Gallery, Alma,         Wisconsin
Christian Rieben: Friend of Dorothy, Gallery UNO, Chicago, Illinois

2007    Christian Rieben: How To Make a Painting, Gallery UNO,
Chicago, Illinois

Group Exhibitions

2015    Prism Walls: Sexual Identity and the Expression of Desire, The Newhart     Promenade, Loyola University, Chicago, Illinois (curator)

2014    Surrealism and War, National Veterans Art Museum, Chicago, Illinois
Art of it All, Featured Artist, Shy Rabbit, Online Exhibition
Review, Reflect, The Newhart Promenade, Loyola University, Chicago,     Illinois

2013    More than Naked, Loyola University, Chicago, Illinois (curator)

2012    Ordinacija #3, Inex Film, Belgrade, Serbia
Midway Art Fair, Lloyd Dobler Gallery, Chicago, Illinois
Faculty Biennale, Loyola University, Chicago, Illinois

2011    Studio Art Faculty Exhibit, Gahlberg Gallery, College of DuPage, Glen Ellyn, Illinois

2010    Faculty Biennale: Outside the Classroom, Loyola University, Chicago, Illinois

2008    Berliner Liste, Cumberland Haus, Berlin, Germany
Make Me an Offer, Illinois Institute of Art, Chicago, Illinois
Summer Show, Castello di Santa Sever

Place: Chicago, IL

Contact: christian@christianrieben.com

Website:  http://www.christianrieben.com

Roeya Amigh

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Work1 Title: There is no backtracking Year: 2015 Materials: Mixed media Dimensions: H  W  D Work2 Title: Detail of There is no backtracking Year: 2015 Materials: Mixed media Dimensions: H  W  D Work3 Title: Army of me Year: 2015 Materials: Mixed media Dimensions: H  W  D Work4 Title: Detail of Army of me Year: 2015 Materials: Mixed media Dimensions: H  W  D Work5 Title: Collision response Year: 2014 Materials: Mixed media Dimensions: H 66 W 59 D 18

Statement:

When I start a piece, my process begins in a tedious and slow manner.  I render a large quantity of small drawings by gluing many small bits of thread together. I borrow text from the myths of the phoenix, dragon, and the Daeva as written by the Persian poets Rumi, Ferdowski, and Hafez and imagery from Persian miniatures. I cut many triangles of fabric. Then I incorporate structural elements of fabric and wood, and connect the drawings with these materials. I use every element in my work to create a different line.

All the elements in the work collectively give rise to their own narrative alongwith a retelling of my personal mythology.This forms a body of work in which numerous interpretations and outcomes are evoked. Certain recreated imagery and text carry over in future work, giving them a new meaning and history.

My work is concerned with a physical haptic relationship with the narrative. It is influenced by the space I am working in and its exterior and interior light. Utilizing inexpensive materials such as paper, thread, fabric and wood is important to me, as I am concerned with the fragile, temporal aspects of my work and uninterested in its preservation. Dedicating a significant amount of time to my practice results in work that will ultimately deteriorate.

Resume:

Education
MFA, Boston University, Boston, USA 2012
MFA, Central Azad University, Tehran, Iran, 2010
BFA, Science and Culture university, Tehran, Iran, 2007

Awards and Honors
Vermont Studio Center Fellowship, Vermont, 2015
Ruth Katzman Scholarship, NY, 2014
Elsewhere Studios Art Residency Grant, Paonia, Colorado, 2014
Constantine Alajalov Scholarship, Boston University, 2010-2012
Nominated by Joan Mitchell Foundation, MFA Grant Program, 2012

Solo Exhibition/ Publication
Commonwealth Gallery, Boston, MA, 2012
Artist Profile: Roeya Amigh, an Interview by The Orris: A Cultural Journal, http://theorris.com/2012/07/17/artist-profile-roeya-amigh, accessed on 02/20/14

Group Exhibition
Katonah Museum of art, Katonah, NY, 2015
The Record Company, Boston, MA, 2015
Macy Gallery, Columbia University, NYC, NY, 2014
Blue Sage Center For the Arts, Paonia, CO, 2014
The Green Point Gallery, NYC, NY, 2013
Sloane House Gallery (printmaking), Boston, MA, 2013
808 Gallery, Boston, MA, 2012
Print show, Sherman Gallery, MA,2012
Sherman Gallery, Boston, MA, 2011
Tribal Art, Hamill Gallery, Boston, MA, 2011
Sloane House Gallery (painting), Boston, MA, 2011

Art Residency
ArtHub Residency, Kingman, AZ, 2015
Vermont Studio Center, Vermont, 2015
Drop Forge and Tool Residency, Hudson, NY, 2015
BetterArts Residency, Redwood, NY, 2015
Contemporary Artists Center at Woodside, Troy, NY, 2014
The League Residency at Vyt, Hudson Valley, NY, 2014
Can Serrat Art Residency, Barcelona, Spain, 2014
Elsewhere Studios Art Residency, Paonia, Colorado, 2014

Work Experience
2013-2014:
Image developer at Johns Hopkins University
-Center for Talented Youth
2012-2013:
Research assistant at Harvard University
-Women’s Worlds in Qajar Iran

Place: BROOKLYN, NY

Contact: roya.amigh@gmail.com

Website: http://cargocollective.com/Roeyaamigh

José Bonilla

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Work1 Title: The lady in gardens mirrors Year: 2015 Materials: Acrylic, photographic paper, expanded polystyrene Dimensions: H 31 cm W 60 cm D 12 cm Work2 Title: The vision of the Debas Year: 2015 Materials: Acrylic, photographic paper, expanded polystyrene Dimensions: H 30 cm W 50 cm D 10 cm Work3 Title: Mud towers Year: 2015 Materials: Acrylic, photographic paper, expanded polystyrene Dimensions: H 50 cm W 58 cm D 15 cm Work4 Title: Mushroom garden Year: 2015 Materials: Acrylic, photographic paper, expanded polystyrene Dimensions: H 21 cm W 100 cm D 12 cm Work5 Title: Nature Study 1 Year: 2015 Materials: Acrylic paint over free acid paper Dimensions: H 30 cm W 50 cm D 3 cm

Statement:

Taking a backpack and walk tirelessly to achieve proposed goals is my greatest joy, and if this will unite my other passions such as photography and artistic work, achievement group a set of qualities that allow me to make intervened photographs of the most beautiful landscapes of my country.

The second creative process comes when you begin to discover forms that you had not noticed at the time of taking the picture, is a whole new world to discover and then give relief to the photo to achieve perspective in the finished work

The movement is vital in my other work, because with him, try to express the nature that I see in my photographic expeditions.

Resume:

Jose Bonilla is a mountaineer lover of nature, which puts in his photographs panoramic to later cut them by three-dimensional photographic layers sectioned along the various forms derived from the photograph.

The works seen here are on the top of Roraima Tepuy series.

“Tepuy” is the name of the oldest geological formations in the world and are from the Precambrian era, are located mostly in the Amazon jungle.

It also has a parallel work which draws on the work of Venezuelan kinetic artists like Jesus Soto and Carlos Cruz Diez, which studies the movement to apply it in later works.

Place: San Antonio de los Altos – Venezuela

Contact:  josebonillarte@gmail.com

Website: https://www.josebonilla.com.ve

Edna Cantoral Acosta

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Work1 Title: Mirada noche Year: 2014 Materials: Acrylic on paper, bird feathers. Laminated in plastic Dimensions: H 52 W 36 cm D Work2 Title: De frente Year: 2013 Materials: Acrylic, pencil on paper, tree branch. Laminated in plastic Dimensions: H 74 W 47 cm D Work3 Title: Ofrenda Year: 2013 Materials: Acrylic, pencil, pencil colors, grease pencil on papers. Laminated in plastic and mounted in a fabric Dimensions: H 96 W 59 cm D Work4 Title: Marioneta Year: 2012 Materials: Acrylic, ink, pencil on papers. Laminated in plastic Dimensions: H 63 W 46 cm D Work5 Title: Visión Portátil Year: 2012 Materials: Acrylic, pencil, color pencil on paper , and a fabric.  laminated in plastic
Dimensions: H 60 W 50 cm D

Statement:

I am interested in searching an honest way to discover who I am. Creating is for me a process of transformation and mystery. I like to experience and to explore different means, such as  painting, engraving, literature, and recently, silk-screen printing, artist’s books.
The presence of the void and death as engines to transformation are a constant in my work.

One of the many phrases which remind me of the deepest sense of my journey through life and art, and which has accompanied me along my way, is this by W. B. Yeats: “I’m looking for the face I had before the world was made”.

I am interested in that which is broken;  the  unfinished  that  never  ends  because  it
keeps changing; the “mistake“, the recycled, undrawn drawing, mixed  techniques; the fragile; the small;    introspection. I mainly works with acrylic, mixed techniques and collage. Literatura is a strong influence in my creations. The writer Enrique Ortega wrote: “Edna´s work is immersed in a poetic realism loaded with suggestions of a poetry of her own, a lived poetry that is manifest in the bareness of the painting Undressing in which she might seem to say, What is left after the body if not the essence, poetry?”
I sometimes laminates my  work in plastic, intending that the works float freely in space without the limitations of a frame. In a recent series we see that the characters turn into animals, symbols of what they really are.

Resume:

Edna Cantoral Acosta was born in Mexico City, 1976. She studied in Guadalajara, Jalisco, Mexico, where she currently works. In 1996 she obtained the Sogem diploma in literary creation. She undertook  undergraduate studies in plastic arts at the  University of Guadalajara. (1998-2001). She took  classes with artists and in the engraving workshop  of Herculano Álvarez during the period between  2002-2003. She was granted a scholarship from the FONCA (National Fund for the Culture and the Arts, Mexico) to study at the ENSAD, (École Nationale Supérieure des Arts Décoratifs) at  Paris, during the period from October 2004 to August 2005.

She has participated in 68 collective exhibitions in Guadalajara, Mexico city, Argentina, Spain, N.York, Georgia , Japon, London. Some exhibitions are: “THE ARTERNATIVE PLAYGROUND”, 3th to 6th sept, 2015, The Rag Factory, London;
“10 encuentro De Sensibilización Artística, De Puerta En Puerta”, 5 -10 sept. 2015, Villafranca de los Caballeros, España; ” PEQUEÑO FORMATO INVERSIÓN ATRACTIVA VIII”, 22 august to 18 sept, 2015 at Galería Adriana Valdés, Gdl, Jalisco; “LA CARNIVALE”, The New Bohemian Gallery, Minnesota, 3 to 25 july 2015; “IDENTITY/MEMORY”, Gallery on the Corner, London, 13 to 23 June 2015; “UNA VIDA/ A life”, excolegiojesuita.mx, Pátzcuaro, Mich, México, 12 sept-19 oct, 2014; “HEROES AND VILLAINS” , ARC Gallery and Educational Foundation, 25 June to 19 july, 2014, Chicago; “FOLIA” , 1rst   International Artist Book Fair, Instituto Cultural Cabañas, February 2014;     “PASSION FOR FREEDOM”, Unit 24 Gallery,2011, London;  Edna  carried out 11 individual ones, one of them being the Signature of the artist book HOMENAJE A Juan Gelman, Galerie La Hune Brenner en París, 2005.An engraving by Edna belongs to the collection: “Lolita Rubial” Foundation. Engraving National Museum, Uruguay. One book : “Homenaje a Juan Gelman” belongs to the Standford University’s  collection.

Place: Zapopan, México

Contact: ednacantoral@yahoo.com

Website: http://www.ednacantoralacosta.com/

Maria Tanikawa

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Work1 Title: phase Year: 2015 Materials: Metal leaf,Dry pigment on japanese paper Dimensions: H 90cm W 90cm D 2cm Work2 Title: color of note #1 Year: 2015 Materials: Metal leaf,Dry pigment on collagraph Dimensions: H 45cm W 45cm D 0.02cm Work3 Title: color of note #2 Year: 2015 Materials: Metal leaf,Dry pigment on japanese paper Dimensions: H 45cm W 45cm D 0.02cm Work4 Title: color of note #3 Year: 2015 Materials: Metal leaf,Dry pigment on japanese paper Dimensions: H 45cm W 45cm D 0.02 Work5 Title: uchiwa 2015 Year: 2015 Materials: Metal leaf,Dry pigment on japanese paper Dimensions: H 42cm W 28cm D 0.5cm

Statement:

Maria Tanikawa was born in 1978 and grew up in Tokyo. After obtaining a BFA at Tama Art University in Japanese Painting Fine Arts(NIHONGA) in 2005, moved to New York City 2007. 2014 Moved to TOKYO.
Her artwork is based on NIHONGA method. Primarily, She works with sumi-ink, dry jewel pigments and metal leaf (gold, silver, copper and aluminum). Even when working with a two-dimensional work, striving to create rich textures, reflection and space by using many layers of ink, metal leaf and pigment thus allowing her to capture the feeling of a three-dimensional piece. As a result of this process of layering materials. Another important aspect in her artwork is the composition of metal which creates shifting colors. The fact that metal can change color on its own as time goes by compliments the theme of her work. The theme of my art is “HUMAN FEELING: emotional life.” The roots of her art lies in organic abstraction – fascinated by human emotions – for example, hope, sadness, confusion and love. And interested in the relationships or connections that exist in our minds between ideas and images such as color, sound, rhythm and movement.

Resume:

EDUCATION
2007-2010 National Academy of Fine Arts
2007-2010 National Academu of Museum Workstudy, Curatorial Dept, Senior Curator Assistant.
2007 School of Visual Arts Summer Residency Programs
2005 Tama Art University, BFA: Japanese Painting

EXPERIENCE
2014.6-7 Nihongart x ©WASARA x 東京十月2009.6 CASA MUSEO BENVENUTO CELLINI (goldsmith and sculpture), Toscana, Italy
2008.7 Edwin Austin Abbey Mural workshop 2008, NY

GROUP SHOWS
2013.9 “The Nippon Club Art Exhibition” Nippon Club
2013.9 HAFH IX, Tenri Gallery
2013.6 Wish You Were Here 12, A.I.R. Gallery
2012.5 The 6th Annual “The Nippon Club Art Exhibition” Nippon Club
2011.12 We Are One, Camel Art Space
2011.12 Art Showcase and Fundraiser for Japan by JETAANY, The Ambassador’s Residence
2011.9 Home Away From Home, Hammond Museum
2011.3 We Are One, Gallery 61
2011.3 I Love Japan More Than Ever, Graphite
2011.3 ART FOR JAPAN Art Exhibition to help the Earthquake and Tsunami victims, ISE Cultural Foundation
2010.12 2010 NY Coo Open Art Contest “An Exhibition of Selected Works” NY Coo Gallery
2010.9 Meeting with 4 Multiplicities, Blank Space Gallery
2010.6 Artists from Around the World, Alex Adam Gallery
2010.5 Stone Room Perspecttives, National Academy Museum
2010.2 THE GREAT POP-UP ART SALE, The Dumbo Arts Center
2010.2 “EARTH” Gallery HOUSE
2009.12 Annual Holiday Market, Clay Space1205
2009.12 Small Works Show, 440 gallery
2009.9 ‘The 5th HAFH Exhibition’, NY Coo Gallery
2009.3 Worker’s Paradise, C.C.C.P gallery
2009.2 EAST|WEST, d3
2008.11 ART, Me and the WORLD, Williamsburg Art Historical Center
2008.10 NURTURE art 2008, James Cohen Gallery

SOLO SHOWS
2015.8-10 Maria Tanikawa:Solo show at T.Y.HARBOR
2005.5 “maria tanikawa exhibition”, Ginza Galley Forest

PRESS
2015.9 Matropolis magazine
2014.4 JAPAN TODAY INSIGHT
2014.4 “PENCITIES” by The Peninsula Hotel Group
2014.1 Metropolis magazine (Issue: 1035)
Concept:Maria Tanikawa was born in 1978 and grew up in Tokyo. After obtaining a BFA at Tama Art University in Japanese Painting Fine Arts(NIHONGA) in 2005, moved to New York City 2007. 2014 Moved to TOKYO.
Her artwork is based on NIHONGA method. Primarily, She works with sumi-ink, dry jewel pigments and metal leaf (gold, silver, copper and aluminum). Even when working with a two-dimensional work, striving to create rich textures, reflection and space by using many layers of ink, metal leaf and pigment thus allowing her to capture the feeling of a three-dimensional piece. As a result of this process of layering materials. Another important aspect in her artwork is the composition of metal which creates shifting colors. The fact that metal can change color on its own as time goes by compliments the theme of her work. The theme of my art is “HUMAN FEELING: emotional life.” The roots of her art lies in organic abstraction – fascinated by human emotions – for example, hope, sadness, confusion and love. And interested in the relationships or connections that exist in our minds between ideas and images such as color, sound, rhythm and movement.

Place: Tokyo/Japan

Contact: info@mariatanikawa.com

Website: http://www.mariatanikawa.com/

Hiroyuki Nakamura

turf_DSC1304 LoveMaker_DSC0667 DriftersLaLa_DSC2853 boom_DSC0443 DSC0723

Work1 Title: “turf” Year: 2014 Materials: oil on canvas Dimensions: H 14 W 10 D Work2 Title: “Love Maker” Year: 2014 Materials: oil on canvas Dimensions: H 44 W 22 D Work3 Title: “Drifter’s la la” Year: 2015 Materials: oil on canvas Dimensions: H 40 W 32 D Work4 Title: “boom” Year: 2014 Materials: oil on canvas Dimensions: H 20 W 16 D Work5 Title: “god of driveway” Year: 2014 Materials: oil on canvas Dimensions: H 28 W 41 D

Statement:

My work takes place in the imaginary proscenium of the Great American West, a place where past
mythologies meet with present realities in unknown and often unacknowledged ways. My art is a quest into this unknown – a modern day expedition to discover what previous settlers have done and how to recreate old mythologies for present and future settlers. The cowboys in my paintings are, like myself, outsiders without any definite home, co-existing with the old and the new like the east and west bends of the Mississippi River.

Resume:

- Solo exhibitions -

- 2010
“MY OWN PRIVATE WEST” Brodsky Gallery, University of Pennsylvania, Philadelphia, PA

-2009
“the sky above”, Thierry Goldberg Projects, New York, NY

-2008
a man on the mysterious white buffalo asked if there is such thing and “yes, there must be… like any other things.” the buffalo answered. Mehr Gallery , New York, NY
-2006
“are you COWBOY or … JESUS?”, Gilfélagid , Akureyri, Iceland

- Group exhibitions -

-2014
“Expanding Mode” Concepto Hudson, Hudson NY
“Vantage Point”Concepto Hudson, Hudson NY, 2014

-2013
“Memory: International Mail Art”, Richmond Art Gallery, BC, Canada
“Hypertrophic Visions”, New York Center for Art and Media Studies, NYC

-2012
“GO” – Open Studio Weekend organized by Brooklyn Museum, Brooklyn NY, September 8&9

-2011
“TILL ALL IS GREEN”, MIYAKO YOSHINAGA art prospects, New York, NY
NURTUREart 2011 Benefit, Chelsea Art Museum, New York NY
“We Are One”, Gallery 61, New York Institute of Technology, New York, NY

-2010
“Here We Aren’t, So Quickly”, Thierry Goldberg Prjects, New York, NY

-2009
“Haustsýning / Autumn exhibition”, Gallerí Ágúst, Reykjavík, Ísland
Fountain Art Fair NYC 2009, Vagabond Gallery, New York, NY
“Strange Days” Thierry Goldberg Projects, New York, NY

-2008
Annual Benefit Exhibition, PS122 Gallery, New York, NY
Artists in Residence Exhibition, SÍM, Reykjavik, Iceland

-2007
“Stick and Move”, Frey Norris Gallery, San Francisco, CA
“making a home : Japanese Artists in New York”, Japan Society, NYC
“Here and Elsewhere” (video flat files) Boots Contemporary Art Space, St Louis, MO
“OUTSIDE THE BOX – NY and CA”, Greene Contemporary, Sarasota, FL
AIM27 “Here and Elsewhere”, The Bronx Museum of the Arts, Bronx, NY

-2006
“Little Monsters”, AG Gallery, Brooklyn, NY
“please open the door” (curator : Veronica Mijelshon), NURTUREart Gallery, Brooklyn, NY
“Square Foot Show”, ART GOTHAM, New York, NY
Arcaute Arte Contemporaneo, Monterey, MEXICO

***please see my website for my full resume

Place: Brooklyn, NY

Contact: hiroyuki.nakamura.studio@gmail.com

Website: http://www.hiroyukinakamura.com/

Geoffrey Detrani

05_DETRANI_Collider 01_DETRANI_Zero-Sum 02_DETRANI_Early-Warning 03_DETRANI_Boundary-Alert 04_DETRANI_Ersatz-Archipelago

Work1 Title: Collider Year: 2014 Materials: pencil, acrylic, ink on paper mounted to panel Dimensions: H 48 W 60 D Work2 Title: Zero Sum Year: 2015 Materials: pencil, acrylic, ink on paper mounted to panel Dimensions: H 24 W 48 D Work3 Title: Early Warning Year: 2015 Materials: pencil, acrylic, ink on paper mounted to panel Dimensions: H 24 W 48 D Work4 Title: Boundary Alert Year: 2015 Materials: pencil, acrylic, ink on paper mounted to panel Dimensions: H 24 W 48 D Work5 Title: Ersatz Archepelago Year: 2015 Materials: pencil, acrylic, ink on paper mounted to panel Dimensions: H 30 W 60 D

Statement:

The imagery that I use explores a hypothetical intersection between the natural world and the built environment. I am interested in a representation of the natural world that is spun from a conflation of imagination and ideology – a symbolic rendering – rather than one that mimics our visual/optical experience of it. I am interested in the tenuous and temporary fit with which the things we have built have accommodated themselves to the fecund and resurgent and violent forces of the natural world around them.  My pictures suggest landscapes captured in a state of flux, landscapes on the cusp or in the throes of explosive generation or devolution, they are geographies of entropy and zero-sum gain.

Resume:

http://s3.otherpeoplespixels.com/sites/26086/resume.pdf

Place: Hamden, CT

Contact: gdetrani@yahoo.com

Website: http://geoffreydetrani.com

Soonae Tark

1.soonae_tark 2.soonae_tark 3.soonae_tark 4.soonae_tark 5.soonae_tark

Work1 Title: Untitled Year: 2015 Materials: acrylic on acrylite Dimensions: H 16 W 24 D Work2 Title: Untitled Year: 2015 Materials: acrylic on acrylite Dimensions: H 16 W 24 D Work3 Title: Untitled Year: 2012 Materials: acrylic back acrylite Dimensions: H 16 W 24 D Work4 Title: Nap Year: 2007 Materials: acrylic on canvas Dimensions: H 32 W 32 D Work5 Title: In Blue Year: 2006 Materials: acrylic on canvas Dimensions: H 32 W 32 D

Statement:

I work with acrylic on canvas, wood, paper and plastic.  My process is to build images systematically on a flat colored surface. Very precise forms and colors of different weights are placed together to create a perfect, yet precarious, balance.  I enjoy exploring new materials and working with color and form using rigid lines to playfully create three dimensional effects on a flat surface.  I like  to  challenge how to paint.

Resume:

SOONAE TARK
www.soonaetark.com

Born in S. Korea, since 1996  lives and works in New York City

EDUCATION
1995  Diplôme National Supérieur d’Expression Pratique, Option Art avec  “Les Felicitations du Jury” ;
1993  Diplôme National d’Art Pratique, Option Art,  Ecole Nationale Supérieure des Beaux-Arts de Lyon,
France
1990  Bachelor of Fine Arts, Dongduk Women’s University, Seoul, Korea

PERMERNENT PUBLIC ART
2015  Glass mosaic,  MTA Arts for Transit Commission, Buhre Ave. Station, New York City

2008  Relief form Mural,  Percent for Art Commission, New York City Public School PS306, Queens

AWARDS
2014  Merit Award, National Compact Competition, Louisiana State University, Baton Rouge, LA
2008  National Academy Museum Abbey Mural Painting Fund Fellowship, New York, NY

2007, 2001  The Pollock-Krasner Foundation Grant, New York, NY
Individual Artist Initiative Award, Queens Council on the Arts, Woodhaven, NY
2005  First Place Award, National Compact Competition, Louisiana State University, Baton Rouge, LA
First Place Award, National Juried Exhibition, Art Centre of Plano, Plano, TX
2004  First Place Award, National Juried Art Show, Farmington Museum, Farmington, NM
EXHIBITIONS
2015 Susan Eley Fine Art, New York, NY
2014 Site-specific Installation at Window of Los Verdes New York, Organized by No Longer Empty, NYC
Queens Museum of Art,  ” Shades of Time, Part Two”  Queens, NY
The Fabergé Big Egg Hunt, Rockefeller Center, New York,  NY
2014 Korean Cultural Service,  ” Shades of Time,”  New York, NY
Spring New York Affordable Art Fair, represented by Art-Flow
2013  Yegam Art Space, “Community Art Project,”  Flushing, NY
2012-2009  U.S. Embassy Seoul, Korea, “Korean-American Connections,”  by Art in Embassies Program,
U.S. Department of State,  Washington, DC
2012  Denise Bibro Fine Art, Inc. “Art From The Boros,” New York, NY
MSKCC Brooklyn inFusion Center, “A Wish, A Dream,”

OLANIYI RASHEED AKINDIYA

1.-HERE_I_LIVE_NOW 2.-GBAJUGBAJA 3.-SHOPPING_LIST 4.-OJO_OJA_AJE 6.-ENOUGH_IS_ENOUGH

Work1 Title: ATIBABA / HERE I LIVE NOW Year: 2014 Materials: MIXED MEDIA SCULPTURE INSTALLATION ( BOXED, THREADS, NEWS PAPERS, ACRYLIC PAINTS) Dimensions: H 14 FT W 25 FT D 20 FT Work2 Title: GBAJU GBAJA / CELEBRITY Year: 2015 Materials: MIXED MEDIA SCULPTURE / TAPESTRY PAINTING INSTALLATION(RE PURPOSED PLASTIC TOY GUNS, GALVANIZED WIRE, VARIETIES COLORS PAPER, THREADS, ) Dimensions: H 10 FT W 15  FT D 7 FT Work3 Title: SHOPPING LIST Year: 2014 Materials: MIXED MEDIA SCULPTURE INSTALLATION ( VARIETIES OF PRODUCTS BOXES, HOT GLUE) Dimensions: H 12 FT W 8 FT D 5 FT Work4 Title: OJO OJA AJA / MONDAY’S ARE MARKET DAY Year: 2014 Materials: MIXED MEDIA SCULPTURE INSTALLATION ( RE PURPOSED PLASTIC SPOONS, KNIFES, FORKS, PLATES, GALVANIZED WIRE, PAINTS, PLASTIC WRAPS AND TAPES) Dimensions: H 12 FT W 20 FT D 20 FT Work5 Title: ENOUGH IS ENOUGH Year: 2015 Materials: MIXED MEDIA SCULPTURE/ TAPESTRY PAINTING / VIDEO INSTALLATION Dimensions: H 8 FT W 12 FT D 1 FT

Statement:

My works focus on moments. Time, present in seconds and minutes, can only be preserved through documentation, as memory is fleeting and easily forgotten or transformed. My work is often marked by an exploration of rural versus urban life, namely the accelerated pace of development and social infrastructure. I produce works which explore the personal and the universal, which investigate the invisible systems of power that govern everyday existence, and which instigate debate among viewers without conventional ink on paper. My works address social issues.

Resume:My name is Olaniyi Rasheed Akindiya (Akirash) I am an Multidisciplinary artist, I was born in Lagos – Nigeria in 1973, 1991 BA Degree in  bio-chemistry  University of Agricultural Abeokuta and In 1992 hear my calling in art graduate 1995 Higher National Diploma fine art and applied art at the institute of textile technology Oregun-Lagos state – Nigeria. I live Between Lagos –Nigeria and Austin – Texas USA.
My works has won awards, grants, fellowships among are 2015 Fellowship residency at Oklahoma state university/ Museum, 2015    Fellowship residency at Santa Fe Art Institute NM-USA, 2014 fellowship at university of Texas- Austin, Fellowship at Artists INC / MAAA/ City of Austin,  Hotbox residency at Mass Gallery, fellowship at Kiosko Gallery in Bolivia, 2013 fellowship at JMAC in Namibia, fellowship residency at Centraltrak UT Dallas, 2012 fellowship residency at Vytlacil campus art student league NY, residency at Triangle Art association NY, Fellowship at Nafasi art space Tanzania, grants from Africa Centre / infecting the city Cape town S. Africa, fellowship at Thupelo/ Bag Factory Johannesburg- South Africa, 2011 Grant FROM Nirox Projects / 12 Decade Art Hotel Johannesburg South Africa, Grant from Pollock Krasner Foundation USA, Residency fellowship at Art farm Nebraska, Award & Grant from Commonwealth Foundation international artists connection UK, Fellowship residency at Vermont studio Center USA, fellowship Gladstone Gallery/ Studio Canada, 2010 fellowship at CCA Lagos/ Triangle Network Nigeria, fellowship residency at Thami Mnyele Foundation Netherlands, 2009 Sansa international residency  Ghana, Go Ingenious Award CA- USA, 2008 Grant fellowship from Bluesky Projects IL-USA, Artcroft residency fellowship  Kentucky USA.

Place: AUSTIN – TEXAS

Contact: artistsrootsembassy@yahoo.com

Website: http://www.artwithakirash.com/#!gallery

Margaret Noble

5_I_Long_to_be_Free_from_Longing 2_Head_in_the_Sand 1_A_Score_for_Conversation 6_All_Eyes_on_You 7_Scaled_Discords

Work1 Title: I Long to be Free From Longing Year: 2014 Materials: Mixed media and electronics. See video: http://www.margaretnoble.net/i-long-to-be-free-from-longing/ Dimensions: H 19″ W 20″ D 32″ Work2 Title: Head in the Sand Year: 2015 Materials: Mixed media and electronics. See video: http://www.margaretnoble.net/head-in-the-sand/ Dimensions: H 15″ W 15″ D 15″ Work3 Title: A Score for Conversation Year: 2014 Materials: Mixed media. Hear sound: http://www.margaretnoble.net/a-score-for-conversation/ Dimensions: H 12″ W 3′ D 12″ Work4 Title: All Eyes on You Year: 2015 Materials: Mixed media and electronics. See video: http://www.margaretnoble.net/all-eyes-on-you/ Dimensions: H 2′ W 3′ D 3′ Work5 Title: Scaled Discords Year: 2015 Materials: Mixed media. See video: https://vimeo.com/margaretnoble/scaled-discords Dimensions: H 17″ W 6′ D 6′

Statement:

I create objects, installations and performances that investigate the echoes of time in contemporary identity and environment. I focus on narratives and legacies left behind by families, media and technology. I use found objects, construct new objects and design sounds to activate spaces, reference history and pose questions about perception. I draw on a wide variety of materials and symbols to juxtapose ideas. I play with time travel as I move between generational influences, historical myths and the future.

My ongoing artistic research project is titled, ‘Resonating Objects.’ ‘Resonating Objects’ is a series of sculptural sound experiences designed to immerse audiences in artifacts of identity and memory through tactile gestures and ephemeral sonic experiences. These interactive sound objects transform space and place for the participant. They engage audiences in personal and public histories through their use of aged documents, found objects and unexpected auditory happenings. As a resonating sculptural series (physically and conceptually), these experiences create a series of narratives. For example, in my work, ‘I Long to be Free from Longing,’ I present a collection of personal sounds embedded in a traveler’s suitcase and inspired by Frederick Holderin’s poem, “All the Fruit.” In my two conceptual music box sculptures, ‘What Was, What Is, What Is Not’ and ‘A Score for Conversation,’ I use relational aesthetics through spontaneous, melodic composition to construct participatory events dealing with communication and generational histories. In my pieces, ‘Index of Fear’ and ‘Head in the Sand,’ I offer audiences a chance to explore social and cultural anxiety through time and gesture as they interact with sound, image and light.

For all works, movement, sound and narrative function collectively as unique and personal time-based experiences. These moments shift and vary with each participant’s interaction.

Resume:

Please see complete resume at:

http://www.margaretnoble.net/biography-and-cv/

EDUCATION
2007 MFA, Sound Art, The School of the Art Institute of Chicago
2002 BA, Philosophy, University of California, San Diego

ARTIST GRANTS, AWARDS, HONORS
2015 Royal British Society of Sculptors, inducted artist
2015 The Engine Room International Sound Art Competition, finalist in sound sculpture category
2015 San Diego Art Institute, Honorable Mention by curator David A. Ross
2014 Musicworks Magazine, 1st place electronic music composition
2014 Athenaeum Music and Arts Library, 1st place artwork
2014 San Diego Art Prize, emergent category nominee
2014 Montserrat College of Art Fellowship
2013 Los Angeles Art Association, inducted artist
2013 ArtSD13 Spotlight Artist
2012 Culture Hall New York, inducted artist
2012 Creative Catalyst Project Grant
2010/11 Jim Henson Foundation Seed and Project Grants
2010 Kickstarter, sound art project funded
2007 Illinois Arts Council Governor’s International Grant

SOLO EXHIBITIONS AND PERFORMANCES
UPCOMING Resonating Objects, Gibbs Street Gallery, Rockville, MD
UPCOMING Resonating Objects, Athenaeum Music & Arts Library, La Jolla, CA
UPCOMING On Edge Festival, Museum of Contemporary Art Santa Barbara, CA
UPCOMING Interactivity: Sight and Sound, Cafritz Foundation Arts Center, Montgomery, MD
2015 Dorian’s Gray, Roswell Museum and Art Center, NM
2015 Resonating Objects, Institute of Contemporary Art, San Jose, CA
2014 Touch, Ohrenhoch der Geräuschladen Sound Gallery, Berlin, Germany
2012/13 44th and Landis, Museum of Contemporary Art San Diego, CA
2010 Frakture, Fresh Sounds: Sushi Performance Arts, San Diego, CA

Place: San Diego, CA

Contact: margaret@margaretnoble.net

Website: http://margaretnoble.net/

Yukari Kaihori

YUKARI_KAIHORI_1mid YUKARI_KAIHORI_2mid IMG_0059small IMG_0062small YUKARI_KAIHORI_3mid

Work1 Title: Untitled: From “Come Find Me” series Year: 2015 Materials: Oil on Paper Dimensions: H 762 W 1170 D Work2 Title: Untitled: From “Come Find Me” series Year: 2015 Materials: Oil on Paper Dimensions: H 762 W 1170 D Work3 Title: Untitled: From “Come Find Me” series Year: 2015 Materials: Oil on Paper Dimensions: H 780 W 1250 D Work4 Title: Untitled: From “Come Find Me” series  Dimensions: H 780 W 1250 D Work5 Title: Untitled: From “Come Find Me” series Year: 2015 Materials: Oil on Paper Dimensions: H 558 W 760 D

Statement:

My works are evolving to be project based.

Yukari Kaihori’s work explores the interaction of physical space and surroundings.

The works have been focusing on time, process and how nothing surrounding us as well as nothing within ourselves remained untouched.

There is something about given time and space we inhibit, the ephemeral nature of our given time and how the moment of process to process construct I and everyone else as we dissolve back into the surroundings again. I am fascinated by the surrounding we live in and how we walk through the spaces sensing some sort of a “Monono-Aware” in it. Mono no aware, literally “the pathos of things”, and also translated as “a sensitivity to ephemera”.

Originally, Japan has a tradition of finding beauty in transience as seen in ‘mono no aware (the sadness or pathos of things)’ affected by Mujokan (Buddhist concept of the impermanence of worldly things) in Buddhism.

Everything surrounding us including us are ephemeral and in passing time. I am interested to re-construct the shape of this sense.

Doing so, I like put the emphasis on the excitement and cerebration part of it as I create my works with vivid and playful colors.

I use the mixture of accidental marks of stains, smears and spot of oil paint with controlled lines and shapes.

Resume:

Education

2010  Mix Media Painting/Ceramics and Glass Short Courses,

University of Arts London, Central Saint Martin

2004  B.A. Fine Art, Lewis & Clark College, Portland, Oregon

2003  NY Studio School, summer courses

Award/Artist Residency

2015   Vermont Studio Art Artist Residency Fellowship, USA

2015-2016 Pollock Krasner Foundation Grant, NY

One Person Show

2015 Sanderson Contemporary Gallery, Let’s Talk about That we Have,  Newmarket Auckland, NZ

2014  Cecil Veda Gallery, Land Songs, Wellington, NZ

2014  City Art Gallery, Down on the Ground, Christchurch, NZ

2013  Cecil Veda Gallery, On the Way Home, Wellington, NZ

2013  Poi Poneke Gallery, From Here to Somewhere, Wellington NZ

2012  Thistle Hall Gallery, Changing Scenary, Wellington NZ

2006  Gallery Art, Osaka Japan

2005  MEBUKI Gallery, Osaka Japan

Group Exhibition

2015 The Vivian Gallery,  ” Works on Paper” Auckland, NZ

2014 The Vivian Gallery, ” SMALL SHOWS” Auckland, NZ

2014 The Vivian Gallery, ” What a Differences” Auckland, NZ

2014 The Vivian Gallery,  ” Works on Paper” Auckland, NZ

2011  Open Gallery, Broockley South East London, UK

2009  Contemporary Art Independent CASO Exhibition, Osaka

2004   “ Recent Graduates”, Black Fish Gallery, Portland, OR

2004  “Senior Art Exhibition”,The Ronna and Eric Hoffman Gallery of Contemporary Art, Oregon

Press

2014 “One to Watch” Saatchi Art Magazine, Saatchi Art.com

2014 ” Interview” on MoMa UK

My Modern Met “Quiet Landscape Paintings Remind Us to Cherish The Familiar”

2010  The Big Issue , Japan, on Fine Artists, Back Beat 151stIssue

2006  The Big Issue , Japan, on Fine Artists, Back Beat 51stIssue

Others

2013  Artist Talk at Wellington Japanese Society, Japanese Embassy in Wellington

2002  Studio Assistant of NY based Artist, Sigrid Burton

Place: New Zealand

Contact: yukari.kaihori@gmail.com

Website: http://www.yukarikaihori.com

Kristin O’Connor

KO1 KO2 KO3 KO4 KO5

Work1 Title: Q825, Disco Punch Year: 2015 Materials: oil on canvas Dimensions: H 60 W 60 D Work2 Title: Molten Year: 2015 Materials: oil on canvas Dimensions: H 60 W 48 D Work3 Title: Nose Gold Year: 2015 Materials: oil on canvas Dimensions: H 40 W 36 D Work4 Title: Dark Circles Year: 2015 Materials: oil, encaustic on panel Dimensions: H 9 W 6 D Work5 Title: 920, Red Revenge Year: 2015 Materials: oil on canvas Dimensions: H 6 W 6 D

Statement:

I’m interested in the conjunction of glamour and grotesque as a means of exploring the role of beauty in female social identity.

Beauty is a double-edged sword capable of both enslaving and liberating. My paintings exploit this power, using forms of make up and gold paint to transform the body. The ugliness of chipped nails and drooling mouths become lyrical swirls of pinks and blues, while putrid greens and yellows create the illusion of gold leave the image teetering on the abject.

In confronting the vague, haunting discomfort found in the pleasure of the beautiful, what becomes most intoxicating is paint’s ability to transform what we call “ugly” in reality into beauty in paint.

 

Resume:

Education:
2015
Master of Fine Arts in Painting, New York Academy of Art, NY

2013
Bachelor of Fine Arts in Painting, Magna Cum Laude, University of Tampa, FL

Selected Exhibitions:
2015
MFA Thesis Exhibition, New York Academy of Art, NY
De-Con-Struct, NOoShere Arts Gallery, NY
MFA Open Srudios, New York Academy of Art, NY
TriBeCa Ball, New York Academy of Art, NY

2014
Deck the Walls, New York Academy of Art, NY
MFA Open Srudios, New York Academy of Art, NY
TriBeCa Ball, New York Academy of Art, NY

2013
Deck the Walls, New York Academy of Art, NY
Experimental Work, New York Academy of Art, NY
6x6x2013, Rochester Contemporary Art Center, Rochester, NY
Small Art 4 Big Heart, Indian Rocks Rotary Foundation, Tampa, FL

2012
Emerging to Disappear, The Box on 5th, FL **
Fourth Annual Figurative Drawing and Painting Competition, Lore
Degenstein Gallery, Selinsgrove, PA
Wrapped, OSLE Gallery, Tampa, FL *
Everything Is Art
Celebrity Juried Competition, everythingisart.cc
6x6x2012, Rochester Contemporary Art Center, Rochester, NY
Women’s History Month Art Contest, University of Tampa, FL
Annual Juried Student Exhibition, University of Tampa, FL
Beneath It All, OSLE Gallery, Tampa, FL **
Postcards from the Edge, Visual AIDS, New York, NY
Canvas 7 Art Premier, Tampa, FL

2011
Drawing Connections, Sienna Art Institute, Sienna, Italy
Annual Juried Student Exhibition, University of Tampa, FL
•    denotes solo exhibition ** denotes small group show

Related Experience:
2012 – 2013
Curatorial Assistant, Henry B. Plant Museum, Tampa, FL

Awards & Scholarships:
2013 Dorfmueller Scholarship for Art Students, Tampa, FL

2010 – 2012 Dean’s List Scholar, University of Tampa, FL

2012 Honorable Mention, Women’s History Month Art Contest, University of  Tampa, FL

Best in Sculpture, Annual Juried Student Exhibition, University of Tampa, FL

2011 Best in Show, Women’s History Month Art Contest, Tampa, FL

Place: Brooklyn, NY

Contact: kristinoconnor.art@gmail.com

Website: http://www.kristinoconnorart.com

Daniel Mirer 2

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Work1 Title: Thingstätten in Deutschland, Hösseringen, DE Year: 2015 Materials: Digital Gorilla Glass Photograph Print Dimensions: H 20 W 24 D 2 Work2 Title: Thingstätten in Deutschland, The Externsteine, North Rhine-Westphalia, DE Year: 2015 Materials: Digital Gorilla Glass Photograph Print Dimensions: H 20 W 24 D 2 Work3 Title: Thingstätten in Deutschland, Bad Segeberg DE Year: 2015 Materials: Digital Gorilla Glass Photograph Print Dimensions: H 20 W 24 D 2 Work4 Title: Thingstätten in Deutschland, Waldbühne, Berlin DE Year: 2015 Materials: Digital Gorilla Glass Photograph Print Dimensions: H 20 W 24 D 2 Work5 Title: Thingstätten in Deutschland, Waldbühne, Berlin DE Year: 2015 Materials: Digital Gorilla Glass Photograph Print Dimensions: H 20 W 24 D 2

Statement:

Title: Thingstätten in Deutschland
Digital Gorilla Glass Photograph Print

Thingstätten (Thing cult) is a term used to define open-air Nazi cult theaters built between the years of 1933-1945 for the specific intention of rallying and entertaining local communities. The staged productions were designed to propagandize an idealistic reinterpretation of Germanic history and used as a recruitment setting for the National Socialist Party.

The Thingsteads used impressive architecture and scenic places whose locations were selected by the notion of historic idyllic Germanic surroundings.  The fascist government developed these locations to portray a tribal past that was built in isolated natural landscapes such as wooded areas, near bodies of waters, nestled in hills or unique rock formations as well near traces of historical Germanic ruins.

The photographic & video research project documents the Thingstätten locations in Poland and Germany which I use to explore my interest in mythical topographies of architectural space.  These architectural portraits are places of lost memories that illustrate a primary function of the still photographic image, to record. The photographs represent an ideal within a cultural influence where romantic constructions of landscape design and architecture are created for the idyllic and where the interpretation of power or influence in political ideologies are shown as indented propaganda tools through architectural idealism.

Through my photography I am documenting how architectural idealism and the interpretation of power and influence in political ideology are projected as propaganda. Using visual and conceptual traditions, the photographs depict sites that are familiar; picturesque landscapes that depict a lost history deprived of its intention or purpose.  The Thingstätten locations are all but abandon, forgotten, or have been repurposed for contemporary use.

Resume:

EDUCATION:
California Institute of the Arts, Valencia, CA.  Master of Fine Arts in Photography
Pratt Institute, Brooklyn, NY.  Bachelor of Fine Arts in Photography

SELECTED ART EXHIBITIONS (*SOLO SHOWS MARKED BY ASTERISK)

2015
* Thingstätten in Deutschland, Photography and Video Installation: Mark A. Chapman Gallery

Kansas State University, Manhattan, Kansas
*Indifferent West, from the Indifferent West series project, Gallery Vassie, Amsterdam, Netherlands
The Human Condition, Westbeth Gallery, New York, New York. Curator: Diana Jensen

2014
*ArchitorSpace, from the ArchitorSpace project, Photography and Video Installation: Betty Foy Sanders Department of Art, Center for Art & Theatre, Georgia Southern University, Statesboro, GA
Pattern and Rhythm through the Lens, Jeanie Tengelsen Gallery, Long Island, NY

2012
Anthology, Southeast Museum of Photography, Daytona State Collage, Daytona Beach, Florida
*ArchitorSpace, from the ArchitorSpace series project, Gallery Vassie, Amsterdam, Netherlands

2010
Lightness, The Museum at the Fashion Institute of Technology, New York, New York Press-release: http://www3.fitnyc.edu/lightness/artists.html

2009
*In the Finest Tradition, Light & Sie Gallery, Dallas, Texas
Architectonic, Contemporary Art Dealers of Dallas, (CADD) Art Lab, Dallas, Texas

2008
*ArchitorSpace, from the ArchitorSpace project, Light & Sie Gallery, Dallas, Texas
*Architecturally Induced, from the ArchitorSpace project, GE Art Gallery, Fairfield, Connecticut.
Curator: Glenn Macura
*ArchitorSpace, from the ArchitorSpace project,
Point of View Art Gallery, New York, New York

2007
Photography in Berlin, images of Germany, Amadeus Art Berlin Gallery, Germany

2005
New Found Land, Priska Juschka Fine Art Gallery, New York, New York. Curator: Yaelle Amir
Viajeros: North American Artist/Photographers Working in Cuba, Lehigh University Art Galleries

2004
Market Value, Cuchifritos Gallery, New York, New York.

Place: Brooklyn, NY

Contact: mirer.daniel@gmail.com

Website: http://www.danielmirer.com

Daniel Mirer

Netherlands Pink-Wall-Los-Angeles DANIEL Europe, Hungary_2011 Blue-BuildingLos-AngelesCa

Work1 Title: Sundial on Wall, Netherlands Year: 2015 Materials: Photography Dimensions: H 40 W 40 D 2 Work2 Title: Pink Wall, Los Angeles, California Year: 2010 Materials: Photography Dimensions: H 40 W 40 D 2 Work3 Title: Looking out onto Street, Cologne, Germany Year: 2010 Materials: Photography Dimensions: H 40 W 40 D 2 Work4 Title: Café in Budapest Year: 2015 Materials: Photography Dimensions: H 40 W 40 D 2 Work5 Title: Blue Building,Los Angeles, California Year: 2010 Materials: Photography Dimensions: H 40 W 40 D 2

Statement:

Title: ArchitorSpace
Photographic Installation Project
Dimensions: 30 x 40 in (76.2cm x 101.6cm), 40 x 40 in (101.6cm x 101.6cm)
Portfolio Images:  20 x 24 (50.8cm x 60.96cm)
Color Photographs, Digital “C” Fuji Crystal Archive Print

The “ArchitorSpace” photographs display my specific interest in as well my fear of enclosed areas and the banality of urban spaces. These places are typologies of contemporary post-industrial architectural aesthetic which makes the individual appear so displaced within the uncanny.  The photographic strategy is to purposefully make these images heavy with absence; these forgotten deserted (non-sites) are environments that are entirely familiar revealing no history or functionality but yet are commonplace.

The environments depicted within the images are sites that conjure up subconscious memories pointing out the familiarity within the redundancy of blandness within postindustrial space. These non-spaces that exist in the images are the enclosed public arenas in which you are viewed and exposed to the scrutiny of others.  They reveal an emptiness that is particularly banal, and commonplace, that has become the current prominent state within the post-industrial spaces that we as a modern society navigate and inhabit.

I photograph these locations from a direct, frontal point of view, at sufficient distance to include the entire space creating a flat and melancholic state. These architectural portraits become places of a matter-of-fact that demonstrates a primary function of the still photographic image, to record. The images are of spaces in which a building facade, alley or a corridor is virtually indistinguishable from another; repetition and redundancy collapse into an architectural singularity.  Within the images, the subjects who otherwise occupy these spaces are engulfed into the void of here-could-be-anywhere, into the monumental dissolution of space in contemporary architecture.

Resume:

Education
California Institute of the Arts, Valencia, CA.              Master of Fine Arts in Photography
Pratt Institute, Brooklyn, NY.  Bachelor of Fine Arts             in Photography

Selected Art Exhibitions (*solo shows marked by asterisk)

2016
*Indifferent West, from the Indifferent West series project, Gallery     Vassie, Amsterdam, Netherlands

* Thingstätten in Deutschland, Photography and Video Installation: Mark A. Chapman Gallery Kansas State University, Manhattan, Kansas

2015
The Human Condition, Westbeth Gallery, New York, New York. Curator: Diana Jensen

2014
*ArchitorSpace, from the ArchitorSpace project, Photography and Video Installation: Betty Foy Sanders Department of Art, Center for Art &     Theatre, Georgia Southern University, Statesboro, GA

Pattern and Rhythm through the Lens, Jeanie Tengelsen Gallery, Long Island, NY

2012
Anthology, Southeast Museum of Photography, Daytona State Collage, Daytona Beach, Florida

*ArchitorSpace, from the ArchitorSpace series project, Gallery Vassie, Amsterdam, Netherlands

2010
Lightness, The Museum at the Fashion Institute of Technology, New York, Press-release: http://www3.fitnyc.edu/lightness/artists.html

2009
*In the Finest Tradition, Light & Sie Gallery, Dallas, Texas
Architectonic, Contemporary Art Dealers of Dallas, (CADD) Art Lab, Dallas, Texas

2008
*ArchitorSpace, from the ArchitorSpace project, Light & Sie Gallery, Dallas, Texas

*Architecturally Induced, from the ArchitorSpace project, GE Art Gallery, Fairfield, Connecticut. Curator: Glenn Macura

*ArchitorSpace, from the ArchitorSpace project, Point of View Art     Gallery, New York, New York

2007
Photography in Berlin, images of Germany, Amadeus Art Berlin Gallery, Germany

2005
New Found Land, Priska Juschka Fine Art Gallery, New York, New York.     Curator: Yaelle Amir

Viajeros: North American Artist/Photographers Working in Cuba, Lehigh University Art Galleries

Zoellner Arts Center Bethlehem, Penn

Place: Brooklyn, NY

Contact: mirer.daniel@gmail.com

Website: http://www.danielmirer.com

Mayu Shiomi

Silvery-Harty-and-Please-play-this-song-on-the-Radio Fairytale-of-Tokio-650 FOR-SALE1-650 FOR-SALE-650 FOR-SALE-3-650

Work1 Title: Silvery Harty and Please play this song on the Radio Year: 2015 Materials: aluminum foil Dimensions: H  W  D Work2 Title: Fairytale of Tokio Year: 2014 Materials: I photograph the sculpture which I made with aluminum foil Dimensions: H  W  D Work3 Title: FOR SALE Year: 2014 Materials: aluminum foil Dimensions: H  W  D Work4 Title: Roll-up jeans (GIANT SIZE) Year: 2014 Materials: aluminum foil Dimensions: H 450 W 210 D 20 Work5 Title: Leather jacket (KIDS SIZE) Year: 2014 Materials: aluminum foil Dimensions: H 75 W 51 D 6

Statement:

Mayu Shiomi mainly makes sculptures, paintings and drawings.

Her motifs are existing anime characters and ready-made products.
Things around us in our everyday life are considered as second nature for us.

And human being is her central motivation to produce her art works.
She persists in the human existence. It is like if she wants to become every 4,500 million people in the world.
To approach this theme, she often uses imaginary people and characters as her medium.

Recently, she has presented sculptures using aluminium foil which is a familiar material.

Aluminum foil in the kitchen.
She curled up and crumpled them. She treats them like clay.
Her shiny silver sculptures are sometimes very large and sometimes very tiny which give us a strange feeling.

She expresses such works as “Beauty and Wilfulness of the World” and ” The Joy of being alive and The surprise to come”.

Resume:

1982
Born in Tokyo, Japan. Lives and works in Tokyo and Aichi Japan.
2011
BA in Sculpture, Tokyo Zokei University, Tokyo.
2014
In Aichi Prefectural Graduate school of Fine Arts and Music.
2015
NASUNOGAHARA MUSEUM
2013
Toshikazu Iura Prize/TAGBOAT ART FES 2013/Tokyo Metropolitan-Industry And Trade Center (Tokyo)
ISE Cultural Foundation Prize/ISE NY Art Search/ISE CULTURAL-FOUNDATION (New York)

2014
Adult Picture Book/NANATASU GALLERY (Tokyo)
2012
FANTASIA!-SKINNY FATHER CHRISTMAS AND ALICE THE TRANS-VESTITE/ASK?P (Tokyo)

2013
Onward – Navigating the Japanese Future 2013, Part.1, Part.2/The Hive Gallery (Los Angels)
TAGBOAT ART FES 2013 / Tokyo Metropolitan Industry And Trade Center (Tokyo)
ISE NY Art Search/ISE Cultural Foundation (New York)
Selected Works From Japan 2013 Exhibition
/Michi Gallery (New York)

2009
Punkrock bar Hair Of the Dogs “H.O.D” (Tokyo)

Place: Tokyo, Japan

Contact: mypartyboots6@yahoo.co.jp

Website: http://mayushiomi.wix.com/mayushiomi

Keiichi Chigasaki

001 002 003 004 005

Work1 Title: Mermaid Series Year: 2015 Materials: panel, cotton, acrylic Dimensions: H 12 W 6 D 1 Work2 Title: Mermaid Series Year: 2015 Materials: panel, cotton, acrylic Dimensions: H 10 W 8 D 1 Work3 Title: Mermaid Series Year: 2014 Materials: panel, cotton, acrylic Dimensions: H 12 W 9 D 1 Work4 Title: Mermaid Series Year: 2015 Materials: panel, cotton, acrylic Dimensions: H 12 W 9 D 1 Work5 Title: Mermaid Series Year: 2014 Materials: panel, cotton, acrylicDimensions: H 20 W 16 D 1

Statement:

Through his artworks, Keiichi wants to connect his viewers not only to his paintings, but also to the world. In order to establish this connection and to prevent viewers from dwelling only on the superficial features of the work, the artwork should have an element of depth.

His paintings are not very big. The size of a painting has two different purposes. A large painting brings the element of surprise and astonishment to the viewer, whereas a small painting allows the viewer to build a connection with the painting and communicate with it. Keiichi prefers to make small paintings in order to pack small cosmos in a jewel box. Keiichi creates his world this way.

What Keiichi hopes to express through his works is uncertainty and a sense of emptiness. Although his paintings consist of many eye-catching elements, such as mermaids and hamburgers, his purpose is not only to make works that are fun and adorable. He wants to open a gateway to understanding his works by having viewers engage in deep-thought through the several elements discussed below.

Mermaids, mythical creatures, are chosen as the focal point of this painting series to express uncertainty and a sense of vacancy.

Hamburgers, with its many intricate layers, represent our world and the complexity of our current society. Transforming inanimate objects into eternal ideas is the basis of artwork creation.

Masterpieces of art history are the biggest inspiration for Keiichi’s works. The basis of his works are founded on his appreciation of Mannerism paintings, Barbizon school paintings, Muromachi period paintings, and Kamakura period sculptures. They define what a good artwork is and the elements that attract people to them for centuries. Keiichi believes a good artwork is like the wonders of the world that exists for over centuries and still brings people a sense of awe and wonder. Keiichi wants to produce artworks of this nature as he wants to leave behind a legacy. This is why he is an artist.

Resume:

August 2008 Art Student Exhibition 2008 (ISE Cultural Foundation, New York)
September 2008 geisha#11 (Tokyo Big Sight, Tokyo)
December 2008
THE SIX (Daikanyama Hillside Terrace, Tokyo)
SHADOWY TALE (gallery ni modo, Aoyama, Tokyo)
November 2009 “HAPPY HOUR!!” (ISE Front Space, New York)
December 2009 New York Japan-US Art Students Award Winners Commemorative Exhibition, young artists supported by Ise Cultural Foundation (TAMADA PROJECTS, Tsukishima, Tokyo)
January 2012 Documentary [WORK1766] NODA Hiroji 1981-2011(Tokyo Art Center, Tokyo)
January 2013 Documentary [Artist File 2013](Tokyo Art Center, Tokyo)

Place: WOODSIDE NY

Contact: chigasaki.keiichi1206@gmail.com

Website: https://sites.google.com/site/chigasakikeiichiwebsite/works/painting

Lang Ea

listen2014 listen-II-remains-2015 W.O.M.D the-lost-girl-2004 t.c.od_

Work1 Title: Listen Year: 2014 Materials: cast ciment fondu , fibre glass with polystyrene core. Dimensions: H 15+ life W size heads D & ear Work2 Title: Listen II -remains Year: 2015 Materials: cast ciment fondu , fibre glass with polystyrene core. Dimensions: H 20+ life W size heads D Work3 Title: W.O.M.D II -Target Year: 2012 Materials: HD polystyrene and concrete base Dimensions: H 1000mmh W 280mmd D -16 sculpt Work4 Title: The LOST GIRL Year: 2004 Materials: nine ceramic –raku sculptures, laser image. Dimensions: H 460mmheigh W  D 120mm dia Work5 Title: THE COMING OF DARKNESS -Red series_2 Year: 2010 Materials: oil paint & ink on hanging prime cotton canvas. Dimensions: H 1550mm W 1000mm D

Statement:

My sculptures and installations composed of everyday materials—from polystyrene, glass and concrete to ceramics.

It’s a commentaries on politics, consumer culture, and the process of social perception, exploring my proclaimed interest in the personal yet universal challenges of war.

I like to defy the convention of sculpture as standalone, constructing often-expansive works that respond to or reflect their environments. As the British 1993 Turner Prize winner Rachel Whiteread once said, “I don’t want to make plop art—sculpture that just gets plopped down in places.”

My recent site specific installations -Listen (2014-2015)creates multi-layered relationships between site and allegory that imagine our world at the end of the human race and its aftermath.

It refuse to be a moral guide but absolutely insists on the centrality and importance of the work as a vehicle for feeling. The focus is expressing the vulnerability and dependency not only within ourselves but on the natural systems of our environment.

My dramatic illustrative paintings are a referenced from the ancient relief sculptures taken from the walls of Angkor Wat in Cambodia, My paintings reflects a sketchy and spontaneous play with the typology of historic illustrations that reflects my interests in Eastern Asian and Western Islamic art. I utilises the ancient imagery to narrate, reflect and attempt to raise questions about contemporary warfare, the answers to which I hopes lies somewhere beyond the imagination.

Resume:

AWARDS
2006 finalist – The Norsewear Art Award -NZ
2005 finalist – vodafone National digital art award – NZ
2004 finalist – 13th Annual Wallace Art Award -NZ
2004 finalist – national award for innovation in ceramic sculpture

MEDIA
2015 special issue of Visual Anthropology,  http://www.tandfonline.com/toc/gvan20/current
2015 Studio Visit Magazine Spring edition 2015, Chicargo
2012 Art New Zealand: number 145/ Autumn 2013
2004 -Live radio interview, NZ
2003 ‘ The Red Cross ’ -painting series:
- A feature story in the NZ Herald
- TV interview/feature story on the breakfast show
- Radio Interview on National Radio, NZ

SELECTED -Solo
2011 -‘Bath Street Gallery/ Auckland
2005 -2006 -Ea Gallery/ Auckland
2004  – Aotea Center/ Auckland
2004  -Debut and Modus – Auckland
2003  -Spiral Gallery/ Auckland
2003  -Aotea Center/ Auckland

SELECTED – exhibtions
2016 April – Pen and Brush Gallery -29 East 22nd Street, New York, USA. http://www.penandbrush.org/about
2016 – Lorne Sculpture Biennale 2016 -Melbourne, Australia.  http://lornesculpture.com
2015 -Sculpture at Scenic World 2015 – Blue Mountains- Australia
2014 – Bath Street Gallery/ Auckland
2014 – sculpture on shore, Auckland
2014  -Legato exhibition, Cassino -Italy
2013 – Bathstreet Gallery –Auckland
2012 -Waitakaruru Sculpture Park. -Hamilton
2012 – sculpture on shore, Auckland
2006 -2008  international touring exhib:
2006 Muse gallery, Sydney -Australia
2007 -Objectspace -Auckland
2007 The Mary e black gallery – Halifax, Nova Scotia Canada
- Coda Museum- Peldoorn, Netherlands
2008 Germany
2007 – Bath Street Gallery, Auck
2005 – HSP  gallery, Christchurch
2005- Disruptive  Gallery, Auck
2004 – Wallace trust gallery, Auck & the Dowse Museum, LH

EDUCATION
1994 -Architecture and Design -Victoria University, Wgton, NZ
1995-1997 Bachelor of Design -Victoria University, Wgton, NZ

COLLECTION
private & public collections- national & international

Place: Australia

Contact: info@langeagallery.com

Website: http://www.langeagallery.com/

Shingo Ishida

hotoke01 works09 shingo works02 06

Work1 Title: Aloof person Year: 2015 Materials: Canvas F100 , Acrylic , Charcoal pen , Wrapping paper Dimensions: H 130cm W 162cm D 3cm Work2 Title: ONIKIRI 2 Year: 2014 Materials: Styrene paper , Aqueous pen , Acrylic , Styrofoam Dimensions: H 80cm W 226cm D 0.3cm Work3 Title: Self – portrait Year: 2014 Materials: Canvas F12 , Acrylic Dimensions: H 60.6cm W 50cm D 3cm Work4 Title: will o’ the wisp Year: 2011 Materials: Canvas S6 , Acrylic Dimensions: H 40cm W 40cm D 4cm Work5 Title: Kabuki Rocks Year: 2003 Materials: Illustration board , A pencil , An aqueous pen , Acrylic Dimensions: H 72.8cm W 51.5cm D 0.3cm

Statement:

When he grew up, his parents expected a lot from him as a child.
He felt an enormous pressure to meet these expectations.
This pressure turned into dissatisfaction, toward himself and to others.
Eventually, the accumulated discontent became anger.
He represented this anger in through drawing, as intense feelings.
He wanted to express the anger.
This anger also means the voice of the heart, passion.

Resume:

Shingo Ishida was born in Mie, Japan in 1979. He graduated from Kyoto University of Art and Design in 2004. He then moved to Tokyo. There he worked in design and fashion, doing illustration and making frescos. Currently he also does live painting at events.
(Solo exhibition)
2007 , Nakano art gallery AVENUE , Tokyo , Japan
2009 , Nakano art gallery AVENUE , Tokyo , Japan
2010 , Nakano art gallery AVENUE , Tokyo , Japan
2011 , Nakano art gallery AVENUE , Tokyo , Japan
2011 , Ouchi gallery , NY , America
(Group exhibition)
2015 , FELLINI Gallery , Berlin , Germany

Place: Mie, Japan

Contact: nangoku_p53@icloud.com

Website: http://nangokup53.wix.com/power

Mario Moore

Moore_sun-510x1024 Mario_Moore_02-677x1024 Moore_Gma-691x1024

Her Mooredog

Artist of the Month, July 2015

Work1 Title: Mom says im her sun Year: 2015 Materials: Oil on copper Dimensions: H 72 W 36 D 1 Work2 Title: Queen Mother Helen Moore Year: 2015 Materials: Oil on copper Dimensions: H 36 W 24 D 1 Work3 Title: Yeah G-ma don’t play Year: 2015 Materials: Oil on copper Dimensions: H 36 W 24 D 1 Work4 Title: Herstory Year: 2013 Materials: Oil on copper Dimensions: H 34 W 28 D 1 Work5 Title: PTSD for a lifetime it seems Year: 2015 Materials: Oil on canvas Dimensions: H 60 W 84 D 1

Statement:

My work is an exploration of the self and those around me. For centuries, black bodies have been put in the spotlight as spectacles. My work counteracts the constant minstrel representation of African Americans that is often portrayed through mass media. I give my subjects a sense of control that does not allow the viewer to be passive, but draws them in as a direct participant.

Creating work that challenges the viewer’s perception of Blackness, I am not interested in perpetuating the use of stereotypes or satirical images to demean black culture. Instead, I draw from life experiences—connecting viewers to my culture, family and generation. The pieces I create are visceral, metaphorical, confrontational and unapologetic. I want to create a powerful experience for the viewer.

I often portray myself in my work to depict the experiences of Black men in America. My work functions as a mediator between two worlds—the viewer becomes a part of the painting and feels the narrative as if it were their own story. There was a time I wanted viewers to feel empathy when examining my work.What is important now is that viewers have the ability to interact with the stories my images tell, carrying away meanings that alter their outlook.

Resume:

EDUCATION
Yale University, New Haven, CT
MFA in Painting    2013

College for Creative Studies
BFA in Illustration    2009

Studio Art Centers International
Spring semester    2008
SOLO EXHIBITION
Mothers and Sons, Knox College, Galesburg, IL   2015

The Study at Yale, New Haven, CT   2012

SELECTED EXHIBITIONS
Slow Jamz, Jessie Edelman Studio, Brooklyn, NY   2015

Respond, Smack Mellon, Brooklyn, NY   2015

A Rose is a Rose, The Butcher’s Daughter, New York, NY   2014

Forecast: Overflow, Brown and Juanita C. Ford Art Gallery Downtown Campus, Detroit, MI   2014

Do the Yale Thing: An Exhibition of Exceptional Artwork by Recent Yale MFA Graduates,
N’Namdi Center for Contemporary Art, Detroit, MI   2014

Corpus Americus, Driscoll Babcock Galleries, New York, NY   2013

Kumusha (The Shona word for “Home”), Public Pool, Hamtramck , MI and Harare, Zimbabwe   2013

MFA Thesis show, Yale School of Art Green Gallery, New Haven, CT   2013

Great American Artists-Part III: The Seeds,
Charles H. Wright Museum of African American History, Detroit, MI    2012

First Year Graduate Show, Yale School of Art Green Gallery, New Haven, CT   2011

Mines Yours, Gallery Project, Ann Arbor, MI   2010

Politics of Fear, Gallery Project, Ann Arbor, MI   2010

Figure Exhibition, Birmingham Bloomfield Art Center, Birmingham, MI    2010

Great American Artist Exhibit, Arts league of Michigan, Detroit, MI     2010

PRESS
Taylor Aldridge, “In Conversation with Artist Mario Moore”, Arts. Black:

http://artsdotblack.tumblr.com/post/112427504295/in-conver

Place: Brooklyn, NY

Contact: artofmoore@yahoo.com

Website: http://www.mariomoorestudio.com

Eri Honda

erihonda1 hondaeri2 hondaeri3 hondaeri4 hondaeri5

Work1 Title: Lets go to Mars! Year: 2013 Materials: Cardboard, Recycled clothes, socks,buttons,trash Dimensions: H 160 W 120 D 120 Work2 Title: My Friends Year: 2014 Materials: Recycled clothes, socks,buttons,trash Dimensions: H variable W variable D variable Work3 Title: Airship, Airplane, Bicycle, Satellite, Ship fly, Puppets Year: 2015 Materials: Cardboard, Recycled clothes, socks,buttons,trash Dimensions: H variable W variable D variable Work4 Title: Year: 2015 Materials: Cardboard, Recycled clothes, socks,buttons,trash Dimensions: H variable W variable D variable Work5 Title: Fly in the Sky! Year: 2015 Materials: Cardboard, Recycled clothes, socks,buttons,trash Dimensions: H 200 W 140 D 140

Statement:

Children are my inspiration. Since childhood I have created imaginary characters in a fantasy world. Now my work is comprised of painted depictions of children, animals, and all kinds of funny creatures that appeal to the young and young-at-heart.  I make paintings, drawings, sculptures, installations, artist books, children’s books, animation and stop motion films.  All are born out of my own childhood memories and the influence of my developmentally disabled brother.

I believe that every child has the ability to unlock his/her potential to become an artistic individual. It is with this belief that I am constantly inspired to always be my best.  I work to give to children the same inspiration and determination that I feel.

When I moved to NYC, I was fascinated with how people throw away things which amazingly, I find to be very useful. I then started to use recycled materials for my installation works. Now, I want to let the whole world know that we can actually transform trash into beautiful creations.
Nowadays, people are controlled by a consumerist society that produces things that have a short life, in order to sell a lot.
People are working and over-working in order to be able to consume more, but  it is this very hyper consumption that is harming the environment as there is more and more trash accumulating  in this planet.
It would be a pleasurable feeling to see that people start to change their concept of trash after seeing my artworks.

Resume:

Born in Nagasaki, JAPAN
Lives and works in Brooklyn, NY

● Exhibitions
・2015 .Creative Mischief, National Academy Museum, New York, NY.
・2015 .Japanese Young Artists’ book fair/Window display, KINOKUNIYA, New York, NY
・2015 .Experiments in Self Portraiture, National Academy Museum, New York, NY.
・2014 .Creative Mischief, National Academy Museum, New York, NY.
・2014 .Printed Matter’s NY Art Book Fair, Moma PS1, Long Island City, NY
・2014 .Solo exhibition ”My Friends” at KINOKUNIYA, New York, NY.
・2013 .Creative Mischief ,National Academy Museum, New York, NY.
・2012. Mice to Monsters ,440 Gallery, Brooklyn, NY
・2011. 100 Artisit Exhibition, Ouchi Gallery, Brooklyn, NY
・2010. Solo exhibition “HIKARI” ,Sunshine Studio,Tokyo, Japan
・2009. Solo exhibition “children” ,HITA riberute Gallery ,Ooita, Japan
・2008. Solo exhibition “Life in Dreaming“ 76CAFE, Tokyo, Japan
・2008. Solo exhibition “Life in Dreaming“  NALUCAFE, Tokyo, Japan
・2008. Solo exhibition “MUSIC*MUSIC“, HANJIRO Gallery, Kyoto, Japan
・2008. Solo exhibition “MUSIC*MUSIC“, HANJIRO Gallery, Tokyo, Japan
・2007.100 Young Artists,Koshin Gallery, Tokyo, Japan

●SCHOLARSHIP
2013 National Academy school Scholaship
2012 National Academy school Scholaship

Place: Brooklyn, NY

Contact: sundayericco@hotmail.com

Website: http://ericco.mods.jp

Hayato Koga

koga1 koga2

koga3 koga4 koga5

Work1 Title: Water and Light 2704 Year: 2008 Materials: inkjet print Dimensions: H  W  D  Work2 Title: Water 2734 Year: 2008 Materials: inkjet print Dimensions: H  W  D Work3 Title: IN THE WATER 3533 Year: 2014 Materials: inkjet print Dimensions: H  W  D Work4 Title: IN THE WATER 4950 Year: 2013 Materials: inkjet print Dimensions: H  W  D Work5 Title: IN THE WATER 0566 Year: 2012 Materials: inkjet print Dimensions: H  W  D

Statement:

I photographing a water and light to remind the people of  this planet rare environment .

Resume:

Hayato Koga Born in Kumamoto Japan on 1983

School
2007
Bunka Fashion college graduation
2008
Bunka academy art department graduation

SoloExhibition

2008
“Water” Resona Bank at Tokyo midtown Creative Room (JP)

2009
Water” Gallery echoan (JP)

2010

“Water” T.Y.HARBOR BREWERY (JP)

“Water” Gekkoso (JP)

2011

“Water” Gallery echoan (JP)

2012

“Water/Power/In the water” petites feuilles gallery (JP)

Aword and Event

2007

Tokyo Wonder wall 2007 winning
Exhibition at MUSEUM OF CONTEMPORARY ART TOKYO

Merrill Lynch japan Securities Co., Ltd. sponsorship
Charity art auction “Tomorrow’s Masters” election

2008

theory art aword Gold Prize

GEISAI museum2 Mori Museum Chief Director Yoshiko Mori Prize

The first & second Mitsubishi Corporation Art Gate Program” election

2010

5th TAGBOAT AWARD winning

ALBION Art aword winning

Merrill Lynch japan Securities Co., Ltd. sponsorship
Charity art auction “Tomorrow’s Masters” election

The ninth Mitsubishi Corporation Art Gate Program election

Mafune Gonjo

Happiness-white-1 tough-girl-web1 Doze-of-a-City-2

Repose-of-a-forest1 reconstruction-of-the-shadow03web

Work1 Title: A Sweet Trap. Year: 2014 Materials: glass, organdy ribbon Dimensions: H 80 W 50 D 6 Work2 Title: Tough Girl. Year: 2015 Materials: glass Dimensions: H 18 W 8.5 D 21 Work3 Title: Doze of a City. Year: 2014 Materials: glass, wire Dimensions: H 90 W 95 D 15 Work4 Title: Repose of a Forest. Year: 2014 Materials: glass Dimensions: H 210 W 45 D 45 Work5 Title: Reconstruction of the Shadow. Year: 2015 Materials: glass, nails, wood panel Dimensions: H 27 W 55 D 6

Statement:

Nothing in this world can last forever, everything is changeable and fleeting. The sense of pain lurks in every lovely thing. It is not easy to understand even ourselves and we struggle in ambiguity.
While walking from nowhere to nowhere, it always gives me energy and relief to meet with something new and nostalgic at the same time. It can be a landscape, ruins and old weathered buildings or a work of art. Through my art, I aim to create a space in which viewers experience this feeling-encountering something in between memory, afterimage, the unknown and the future.
I often work with fragments of smashed glass. For me glass is a multi-faceted material; it is sharp and fragile, beautiful and painful, hot and cold during the process. It shows different reflections and shadows depending on the light.
In recent years, I have worked a lot on projects involving women’s clothes such as dresses, shoes and lingerie made of sheets of fragmented glass. What we choose to wear tells a lot about ourselves, our situation and our attitude towards life. Creating those works using glass which has both strength and fragility is like contemplating the paradoxes and struggle in ourselves.
Besides those sculptures, I also work with abstract installations using transparent material to create a space which is affected by changes of light, reflection and shadow. Basically I see the world as changeable and unstable and characteristics of those materials, showing different aspects and effects depending on light, lend themselves well  to work within these themes.

Resume:

Education:
2010-2011 Project program (glass art) at Royal University College of Fine Art, Sweden
2008-2010 MFA Konstfack Ceramic and Glass department, Sweden
2004-2008 BFA Tama Art University in Japan Glass, Ceramic and Metal department

Solo Exhibitions:
2013 May Andetag av tystnad at Tyresö Slott Bistro&Salonger, Tyresö Sweden
2013 February Tension on the border, density in the air at Kaleido, Uppsala Sweden
2012 April Skuggor av tomhet at Biblioteketi Vara, Vara
2011 September  Athing is not one thing at Designarkivet, Nybro
2010 July  Beauty has a thorn at ShowKonstfack in Gallerian, Stockholm

Selected group Exhibitions:
2015 August International Glass Art Exhibition – Zwieseler Kölbl , Zwieseler GERMANY
2015 July Sanyoonoda Contemporary Glass Art Exhibition at Onoda Sun Park, Yamaguchi JAPAN
2015 March East West Artist Exchange Exhibition at KIDAILACK Art Hall, Tokyo JAPAN
2014 October Taos Art Glass Invitational at CopperMoon Gallery, New Mexico USA
2014 October East-West Art Award Competition at La Galleria, London UK
2014 May Slow Art at Svenska Institutet i Paris, France
2013 June Ankomst2012 at Konstnärshuset, Stockholm Sweden
2012 May-2013 February Slow Art at national museum, Stockholm Sweden
2010 November glasARTat at gallery studio L2, Stockholm Sweden
2010 September  Stanislav Libenský Award 2010 at Queen Anne’s Summer Palace, Prague
2010 September  Konstslöjdsalongen  at Arkitektur museet, Stockholm Sweden

Collections:
National museum, Stockholm Sweden
Museum of American Glass, New Jersey USA

Prizes and Fellowships:
2015 IASPIS/Swedish Arts Grants Committee -Studio Residency in Stockholm
2015 IASPIS/Swedish Arts Grants Committee – International cultural exchange grant (March)
2014 IASPIS/Swedish Arts Grants Committee – International cultural exchange grant (October)
2014 Third prize in Suwa Garasunosato Prize in East-West Art Award Competition, UK
2014 Creative Glass Center of America Fellowship, USA
2010 Third prize in Stanislav Libenský Award

Place: SWEDEN

Contact: mafunegonjo@gmail.com

Website: http://mafunegonjo.com/

Danielle Ezzo

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Work1 Title: Figure Study, 2 Year: 2014 Materials: photography, archival inkjet print Dimensions: H 40 W 27.5  Work2 Title: Figure Study, 11 Year: 2014 Materials: Photography, archival inkjet print Dimensions: H 40 W 27.5  Work3 Title: FIgure Study, 13 Year: 2014 Materials: photography, archival inkjet print Dimensions: H 40 W 27.5  Work4 Title: Figure Study, 2 Year: 2014 Materials: photography, archival inkjet Dimensions: H 40 W 27.5  Work5 Title: Figure Study, 20 Year: 2014 Materials: photography, archival inkjet print Dimensions: H 40 W 27.5

Statement:

The visual relationship to the figure highlights many interesting contradictions: the organic and the artificial, the grotesque and the delicate, the somatic and the psychological. Each layer builds upon a recognition of the familiar yet all the while deeply unknown, disrupting the expectation of how the photograph behaves. Through the translation of the portrait you are left with something surprisingly even more human.
The Intentional Object, derived from Husserl’s theory of phenomenology posits that evidence can, in some cases, only be experienced and not seen. In this way, Danielle exposes the gestures and moves used in newer digital retouching processes as a way to both begin to unpack the nature of this methodology, the nature of how humans define the self, and through a deconstruction of idealized beauty standards; by highlighting anatomical details that are often disregarded.

Resume:

SOLO EXHIBITIONS
2012 Invisible Cities, Galerie Protege—New York, NY 2008 Love & Other Oddities, White Rabbit —New York, NY 2007 Portrait of Iceland, SOHO House—New York, NY

GROUP EXHIBITIONS
2015 A Show of Hands, A1LabArts Gallery—Knoxville, TN Exposure Pop-Up Show, Gallery South—Cambridge, MA MFA Thesis Exhibition, Lunder Arts Center—Cambridge, MA

2014 Heavenly Bodies, Santa Barbara Museum of Art—Santa Barbara, CA The Alternative Approach, Kiernan Gallery—Lexington, VA
Estuary, New York Fine Arts Association—Brooklyn, New York
Pasting, Galerie Protege—New York, NY
NYFA Fellows Exhibit, Dumbo Arts Festival—Brooklyn, NY

2013 New Directions, Wall-space Gallery – Santa Barbara, CA
New Directions, Wall-space Gallery – Seattle, WA
Parallax, Gormley Gallery part of Notre Dame Maryland University, MD Affordable Art Fair with Galerie Protege – New York, NY
Lines, a three person show with Logan Visscher & Latitia Hussain, McDaris Fine Art – Hudson, NY

2011 Intersecting Identities, LGBQT Community Center – New York, NY Synthesis, The Darkroom – New Orleans, LA
Perfect Ten, SHAG Shop – Brooklyn, NY
No Mirrors, Rayko Photo Center – San Francisco, CA
Chain Letter, Shoshana Wayne Gallery – Santa Monica, CA Alternative Photo Competition, Soho Photo, – New York, NY

2010 Preserving the Visual Arts in Fashion Project, Seasick Mama – New York, NY Emerging Artists Auction, Daniel Cooney Fine Art – New York, NY
FAKEORANGE Showcase, Envoy Gallery – New York, NY
Another Roadside Attraction, ISE Foundation – New York, NY

AWARDS
2014 Director’s Choice Award, Kiernan Gallery, VA
2013 NYFA Fellowship Nominee
2011 Honorable Mention, Alternative Photo Competition, Soho Photo, New York 2011 Best in Show, No Mirrors, Rayko Photo Center, San Francisco
2010 Emerging Curator Grant, ISE Foundation, New York

EDUCATION
2013 BA, The Art Institute of Boston, MA
2013 – 15 MFA, GPA 3.7, Photography, Lesley University College of Art & Design, MA

BIBLIOGRAPHY
Featured Artist, Don’t Take Photos, July

Place: Brooklyn, NY

Contact: d.ezzoster@gmail.com

Website: http://www.danielleezzo.com

Janet Stafford

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Work1 Title: Untitled Year: 2015 Materials: oil on paper Dimensions: H 55 inches W 80 inches D Work2 Title: Natural History 11 Year: 2012 Materials: oil on canvas Dimensions: H 21 inches W 21 inches D Work3 Title: Natural History 14 Year: 2014 Materials: oil on canvas Dimensions: H 21 inches W 21 inches D Work4 Title: Natural History 15 Year: 2015 Materials: oil on canvas Dimensions: H 21 inches W 21 inches D Work5 Title: Natural History 13 Year: 2013 Materials: oil on canvas Dimensions: H 21 inches W 21 inches D

Statement:

I have always worked in series—streams of thoughts and desires common to us all, represented by images. I see the images as a sign of the material world, and I do not place the material in opposition to the nonmaterial (what some would call the spiritual or the mysterious). In fact, I use the material as a path to awareness.

At first my series were narrative, encompassing quotidian aspects such as romantic love and sex. And I considered ideas—enlightenment, science, memory. Now I am thinking about nature and our planet, as so many of us are. The recent work is more of a presentation than a story.

For my series, I think a long time about what I want to talk about or show, then I photograph that idea and use those photographs as a basis for a number of paintings. The paintings are either all on one long canvas or on separate canvases, as with my current series, Natural History.

In Natural History I am working with images of trees, though not any particular tree. This tree series comprises 33 oil paintings, all of which are 21 inches square. The arrangement of the paintings on a wall is in the pattern of a Fibonacci series of numbers, and it will have the silhouette of a tree. These paintings are straightforward, showing the beauty of nature. Natural History is similar to a poem, describing a situation. It simply is.

Natural History is neutral in the way it is painted. My process here is meditative and careful, as opposed to emotional and expressionistic. It is slow painting. I think the carefulness of this work encourages the viewer to linger, taking in aspects of repetition, number, order, and beauty. And it allows the viewer to have his or her own emotional response to the work.

My work, generally, is about the nature of our reality: what we imagine, what we are thinking about—what makes up our lives. It is about how we find and make meaning in our lives. I mean to paint about existence and the inevitable beauty.

Resume:

Born     Texas, USA

MFA University of Tennessee

Exhibitions
Group
2015    Vantage Points, ArtSpace64, New York, NY
Circle the Wagons III, Sideshow Gallery, Brooklyn, NY
Postcards From the Edge, Luhring Augustine Gallery, New York, NY
2014    SACI Art Blog, Florence, Italy
Off the Wall, London, England
The Last Brucennial, New York, NY
Postcards From the Edge, Luhring Augustine Gallery, New York, NY
2013    Open Doors project at Fórum Eugénio de Almeida, Évora, Portugal
5×7, Austin Museum of Art-Arthouse, Austin, TX
Postcards From the Edge, Sikkema Jenkins & Co, New York, NY
Object Abuse, Spinach, London, England
2012        5×7, Austin Museum of Art-Arthouse, Austin, TX
Brucennial, New York, NY
Postcards From the Edge, Cheim & Read Gallery, New York, NY
True Blue, Los Angeles, CA
2011        Annual Open Studio, China Brilliance Gallery, New York, NY
mailto, Driftstation, Lincoln, NB
5×7, Arthouse at the Jones Center, Austin, TX
Postcards From the Edge, CRG Gallery, New York, NY
2010        An Exchange with Sol Lewitt, Mass MoCA, North Adams, MA
5×7, Arthouse at the Jones Center, Austin, TX
BYOA, X Initiative, New York, NY
2009        What’s New In New York, Sirani Gallery, Pittsburgh, PA
2008    Feliz Navidad, Centro Cultural Metropolitano, Guatemala City, Guatemala
Open Studio, Heliker-LaHotan, Cranberry Island, ME
2007        Merry Christmas, Cultural Center of Spain, Tegucigalpa, Honduras
Postcards From the Edge, James Cohan Gallery, New York, NY
2006        Candy, Beacon, NY
2004        John A. Noble Art Auction, Snug Harbor Cultural Center, Staten Island, NY
This Land – Five Unique Perspectives of the Landscape, Cherokee County Arts Center (Georgia Council for the Arts), Canton, GA
2003        Group Show, Tompkins Square Library, New York, NY
1992        Kool Art, New York, NY
1990        Group Show, City Museum (NYC Dept of Cultural Affairs), New York, NY
1985        Selections, The Drawing Center, New York, NY

Place: New York, NY

Contact: janet@janetstafford.com

Website: http://www.janetstafford.com

Willie Stewart

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Work1 Title: Identity Tape # 1 (Heartbeat) Detail Year: 2015 Materials: pigmented inkjet print, wood paneling, lumber, pink panther insulation, acrylic, antennas, finger cymbals, springs, resin, jewelry wire, industrial paint, cardboard, hardware Dimensions: H 96″ W 96″ D 96″ Work2 Title: Identity Tape # 5 (Evolution) Year: 2015 Materials: pigmented inkjet print, acrylic on k-mart sneaker, little tree fresheners, moving box, packing tape, industrial paint, cardboard, hardware Dimensions: H 60″ W 28″ D 18″ Work3 Title: Identity Tape # 2 (Survival) Year: 2015 Materials: pigmented inkjet print, taxidermy birds, red cloth napkin, airbrushed foam, basket, rubbermaid bucket, distilled water, pocket change, industrial paint, cardboard, hardware Dimensions: H 66″ W 28″ D 14″ Work4 Title: Identity Tape # 4 (This Means Something) Year: 2015 Materials: pigmented inkjet print, wood paneling, lumber, cardboard, hardware Dimensions: H 72″ W 48″ D 10″ Work5 Title: Identity Tape # 3 (Melvin) Year: 2015 Materials: pigmented inkjet print, wood paneling, lumber, cardboard, hardware Dimensions: H 72″ W 48″ D 10″

Statement:

With sculpture, video, and installation I present themes ranging from the terrestrial to the extraterrestrial, the artistic to the ethnographic, giving form to work that underscores both it’s identity and inherent meaning. Within this artwork I set up a dialectic between high and low, the agrarian versus the urban, the personal versus the universal. Exploring the phenomenon of aesthetic sub-cultural these works are ritualistic statements that create an affect between the periphery and the core that can vibrate in a web of open-ended conclusions.

Resume:

Born in Gallatin, TN

Lives and works in Brooklyn, NY

Education | Residencies

2015    BFA, The Cooper Union for the Advancement of Science and Art, New York, NY

2014    Skowhegan School of Painting and Sculpture, Skowhegan, ME

Selected Exhibitions

2015    Group Show (Upcoming September), Judith Charles Gallery, New York, NY

Sounds Like (Upcoming August 7th), Herron College of Art, Indianapolis, IN

Summer Reading, Zieher Smith & Horton, Nashville, TN

The Impossible, Skowhegan, New York, NY

SHOW, The Cooper Union, New York, NY

Six Flags Part 2, 41 Cooper Gallery, New York, NY

Past Life Memories (with Patrick Deguira), Zeitgeist Gallery , Nashville, TN

A Synthetic Wound (Curated by Isabel Legate), 41 Cooper Gallery, New York, NY

☯ (project space), 40AU, Nashville, TN

2014    HappyLand, SkowheganPerforms, Socrates Sculpture Park, New York, NY

The Love You Withhold is the Pain that You Carry (project space), Kijidome, Boston, MA

Loose Noose, ZieherSmith, Nashville, TN

Attention (Curated by Company H), Track One Building, Nashville, TN

E.O.Y.S., The Cooper Union, New York, NY

2013    Joint Project 2 (Curated by Susan Sherrick), 516 Hagan Street, Nashville, TN

Laborhood (project space), 40AU, Nashville, TN

Baroque Times (Curated with Willard Tucker), Groundfloor Gallery, Nashville, TN

2012    Strange Material, Moonbase, Nashville, TN

Backstock (Curated by Ann Catherine Carter), ZieherSmith, Nashville, TN

2011     More Impactful/Less Blocking, Gallery at 543, Philadelphia, PA

Film Festivals

2013    Wild Sands (Short Film), Nashville Film Festival, Nashville, TN

2012    Orca Park (Feature Film), Louisville International Film Festival, Louisville, KY

Fellowships

2015    Yip Harburg Foundation Award

2014    Alex Katz Fellowship

Place: Brooklyn, NY

Contact: williesstewart@gmail.com

Website: http://www.willie-stewart.com

Jordan Buschur

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Work1 Title: An Outline Year: 2014 Materials: acrylic on panel Dimensions: H 40 W 30 D Work2 Title: Forward, Rewind Year: 2014 Materials: acrylic on panel Dimensions: H 40 W 30 D Work3 Title: School For Girls Year: 2014 Materials: acrylic on panel Dimensions: H 48 W 36 D Work4 Title: Shorthand Year: 2015 Materials: acrylic on panel Dimensions: H 36 W 24 D Work5 Title: Too Much Information (2) Year: 2014 Materials: acrylic on paper Dimensions: H 36 W 51 D

Statement:

My paintings use the avenues of figure, still life and landscape to implant ordinary objects with psychological meanings. This group of paintings focuses on an implied human presence through depictions of collections of books. I begin the paintings by creating an installation of books, photographing it, and then painting from the photographs individually or collaged together. The books are often piled, jumbled, and stacked. Through the act of painting, the arrangements become precarious, or the books larger than life- in each scenario the books are located just outside of reality. The text on the paintings is occasionally drawn from the original text on the books, but often is invented. These small groups of words steer the painting towards other meanings and offer hints at the content of the books. The closed (and occasionally blank) books have the potential to contain anything- primers, secrets, romances, how-to guides, theories, handbooks for improvement. They remain closed; impenetrable, or conversely, open to any possibility. The physical nature of the arrangement of books combined with the mutable meaning of the text places the paintings in the unsteady area between reality and invention.

Resume:

Jordan Buschur is an artist, educator and curator. She received an M.F.A. from Brooklyn College, the City University of New York. Her work has been shown internationally, including exhibitions with Thierry Goldberg Gallery, Vox Populi, and the Toledo Museum of Art. Recent awards include the Kimmel Foundation Artist Award and the Charles Shaw Painting Award. She was a resident artist at Chashama North, the Kimmel Harding Nelson Center for the Arts, the Vermont Studio Center and the LUX Center for the Arts. She led community arts residencies with the Bemis Center for Contemporary Arts, the Lincoln Arts Council, the Nebraska Arts Council and the Sheldon Museum of Art. Buschur is the Director of the Prescott Gallery and Eisentrager-Howard Gallery at the University of Nebraska, Lincoln.

Place: Lincoln, NE

Contact: jordan@jordanbuschur.com

Website: http://www.jordanbuschur.com

Richard Deon

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Madam Vlad

Work1 Title: Untitled Volcano (Birth by Averaging) Year: 2015 Materials: acrylic on synthetic canvas, rod Dimensions: H 119 W 250 D 3 Work2 Title: Mal Occhio Year: 2010 Materials: acrylic on synthetic canvas, rod Dimensions: H 246 W 125 D 3 Work3 Title: Exegesis 2 Year: 2015 Materials: acrylic on synthetic canvas, rods Dimensions: H 119.5 W 30.5 D 4 Work4 Title: Madam I’m Adam Year: 2010 Materials: acrylic on synthetic canvas Dimensions: H 66 W 280 D 1 Work5 Title: Vlad from the Quick Response Squadron Year: 2011 Materials: Coroplast, Signfoam, acrylic, vinyl graphic applique, aluminum rod Dimensions: H 26 W 96 D 162

Statement:

About “Richard Deon: Paradox & Conformity”
What’s the Deal?

Defacement
My seventh grade social studies instructor issued me a peculiar American History textbook. When I opened it, I discovered that a student from a prior year had defaced the illustrations. Mustaches and eyeglasses were drawn on historical figures; warplanes and speedboats were added to narratives like the Boston Tea Party. Delighted with this unexpected comic book, I took editorial control and began extending the illustrations by including unexpected content into the margins. By adding buildings, unknown objects, and creating new scenes I “doodled” my own Manifest Destiny. Within a few weeks, I was disciplined and issued a clean textbook, a bill, and a stern warning.

The Story Goes On
Using a stare decisis policy [Latin for based-on-precedent] over the last 25 years, Paradox & Conformity is much like the defaced illustrations of my formative years. A branding process utilizes a toolbox of recursive themes. Through deliberate erasure of context, “point of view” is obfuscated as if in a dream.

And On…
Art-making is commensurate with exhibition-making. Circus-size installations of paintings, banners, prints, and sculptures leave clues about far fetched stories, or unbelievable presentations. Civic-minded characters from another era illustrate a kind of social surrealism. Each new Paradox & Conformity exhibition is a chapter in an imaginary textbook that continues without end.

—Richard Deon, 6/22/15

Resume:

Richard Deon

Solo Exhibitions
2015    Paradox & Conformity: Paintings, Prints & Planes by Richard Deon  Broward College, Davie, FL. (5/28-8/12) Lecture
2014    Richard Deon: Paradox and Conformity Mohawk Valley Community College, Utica, NY. (9/9-10/3) Lecture
2013    Richard Deon: Paradox and Conformity Moberly Community College, Moberly, MO.
2012    Richard Deon: Paradox and Conformity University of Connecticut, Stamford, CT.
2011    Richard Deon: Paradox and Conformity The Arts Center of the Capital Region, Troy, NY.
2011    Richard Deon: Paradox and Conformity Foreman Gallery, Hartwick College, Oneonta, NY. (9/3–10/21) Lecture
2010    Paradox and Conformity: Paintings and Prints by Richard Deon, Olin Art Gallery, Washington & Jefferson College, Washington, PA.
2010    Paradox and Conformity: Paintings and Prints by Richard Deon, Hudson River Museum, Yonkers, NY.
2009    Paradox and Conformity: Paintings and Prints by Richard Deon, Daum Museum of Contemporary Art, Sedalia, MO. Catalog
2009    Stare Decisis: Paintings and Prints by Richard Deon Earlville Opera House, Earlville, NY.
2008    Paradox and Conformity for 20 Years: Paintings and Prints by Richard Deon, Gibson Gallery, SUNY at Potsdam, NY. Lecture
2007    Selections from Part Unrelated The New York Public Library, Donnell Center, New York, NY.
2007    Paradox and Conformity: the Paintings of Richard Deon, Hudson Opera House, Hudson, NY.
2005    Richard Deon Recent Work James Palmer Gallery, Vassar College, Poughkeepsie, NY.

Group Exhibitions
2014    Beacon Steet Banners Beacon, NY waterfront location. Produced by the Rutigliano Group (5/14-10/15)
2012    American Dreamers: Facing or Escaping Reality in Contemporary Art, CCC Strozzina, Florence, Italy. Catalog, TV Interview
2009     Debut: New to the Collection Daum Museum of Contemporary Art, Sedalia, MO. (6/19–8/23)

Public Art Commissions
2011    Billboard sponsors: SGC International/Good Citizen Gallery, Saint Louis, MO.

Place: Dover Plains, NY

Contact: deonr@aol.com

Website: http://www.richarddeon.com

Naoko Ohmura

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Work1 Title: Bird Year: 2015 Materials:l rice paper, Indian ink Dimensions: H 33.4cm W 24.2cm Work2 Title: Phantom Year: 2014 Materials: rice paper, Indian ink Dimensions: H 13cm W 14cm Work3 Title: sky – sun, moon, star – Year: 2013 Materials: rice paper, Indian ink Dimensions: H 84.1cm W 59.4cm Work4 Title: GuruGuru-at a loss Year: 2014 Materials: paper, Indian ink Dimensions: H 84.1cm W 59.4cm Work5 Title: Flower Year: 2014 Materials: rice paper, Indian ink Dimensions: H 33.4cm W 24.2cm

Statement:

1. How to make my works
(1) Tools
[Calligraphy brushes]
The writing brush is composed of a variety of animal hair. Hardness of the hair varies according to each animal. For example, the hair of the goat is soft. The hair of weasels, raccoon dogs and the horses is hard. The soft hair is suitable to write a soft and warm line. The hard hair is suitable to write a powerful and keen line.
The atmosphere of the work changes completely according to the kind of brushes.
[Rice papers]
The blur of the ink forms a part of the aesthetic expression.
The blur of the ink is depend on what kind of paper I use. It is important to think about what is the materials, how long time passed from a production day. It is said old paper reveal good color of ink.
[Indian ink]
The color of Indian ink changes in various colors by temperature and the humidity.
The color is mysterious and able to be seen only once.

The combination of these tools make good works.

(2) Skill
Each tool is very simple. Therefore the level of the skill greatly influences the quality of the work. Like an athlete and a musician, calligrapher has to train every day. In difference in delicate touch, a totally different expression appears in the line.
I express the line which seems to sometimes dance, sometimes sing, sometimes growl intensely, sometimes whisper and so on.

(3) The central idea of my works
I’m a general common person. I visualize what I felt in everyday life, a thing what I think important as one of common Japanese people.
Therefore, in my work, the sense of values and a critical mind as a commoner are expressed consciously or unconsciously.

2. Why I create these kinds of works
I brought up in countryside among smells of the soil. I live in the big city now apart from environment of nature. I live among artifacts such as concrete and the asphalt. I don’t know about who are my neighbors but I can connect to a person through internet without going out or seeing in reality. What is reality? Where can

Resume:

1. Academic Qualifications
03.2010 Master’s Program in Art and Design , University of Tsukuba
03.1998 Faculty of Law, Gakushuin University
2. Employment Details
2013~ Waseda University Senior High School
2011~ Junten high school
2014 Showa Women’s University attached high school
2005~2008 SCSK Corporation
1998~2005 Fujitsu Marketing Limited
3. Activity history
10.2015 Hanarart ( Nara prefecture)
07.2015 Private exhibition in Kamakura
07.2015 Volunteer calligraphy lecture in Shinagawa-ku
06.2015 Private exhibition in Shibuya
10.2014 Art Square in Kagurazaka
08.2014 Volunteer calligraphy lecture in Shinagawa-ku
08.2014 group exhibition with Tsukuba University graduate school classmate
08.2013 Private exhibition in Kichijoji
08.2012 group exhibition with Tsukuba University graduate school classmate
08.2011 group exhibition with Tsukuba University graduate school classmate
02.2010 group exhibition with Tsukuba University graduate school classmate
4. Awards, Prizes and licenses
02.2015 tour guide licensed for guiding foreigners in Japan(English)
10.2014 Member of examination committee of the vanguard calligraphy in Shodo Geijutsu-in
10.2014 Prize of the Chrysanthemum flower (Shodo Geijutsu-in Exhibition)
07.2014 Award of excellence (Mainichi shodo-ten)
02.2012 White Snow Red Plum Prize (Shodo Geijutsu-in Exhibition)
03.2011 High school teaching certificate of the calligraphy

Place: Tokyo, Japan

Contact: ohmuranaoko@gmail.com

Website: https://www.facebook.com/pages/%E6%97%A5%E5%90%91-%E5%BA%B5-%E3%81%B2%E3%81%AA%E3%81%9F-%E3%81%82%E3%82%93/184653965038240?ref=aymt_homepage_panel

Kayo Albert

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Work1 Title: M102 Year: 2012 Materials: Charcoal, Pastel, Oil on Mylar Dimensions: H 70 W 36 D 0.04 Work2 Title: Flamingo Bailando Year: 2013 Materials: Charcoal, Pastel, Oil, Enamel on Mylar Dimensions: H 48 W 30 D 0.04 Work3 Title: Fluid Obscure 2 Year: 2014 Materials: Charcoal, Pastel, Oil, Tempera on Mylar Dimensions: H 30 W 28 D 0.04 Work4 Title: Ink-101 Year: 2015 Materials: Ink, Charcoal, Pastel, Oil, Enamel, Tempera on Mylar Dimensions: H 50 W 46 D 0.04 Work5 Title: Ink-104 Year: 2015 Materials: Ink, Charcoal, Pastel, Oil, Enamel, Tempera on Mylar Dimensions: H 28 W 28 D 0.04

Statement:

Life has always seemed to me like a plant that lives on its rhizome.
– Carl G. Jung

Painting for me, is an act to uncover my root, and trace what is beneath in many different level, buried as memories, dreams, or flashes of images and ideas.
My work is a combination of drawing, painting, dripping, splashing and pouring. Drawing allows me to dig deeper, guided by intuition. Painting gives fluid layers which creates various colors and shades. It is pure abstraction with no figurative reference.
Layers of lines, marks, and paint overlap to reveal my process in each moment. The physicality of drawing and painting, in immersing my whole body in the work is fundamental; it also gives audience to experience the sense of being drawn in to the piece.
My work is a bridge between physical process and mental or spiritual state, and between individual and collective consciousness.

Resume:

EDUCATION

School of Visual Arts, New York, NY – Fine Arts     1997
Studio School, New York, NY – Painting    1994
Saga Art College, Kyoto, Japan – Visual Design    1984

SELECTED GROUP EXHIBITIONS

“New Unconscious” SciArt Center – New York, NY June 2015
WAH Bridges Self at WAH Center – New York, NY    May 2015
New York Art Expo – New York, NY    April 2015
“PHANTASMAGORIA” – Kunsthall Project, Brooklyn, NY    April 2015
16th Annual WAH Salon Art Club Show at WAH Center – New York, NY    January-February, 2015
“Over the Edge: Paperworks Unbound Part2” at WAH Center – New York, NY    December 2014
The Fridge – Miami, FL    December 2014
“Over the Edge: Paperworks Unbound Part1” at WAH Center – New York, NY    October 2014
“Money Shot” at Con Artist Collective – New York, NY    July 2014
Plaza 57 – New York, NY    July 2013
Puzzle Project – Osaka, Japan    March 2012
Puzzle Project – Toronto, Canada    July 2010
Exit Art- 9/11 Benefit Exhibitions, New York, NY    December 2001
Art Benefit for Sept.11 Fund – New York, NY    October 2001
School of Visual Art – Student Exhibition    October 1997

COLLECTIONS / HONORS

Honorable Mention by (UN)SCENE Art Show
March 2015
Tom Cat Bakery Headquarters, Long Island City, NY    April 2011
Works held in private collections in the United States, Japan and Czech Republic.

COLLABORATIONS

Collaboration Projects with Daniel Stern and Tom Jezeck    2000 – 2004

ARTISTIC ASSOCIATIONS

Con Artist Collective    2014 to present
Artists Salon – Tom Jezeck, Michelle Gorenstein, Michelle De Franco    2003 – 2004
Nancy Chun (School of Visual Arts)                                                                                   1995 – 1997
Oprah Schemesh (New York Studio School) – Private class                                               1988 – 1990

Place: Queens, NY

Contact: kayo.albert@gmail.com

Website: http://www.kayoalbert.com

Tetsuya Uryu

WEB DSC記憶の泉 DSC象と少女 WEB DSCやませみ

Work1 Title: “Sora” Year: 2012 Materials: Acrylic on board Dimensions: H 285mm W 375mm D 4mm Work2 Title: A memory of fountain Year: 2014 Materials: Acrylic on board Dimensions: H 500mm W 390mm D 4mm Work3 Title: Pulsation Year: 2014 Materials: Acrylic on board Dimensions: H 530mm W 455mm D 4mm Work4 Title: Fleeting dream Year: 2015 Materials: Acrylic on board Dimensions: H 400mm W 495mm D 4mm Work5 Title: Tsugai Year: 2011 Materials: Acrylic on board Dimensions: H 300mm W 360mm D 10mm

Statement:

I am Tetsuya Uryu, a Japanese painter.

All the pictures that I made are drawn by my hand.

I usually draw on illustration board by using acrylic paint.

I take a lot time for creating my pictures because I give lives to the animals on my pictures.

It is my pleasure if more and more people notice and listen to the voice of animals by looking at my pictures.

Many Thanks,

Tetsuya Uryu

Resume:

Solo show

April 2013 Shinyurigaoka “Sari Gallery Hana”

July 2013 Yomiuri Land “community cafe Mameli”

January 2014 Ginza “Yu Gallery”

Group Exhibition

April 2014 New York International Exchange Exhibition “Ward-Nasse Art Gallery” “40th ARTEX NEW YORK Exhibition”

April 2014 Tokyo “ART SPACE BAR BUENA” “two people of realism Exhibition”

June 2014 Osaka “SoHo Art Gallery” “ART & CRAFT FAIR Exhibition”

October 2014 Tokyo “Yamawaki Gallery” “10th Japan illustrator Association Exhibition”

Awards

February 2013 Ginza Yu Gallery “Boy meets Girl” Exhibition Gallery Award

August 2014, “the 15th International Illustration Competition” Honorable Mention

November 2014 and exhibited at “The 40th modern picture for children Exhibition” Tokyo Metropolitan Art Museum

Place: Fukuoka, Japan

Contact: goodbye-day@nifty.com

Website: https://plus.google.com/100983015828605898769/about

Shiho Fujiwara

life life-Part A-whale-is-to-a-poket-fine-art-box The-locus-of-a-wind-1 The-loucus-of-a-wind-2

Work1 Title: life Year: 2010 Materials: washi ( handmade Japanese paper), chinese ink Dimensions: H 200 Φ40 W 1000 D 600cm Work2 Title: life part Year: 1997 Materials: washi ( handmade Japanese paper), chinese ink Dimensions: H 20 W 800 D 1000cm Work3 Title: A whale is—to a poket fine art… Year: 2009 Materials: washi ( handmade Japanese paper), Chinese ink Dimensions: H 250 W 570 D 800cm Work4 Title: The locus of a wind 1 Year: 2012 Materials: washi ( handmade Thailand paper), Chinese ink Dimensions: H 200 W 1800 D 2cm Work5 Title: The locus of a wind 2 Year: 2013 Materials: washi ( handmade Japanese paper), Chinese ink Dimensions: H 65 W 200 D 320cm

Statement:

There isn’t supposed to be no modeling, spirit and philosophy for a work. Every time a year is spent, it’s simple.
It has been. When it’s possible to move people deeply, it’s best.
I receive the rudiments in girlhood and Japanese-style painter’s grandfather also am charmed by SUMI ink painting and enter a SUMIink(China ink) painting person. Basic learning of SUMIink and Washi (Japanese paper) is shipped. The production is continued in the motif of It Tree and Mori. I’m traveling to Hokkaido Konsengen’ya independently again in Amami-gunto in 1970 time subtropical zone, receive an impact in the dark cloud about which the power of the nature of the big tree and strong modelling can squeal on a horizon again and am working on “abstraction expression by Sumi ink and Japanese paper”.
I keep an atelier in Japan and Sasayama-shi, Hyogo, challenge a possibility of the phenomenon experiment by “Sumi ink and Japanese paper” and the expression and continue the study at present. The material is developing itself in a work beyond a monochrome ink painting by the material, the Sumi ink and the Japanese paper by which Asia has tradition. It’s done to send no one. It’s spirit of the concrete, but I have carried on production activity, feeling the concrete close. It’s developing in production of monochrome abstraction work, solid and installation. Many works are produced. It’s my mission which had ink and Japanese paper in its hand, and I’d like to leave it in a world and I’m applying myself.
I keep an atelier in Japan and Sasayama-shi, Hyogo, challenge a possibility of the phenomenon experiment by “ink and Japanese paper” and the expression and continue the study at present. The material is developing itself in a work beyond a monochrome ink painting by the material, the ink and the Japanese paper by which Asia has tradition. It’s done to send no one. Many works are produced. There is a mission which shows the work which developed in contemporary art to me who had Sumiink and Japanese paper in his hand in a world and leaves it.

Washi ( handmade Japanese paper )
Sumi ink ( chinese ink )

Resume:

Shiho Fujiwara Profile

1944 Born in Nishinomiya-city, Hyogo Japan

( Selected Solo Exhibition )
1982  ART GALLERY SAYEGUSA / Tokyo
1986  Kamakura Gallery / Tokyo ( ’88. ’90. ’14)
1987  Japanese Paper Museum Ino Town / Kochi
1995  Tokyo Electric Power PLUS MINUS GALLERY / Tokyo
2001  Gallery Shimada / Hyogo (’11)
2002  Hyogo Prefectural Government Cultural Centre Perth / Australia
SALON DU HYOGO / Paris France
2004  Shinanobashi Gallery / Osaka( ’05.’06.’07.’08.’09 )
2009  Hyogo Prefectural Museum of Art, Atelier/ Hyogo ( ’10.’11 )
Seine-et-Marne Prefectural Office Hall / France
Prefectural Office Hall / France
Pocket fine-arts box Motokoo / Kobe
2011  Nishiwaki City Okanoyama museum of art Atelier / Hyogo
2012 Gallery 301 / Hyogo ( ’13.’ 14 )
2012  Caelum Gallery / New York
2013 Walter Wickiser Gallery / New York

( Selected Group Exhibition )
1982  In the Japan Case, Fine Arts Exhibition / Tokyo Metropolitan Museum of Art / Tokyo,
Kyoto  Museum of Art / Kyoto ( ’84. ’86 )
1983  Salon du Mai Paris / France
1984  Contemporary Art Hyogo Prefectural Museum of Modern Art in Hyogo
1985  Art Now ’85 Hyogo Prefectural Museum of Modern Art
1987  Salon du D’ Automne Paris / France
1988  The 8th Contemporary Art Imadate Paper Exhibition Grand-Prix / Fukui
1989  The 2nd INO Language Exhibition of Paper Japanese paper Museum Ino Town / Kochi
1993  Paper Modeling Exhibition of IPC’93 Montreal-Present Age Japan Montreal / Canada
1993  Materials - Emerging Visions…Paper Exhibition MASUDA STUDIO / Tokyo
1994  The Domain of the Medium The National Museum of Modern Art Tokyo / Tokyo
1995  Premonition of a Material MASUDA STUDIO / Tokyo ( ’97. ’98.’99. ’01 )
2001  Japan 2001 Brunel University Gallery Bankside Gallery / Britain
2002  Made In Japan Contemporary Art Work on and with Paper Usher Gallery / London
2003  Hang Kamakura Gallery / Kanagawa
2005  Paper is Now 2005 Kyoto Institute of Technology Museum and Archives
2014 ORIGAMI ART / Nishiwaki Okanoyama Museum of Art / Hyogo

( Public Collection )
The National Museum of Modern Art Tokyo /Japan
Paper Museum / Tokyo
Japanese Paper Museum Ino Town / Kochi
Echizen City / Fukui
Hyogo Prefectural Museum of Art
The European Representative Office of Hyogo Prefectural Government / France
Hyogo International Communications Association / Hyogo
The Seine-et-Marne Prefecture / France
Nord Prefecture / France
EURO-NORD Building / France

Place: Hyogo, Japan

Contact: fujiwara-shiho@iris.eonet.ne.jp

Website: http://www.eonet.ne.jp/~fujiwara-shiho

Tania Sen

04Sen.T_PreciousMetal_2013 09Sen.T_Instinct_to_lead_2015 10Sen.T_Mysterious_Order_2015 Us and Them Corrupt

Work1 Title: Precious Posessions Year: 2014 Materials: painted construction cone Dimensions: H 27 inches W 14 inches D 14 inches Work2 Title: Instinct to Lead Year: 2015 Materials: hand drawn letterings silkscreened on sculpted aluminum Dimensions: H 30 inches W 24 inches D 24 inches Work3 Title: Mysterious Order Year: 2015 Materials: hand drawings silk screened on aluminum Dimensions: H 30 inches W 24 inches D 24 inches Work4 Title: Us and Them Year: 2014 Materials: feathers, ink and ceramic Dimensions: H 6 inches W 12 inches D 6 inches Work5 Title: Corrupt Year: 2015 Materials:l hand drawin letterings silk screened on sculpted aluminum Dimensions: H 36 inches W 30 inches D 3 inches

Statement:

My work addresses the tension between iconic unity and digital fuzziness, between the uncontaminated original and its inevitable decay, between recognizability and facelessness, between personal and depersonalized identity through substitution, mediation and commoditization.  Drawing from mythology, politics, pop culture, ads, signage, my works at the base of it, is simply a way to emulate the process of materialization of a thought or imagination.  It bears within it clues of transformation and morphing.

Resume:

Tania Sen was born in Kolkata, India; she currently lives and works in New York/New Jersey. “Tania Sen explores traditional…symbolism…through a personal interpretation for the subject matter” (Courier News), using her painting, drawing, sculpture and installation. Sen graduated with Honors in English Literature from Calcutta University, and completed Masters in Communication Arts from New York Institute of Technology, NYC on an academic scholarship. Her outstanding work and GPA qualified her for an alumni scholarship for pursuing an MBA from the same college, which she completed while working in the advertising and design industry in New York City. After being in the industry for twenty some years Tania turned to teaching and art therapy since 2001. She taught Advertising Design at the College of St. Elizabeth, Morristown, NJ and also practiced Art therapy with the autistic children at the Morris Union Jointure Commission, Warren, NJ.

Debuting internationally, Sen’s works recently showed at the Newark Museum, Monmouth Museum, Mumbai Museum, India, NJ Art Guild, Prince Street Gallery, NYC, Pliades Gallery, NYC, Gramercy Gallery, NYC, NYC, Torpedo Art Factory, DC, Union Street Gallery, Chicago, Goggleworks, PA, Asian Arts Initiative, PA.  Kiernan Gallery, Boston, MA, among others.  Sen has multiple publications with Feminist Art Project and curated an all media show at the Harold B. Lemmerman Gallery, NJ featuring works of 53 international artists.  Her latest curated show is currently on at The Goggleworks Art Center, PA and was very well received with an opening day turnout of 500 people.  A founder member of SIPMA Contemporary, Sen is a strong proponent of inter- disciplinary collaboration – her work with the experimental dance team at Swarthmore College and performance art at the Soho 20 gallery, NYC are some in this stream of thought.

Place: New York/New Jersey

Contact: info@taniasen.com

Website: www.taniasen.com

Hisayasu Takashio

takashio1 takashio2 takashio3

takashio_05 takashio_07

Work1 Title: no Year: 2010 Materials: wood, acrylic Dimensions: H 18” W 20” D 12 Work2 Title: no Year: 2014 Materials: wood,acrylic,metal Dimensions: H 7`~ W 8′~ D 18′~ Work3 Title:  Year: Materials:  Dimensions: H  W  D  Work4 Title: consciosness Year: 2005 Materials: pencil,acrylic,resin on peper Dimensions: H 20” W 27” D Work5 Title: CONSCIOUSNESS Year: 2005 Materials: pencil,acrylic,resin on canvas Dimensions: H 72” W 48 D

Statement:

My work is an attempt to approach nature and abstract its basic elements. The treatment of media including wood, acrylic, oil and resin, is a constant search, observation and interpretation of the harmonious and the organic found in the natural environment that surrounds us. Embedded in my work is a language that transcends words and cultures. The hand is a prevalent subject matter that explores the gap between the human and animal, and also represents the capacity of man bringing creativity and rationality to realization. The hand is a conceptual tool of communication, as well as my physical tool. A public event, such as a performance or group exhibition would be based on these themes of essential elements found in nature.

Resume:

“H ISAYASU  TAKASH 10″
“155 India Street #1R, Brooklyn,NY 11222   Tel: 347-678-5414   E-mail: shiotakashio@hotmail.com”
“Born in Tokyo, Japan,1962″
“Currently lives and works in Brooklyn, NY”
“Registered Artist,The Drawing Center, New York, NY”
“Solo Exhibitions:”    ”2002″    ”Cave Gallery,Brooklyn, NY”
“”    ”1998″    ”New York Public Library -Yorkville Branch,New York,NY”
“”    ”1997″    ”Cave Gallery,Brooklyn, NY Cave Gallery,Brooklyn, NY”
“Group Exhibitions:”    ”2009″    ”DNA r’ US, Micro Museum, Brooklyn, NY”
“”    ”2008″    ”Threading Trends Berlin, Berlin,Germany”
“”    ”2007″    ”Juried Exhibition: July-August 2008, SoHo20 Gallery,Chelsea,New York, NY Light Night 2007, Keflavik,Iceland”
“”    ”2005″    ”AAF Contemporary Art Fair, New York,NY”
“”    ”"    ”Object of Comfort, Werketage Gallery, Berlin,Germany
Project Diversity, Eleven Ten Gallery,Brooklyn,NY”
“”    ”2004″    ”Angel Orensanz Foundation Center for the Arts,New York, NY”
“”    ”"    ”AAF Contemporary Art Fair, New York,NY Pool Art Fair,New York, NY”
“”    ”"    ”Consciousness installation,Chashama- 217 E. 42nd St. Branch, New York,NY”
“”    ”2003″    ”Big Proportions, Galerfa Galou,Brooklyn,NY
Angel Orensanz Foundation Center for the Arts,New York, NY”
“”    ”"    ”Transportable, Werketage Gallery,Berlin, Germany
Blue (two-person show),Galerfa Galou,Brooklyn, NY”
“”    ”2002″    ”Making it Home (three-person show) lse Cultural Foundation Gallery,New York, NY”
“”    ”"    ”Par Avion, Werketage,Berlin,Germany
Silvestre Gallery, Surf City, NJ”
“”    ”"    ”Wright Gallery,Kingston,NY”
“”    ”2001″    ”Par Avion, Carolina Figueredo Galeria,Caracas, Venezuela
Quilt, Greenspan Center,Brooklyn,NY”
“”    ”1999″    ”Cave Gallery,Brooklyn, NY Cave Gallery,Brooklyn, NY”
“”    ”1998″    ”Vision and Fusion, Artlab Studio, Passaic,NJ”
“”    ”1997
1996″    ”New World Art Center, New York,NY
Images ’97,Central Pennsylvania Festival of the Arts Exhibition, State College, PA Cork Gallery, Lincoln Center,New York,NY”
“”    ”"    ”SAl Gallery,New York, NY
L’Atelier Gallery,Long Island City,NY”
“”    ”1995″    ”53rd Annual Exhibition

Place: Brooklyn, NY

Contact: shiotakashio@hotmail.com

Website: N/A

Riku Ikegaya

Exif_JPEG_PICTURE 2 3 4 Print

Work1 Title: Home-Masquerade Year: 2011 Materials: Video,Wood Dimensions: H 250cm W 330cm Work2 Title: White Lie Year: 2012 Materials: Video,Sugar cube Dimensions: H 250cm W 330cm Work3 Title: Tracing Year: 2013 Materials: Video,Tracing paper Dimensions: H 250cm W 330cm Work4 Title: Controllable : Uncontrollable Year: 2015 Materials: Plaster,Post-it Dimensions: H 5cm W 450cm D 1500cm Work5 Title: Five drawings Year: 2014 Materials: Pencil,Watercolor pencil Dimensions: H 20cm W 100cm

Statement:

In my artwork, I illustrate my fascination with the ideas of time, memory, and boundary. As an architect, experiencing the ideas of construction, deconstruction and reconstruction all in succession, I began to consider presenting the visible world with a space small and blank, an expression of time and memory, contained within a box called “home.” Through the invention of this domain, where a dividing wall places what is inside and what is outside into two parts in separate spaces above a boundary line,it not only works retrospectively, but I also take on a reconstructive process.In a technologically inclined age defined by the internet and increasingly superficial relationships, I attempt to access ideas that, although are a part of the world, only exist in an invisible layer. And even if it is only through art, I hold on, hopeful for the preservation of genuine human interaction.

Resume:

◯Solo exhibition
2015 “Controllable : Uncontrollable” Creation Gallery Nihonbashi Hakozaki, Tokyo, JP
2015 “Drawings for Invisible Structure” Mitaka Yumeno Gallery, Tokyo, JP
2014 “The phase of city and specimen” Gallery OGUMAG, Tokyo, JP
2011 “0℃” Ouchi Gallery, NewYork, US

◯Group exhibition
2014 Rochester Contemporary Art Center, Rochester, US
2010 “UJADF Award exhibition” The Royal Opera Arcade Gallery, London, UK

◯Education
2007 Tama Art University,Tokyo

Place: Berlin,Germany

Contact: ikegayariku@gmail.com

Website: http://riku-ikegaya.com

Amy Guidry

Dichotomy_Amy-Guidry_acrylic-on-canvas_20in-w-x-16in-h Amy-Guidry_Veil_acrylic-on-canvas_6in-x-6in

Amy-Guidry_The-Pack_20in-w-x-10in-h_acrylic-on-canvas Amy-Guidry_Crutch_acrylic-on-canvas_12in-w-x-6in-h Exposed_Amy-Guidry_acrylic-on-canvas_8in-w-x-10in-h

Work1 Title: Dichotomy Year: 2014 Materials: Acrylic on canvas Dimensions: H 16″ W 20″ D 1.5″
Work2 Title: Veil Year: 2015 Materials: Acrylic on canvas Dimensions: H 6″ W 6″ D 1.5″
Work3 Title: The Pack Year: 2011 Materials: Acrylic on canvas Dimensions: H 10″ W 20″ D 1.5″
Work4 Title: Crutch Year: 2014 Materials: Acrylic on canvas Dimensions: H 6″ W 12″ D 1.5″
Work5 Title: Exposed Year: 2014 Materials: Acrylic on canvas Dimensions: H 10″ W 8″ D 1.5″

Statement:

The premise of my series “In Our Veins” is to explore the connections between all life forms and the cycle of life. Through a psychological, and sometimes visceral, approach, this series investigates our relationships to each other and to the natural world, as well as our role in the life cycle. Concepts such as life and death, survival and exploitation, and the interdependence and destruction of living and nonliving organisms are illustrated throughout. Using imagery derived from dreams and free association, “In Our Veins” demonstrates these ideas in a surreal, psychologically-charged narrative.

Resume:

SELECTED SOLO EXHIBITIONS

2014 In Our Veins / Académie Gallery, Lafayette, LA
2012 Hyperreality / Slidell Cultural Center, Slidell, LA
2010 New Realm- Works by Amy Guidry / Schepis Museum, Columbia, LA
2008 New Realm- Works by Amy Guidry / Henri & Odette, Las Vegas, NV
2008 New Realm- Works by Amy Guidry / Acadiana Center for the Arts, Lafayette, LA

SELECTED GROUP EXHIBITIONS

2015 SELECT Art Fair / Reinventing the Helm / Sara Nightingale Gallery / New York, NY
2014 Wanderlust / Modern Eden Gallery, San Francisco, CA
2014 Prospect.3+Baton Rouge Invitational / TTowers Gallery, Baton Rouge, LA
2014 Wiregrass Biennial / Wiregrass Museum of Art, Dothan, AL
2013 Enigma / The Shaw Center for the Arts, Baton Rouge, LA
2013 Viewpoints- Juror Helaine Posner (Senior Curator of Contemporary Art, Neuberger Museum of Art) / Aljira, a Center for Contemporary Art, Newark, NJ
2012 Louisiana Bicentennial Exhibition: Louisiana Voices / 6-Person Invitational / Paul and Lulu Hilliard University Art Museum, Lafayette, LA
2012 The Great West Coast Migration / Roq la Rue Gallery, Seattle, WA; Grass Hut, Portland, OR; Spoke Art Gallery, San Francisco, CA; LeBasse Projects, Los Angeles, CA; The Artery, Costa Mesa, CA; Space 4 Art, San Diego, CA

LECTURES / PANEL DISCUSSIONS

2014 Artist Perspective with Amy Guidry / Lecture / New Orleans Museum of Art, New Orleans, LA
2014 Personal, Provocative, and Political: Magical Realism and the Art of Amy Guidry / Lecture by Dr. Lee Gray / Oliver Hall Auditorium, University of Louisiana at Lafayette / Sponsored by the Flora Plonsky Levy Endowment of the UL Foundation
2012 Exhibition Panel Discussion / Paul & Lulu Hilliard University Art Museum, Lafayette, LA

COLLECTIONS

Alexandria Museum of Art, Alexandria, LA
Cedar Rapids Museum of Art, Cedar Rapids, IA
The City of Slidell, City Hall, Slidell, LA
The Schepis Museum, Columbia, LA
Zigler Art Museum, Jennings, LA

Place: Lafayette, LA

Contact: mail@amyguidry.com

Website: http://www.AmyGuidry.com

Tomoni Shintaku

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work4_japanize_01  work5_mndtabeyo54

Work1 Title: the Streams of Gyudon #69-02 Year: 2014 Materials: watercolor on montvale paper Dimensions: H 72cm W 60cm   Work2 Title: the Streams of Instant Noodle #69-10 Year: 2014 Materials: watercolor on montvale paper Dimensions: H 41cm W 24cm Work3 Title: Convinience store Bento Meals in a Heap #41-02 Year: 2015 Materials: watercolor on montvale paper Dimensions: H 45cm W 38cm Work4 Title: Japanize!(kimchi/Korea) Year: 2015 Materials: watercolor on montvale paper Dimensions: H 26cm W 39cm Work5 Title: Let’s eat everyone(54 people)Year: 2015 Materias:l watercolor on montvale paper Dimensions: H 33cm W 53cm D

Statement:

I produce works in a motif with food.
Especially I choice fast food and junk food, in short,
Gyudon, instant noodles and bento meal from convenience stores.
These foods have come into use to try to express today’s situation both critically
and simple but cynically.
My major works are two series ; the Streams of Gyudon/the Streams of Instant Noodles and
Convenience store Bento Meals in a Heap.
The former series embodies the actual situation of the meal of modern people
with falling Gyudon and noodles furiously to stomach of the public without tasting, which
are painted like natural streams.
The latter is  discarded convenience store bento meals piled up in large quantities every day like a heap
and expresses nuance of Japanese Animism like finding god to a grain of rice.
The narrow-minded external eyes that the Japanese has are set on proportional support of the Japanese national flag.
And they are modeled after various food, dishes of all the countries of the world like a circle.
This is Japanize series.
It asks redistribution of wealth that concentration of the wealth to the well off accelerating all over the world.
Cutting a cake into pieces symbolizes the redistribution and express.
This is Let’s eat everyone series.

Resume:

1982 Born in Hiroshima, Japan
2005 B.A. Kyushu Sangyo University of art,Fukuoka
2013 Shinjuku College of Cooking,Tokyo
Solo Exhibitions
2015 ”the Streams of Instant Noodles”, HAGISO, Tokyo(to be held)
2014 ”the Streams of Gyudon”, Sawada Mansion Gallery room38, kochi
Group exhibition
2014  “Dobuike Marché”,Dobuike Marché, Osaka
2014  “Portfolio Exhibition”,Sawada Mansion Gallery room38, kochi
2013  “POSSIBLY TALENTED Vol.3″,THE blank GALLERY,Tokyo
2013  “Gakigura 6th Exhibition”,Gallery Oishi,Fukuoka
2012  “YOUNG ARTISTS JAPAN Vol.5″,Tokyo Designers Week(TDW),Tokyo
2004  “Exhibition ShijuBokujin”,LAPIN ET HALOT,Tokyo
2000  “Exhibition Daikaku”,NHK Gallery,Fukuoka
Awards
2015 Tokyo Wonder seed 2015
2013 The 2th Miyamoto Saburo Memorial Drawing Award
2005 the Beppu Asia Biennale of Contemporary Art 2005
2004 The 19th Tobiume National Cultural Festival of Art
2002 The 34th West Art Exhibition
2001 The 37th Fukuoka Art Exhibition Fukuoka parliamentary speaker Prize
Others
2007 ARTDISFOR with HIguchi Shijyu start
Solo Exhibitions
2008
“Tokyo University of the Arts Destruction”,ART IN GALLERY,Tokyo
“Shopping”,ART IN GALLERY,Tokyo
Group exhibition
2011
“petit GEISAI #15″,Tokyo Metropolitan Industrial Trade Center Museum,Tokyo
“GEISAI #14″,Tokyo Big Sight,Tokyo
“Unknown possibility 03″,Shinjuku Ganka Gallery,Tokyo
“Chiyoda Independent Arts Festival 3331″,3331 Arts Chiyoda,Tokyo
2009
“The Artcompe X”,The Artcomplex Center of Tokyo,Tokyo
“Independent Exhibition Tokyo”,COEXIST,Tokyo
“ART & PHOTOBOOK EXHIBITION”,Shinjuku Ganka Gallery,Tokyo
“Unexpected”,Shinjuku Ganka Gallery,Tokyo
Awards
2009
The 45th Art Exhibition,Kanagawa Prefecture
Shinsei 13th Exhibition

Place: Tokyo, Japan

Contact: tomonishintaku@gmail.com

Website: http://tomonishintaku.com/

Carol Boram-Hays

carol 3.-Squeeze Carol_Boram-Hays.01 OLYMPUS DIGITAL CAMERA Carol_Boram-Hays.04

Artist of the Month, June 2015

Work1 Title: Clench Year: 2010 Materials: Cast concrete, reclaimed metal and pigments Dimensions: H 6″ W 5″ D 5″ Work2 Title: Squeeze Year: 2012 Materials: Cast concrete, reclaimed metal and pigments Dimensions: H 15″ W 11″ D 66″ Work3 Title: Vena Cava Year: 2010 Materials: Cast concrete, reclaimed metal and pigments Dimensions: H 78″ W 48″ D 29″ Work4 Title: Tomorrow’s Parties Year: 2010 Materials: reclaimed materials Dimensions: H 132″ W 48″ D 175″ Work5 Title: Innervation Year: 2014 Materials: steel and duct tape Dimensions: H 156″ W 96″ D 192

Statement:

Many think that we live in a post-industrial age. Though large factories, and brown fields that they create, may be disappearing from the visible landscape in the West; industrialization and the complex human and environmental issues that accompany it are still very much with us. The factories that were once the economic life-blood for many in the West were also sites of industrial accidents and sources of pollution that left many harmed for lifetimes – even generations. Now, with many factories closed, the communities they supported are dying and impoverished. Still, we rely more than ever on industrially produced goods. Though industrial production has moved beyond the eyes of many of the people who consume goods made this way, it continues to exact the same environmental and human costs; and as the cycle of consumption and obsolescence has become increasingly rapid, the cast-offs from this disposable lifestyle is leaving our human resources abused, our environment degraded, and our lives divorced from the natural and real. Exploring our conflicted relationship with industrialized culture I want my work to be like many of products we consume – simultaneously compelling and toxic. I use metal remains cast within concrete forms, and then color their surfaces. The colors are intended to evoke the layers of wear that have accumulated in old factory sites and natural changes that are happening to these now abandoned spaces, while the uncanny forms are intended to suggest the way these places are reanimating. I also work on installations and sculptures made with materials such as steel ductwork, conduit and electrical wiring, that are associated with more contemporary architecture, in order to explore the future legacy of our current lifestyle and its effects on the environment. It is my way of making peace with the post-industrial legacy that I have inherited and trying to reveal the hidden environmental costs that continue to be part of our lifestyle.

Resume:

Solo Exhibitions
2011     Unpolished, Springfield Museum of Art, Springfield, OH
2011     Chronic Disquietude,  Ross Arts Museum, Ohio Wesleyan University, Delaware, OH
2010    Perpetual Obsolescence, Otterbein College, Westerville, OH
2006    Sculpture by Carol Boram-Hays,  Bowling Green State University
Huron, OH
2002     Industriell Menagerie, Studio 972, Columbus, OH
2001     Sie fallen um, Hochschule für Bildende Künste, Dresden, Germany

Site-Specific Installations
2011     Chronic Disquietude, Gallery 2001, Ross Arts Museum, Ohio Wesleyan University, Delaware, OH
2009    Art Al Fresco, Columbus, OH
2009    Here and Beyond, Riffe Gallery, Columbus, OH
2008    What Time is This Place, OSU Urban Arts Space, Columbus, OH
2007    Compass: New Directions, Black and White Gallery, Brooklyn, NY
2006    Without Walls ‘ 06, Mac’s Farm and Sculpture Center, Cincinnati, OH

Selected Group Exhibitions
2014     Carol Boram-Hays/Andrew McCauley, Roy G Biv Gallery, Columbus, OH
2013    Material World, Springfield Museum of Art, Springfield, OH
2012    Looking Forward, Decorative; Decorative Arts Center of Ohio, Lancaster, OH
2011    Crossroads, Schumacher Gallery, Capital University, Columbus, OH
2011     A Woman’s Work is Never Done, A.I.R. Gallery, Brooklyn, NY
2010     …and sweeps me away,. Gallery, Brooklyn, NY
2010     Tempo, Manifest Gallery, Cincinnati, OH
2009    Notes from Dresden: The Dresden/Saxony Residency Program of the Greater Columbus Arts Council, Cultural Arts Center, Columbus, OH.
2009    Contemporary Humanism, A.I.R. Gallery, Brooklyn, NY
2009    After the Pedestal, The Sculpture Center, Cleveland, OH
2008    Structured Incidents,  A.I.R. Gallery, NY, NY
2007    Made Out of the Ordinary, A.I.R. Gallery, NY, NY
2006     Being in Space, A.I.R. Gallery, NY, NY
2005     15 Years, Gallery Kunsthaus Raskolnikow, Dresden, Germany
2005     3DeLuxe, Mason Murer Fine Art, Atlanta, GA
2004     Constructions, A.I.R. Gallery, NY, NY
2001     National Association of Women Artists Exhibition, Gr

Place: Columbus, OH

Contact: boramhays@yahoo.com

Website: http://www.carolboramhays.com

Manju Shandler

Tsunami-1 Tsunami-2

Democratic-Bucephalus Medusas-Conquests Ezekiels-Nap

Work1 Title: Tsunami 1 Year: 2011 Materials: mixed media on polyester film Dimensions: H 63 W 42 D 1 Work2 Title: Tsunami 2 Year: 2011 Materials: mixed media on polyester film Dimensions: H 63 W 42 D 1 Work3 Title: Democratic Bucephalus Year: 2014 Materials: mixed media Dimensions: H 43 W 43 D 3 Work4 Title: Medusa’s Conquests Year: 2014 Materials: mixed media Dimensions: H 43 W 43 D 3 Work5 Title: Ezekiel’s Nap Year: 2014 Materials: mixed media Dimensions: H 43 W 43 D 3

Statement:

I am a visual storyteller who communicates with the viewer through narrative imagery imbued with elastic meaning. I am creating a new visual mythology that explores the process of mankind corrupting the natural world in pursuit of progress. My narrative mixed media paintings and tapestries are a meditation on current events presented as a psychological landscape that build upon established storylines in pursuit of ordering madness in dense and complicated times.

I began the series TSUNAMI & LEVIATHANS just after the Japanese Tsunami and resulting nuclear instability in 2011. I was struck by how the devastation was compounded by human infrastructure and hunger for fuel, the images of water logged cars and crumbling nuclear power stations. Faced with this tragedy and disappointed in the lack of divine intervention, I composed TSUNAMI 1 & 2, juxtaposing imagery from Japanese photojournalism and Rapael’s The Triumph of Galatea. I mined the deeper significance of the cherubic infant putti by rendering babies swimming in the mire, questioning the future.

BEHEMOTH is a series of work that probes questions of nationalism and the psychological significance attached to the visual symbolism of flags. BEHEMOTH was a mythical creature described in the Book of Job as a manifestation of the almighty’s power. Here the BEHEMOTH becomes nationalism. By ordering and categorizing national character by types of government I am questioning the visual symbolism of flags and how the constructs of organized government inform contemporary society.
In these pieces I have used Greek statues, a symbol of democracy, wearing painted flag masks to render the nationalistic symbols meaningless, reminiscent of painted clowns or enthusiastic sports fans. As I delve into the weight of this topic I am faced with how to both honor history and patriotic identity while looking past the BEHEMOTH of nations to the individuals who comprise it.

Resume:

VISUAL ARTS EXPERIENCE

Select Solo Exhibitions

2013     Governor’s Island Art Fair Governor’s Island, NYC Deus Ex Machina

2012    The Hammond Museum North Salem, NY  Legends & Leviathans

Governor’s Island Art Fair Governor’s Island, NYC Leviathans

2009    The LABA Gallery  NYC  Stories of the Apocalypse

2007    The Honfleur Gallery Washington DC  Gesture

2003       The Bergdorf Goodman Store Windows NYC Gesture

Select Group Exhibitions

2015    The Art Sprinter One Art Space, NYC  The Art Sprinter Prize Finalists

Gallery Ho Hong Kong China  The Affordable Art Fair

Central Bookings Lower East Side, NYC  Connections

2014    ISE Cultural Foundation Soho, NYC  Winners: New York Art Search

Gallery Ho Chelsea, NYC  The Affordable Art Fair

Gallery Ho Chelsea, NYC New Originals

The Cure8 Group Brooklyn, NYC  Autumn/Winter Salon

Concepto Hudson Hudson, NY  Soliloquy

Nonfiction Gallery Savannah, GA Common Knowledge

2013    The University of Rhode Island- Main Gallery Kingston, RI  25th Anniversary Sea Grant Exhibition

ISE Cultural Foundation Soho, NYC  New York Art Search 2013

Jonathan Ferrara Gallery New Orleans, LA  No Dead Artists

Masur Museum of Art  Monroe, LA  50th Annual Juried Exhibition

The LABA Theatre, East Village, NYC  DRUNK

2012    Denise Bibro/Women’s Caucus For Art Chelsea, NYC The Petroleum Paradox

New York Foundation for the Arts Brooklyn, NYC Bootstrap Festival

2011    Atelier MSK Amsterdam, The Netherlands Hell & High Water

2010    Alma Home for Hebrew Culture Tel Aviv, Israel Pardes

Visual Art Awards, Grants & Residences

2015    The Art Sprinter Prize Finalists

2013       Art Asset Award The ISE Cultural Foundation

2012          The University of Rhode Island  Sea Grant for Visual Artists

2011          New York Foundation for the Arts Artists As Entrepreneur

2008-11    LABA  Artist in Residence

2005          Makor  Artist in Residence

Bennington College

1995       Bachelor of Arts

Place: Brooklyn, NY

Contact: manju@nyc.rr.com

Website: http://www.manjushandler.com

Tomoe Taniguchi

S10) どこまでもやさしい誰かの嘘に隠されて2012-9夕焼けた半月に吸い寄せられて22×22㎝ 2012-5世界の中心は人間ではないけれど182×182㎝ 

Work1 Title: Wearing something like love. Year: 2014 Materials: Japanese Paper, Acrylic, Watercolor, Pastel, Pencil Dimensions: H 530 W 530 Work2 Title: Covered by someone’s abysmal tender lies. Year: 2013 Materials: Japanese Paper, Acrylic, Watercolor, Pastel, Pencil , The collage of Japanese paper Dimensions: H 652 W 530 Work3 Title: Attracted by the sunset-colored half-moon. Year: 2010 Materials: Japanese Paper, Acrylic, Watercolor, Pastel, Pencil Dimensions: H 210 W 210  Work4 Title: Although human is not the center of the universe. Year: 2012 Materials: Japanese Paper, Acrylic, Watercolor, Pastel, Pencil ,Modeling paste, Dimensions: H 1820 W 1820 Work5 Title: And then, seeking undiscovered place. Year: 2013 Materials: Japanese Paper, Acrylic, Watercolor, Pastel, Pencil ,Modeling paste, Tea Dimensions: H 1820 W 4550

Statement:

It suggests the images of “female” archetype include “shady”, “aesthetic”, and “ephemeral”. I’ve portrayed such themes as a invisible “poetic feeling”, by emotionally re-construing these images. My works aim to emerge visional and something dear objects. For that, some techniques of water-color painting, such as gradation and spreading, are adopted to keep momentary fluctuations of feelings in a object’s face. We must have encountered a similar situation to have a poetic feeling. I hope my works make you evoke such a feeling.

Resume:

Solo Exhibitions
2013 “Hide and Seeke” Shinjuku Ophthalmology art gallery , Tokyo, Japan
2013 “Flowers bloom so, even where”, Gallery Near, Kyoto, Japan
2013 “Flowers bloom so, even where”, EARTH+GALLERY, Tokyo, Japan
2013 “Clear memory of someone”, Art Complex Center, Tokyo, Japan
2012 “The world the wind”, Gallery Le Corte, Fukuoka, Japan
2012 “Feeling”, Shinjuku Ophthalmologist Gallery, Tokyo, Japan
2010 “Rough”, Sawada Mansion Room 38 Gallery, Kochi Japan
2009 “- Natural × Unnatural -”, Gallery Faust, Kochi, Japan

Group Exhibitions
2014 Realism complex Exhibition in Aoyama,SHINSEIDOU,Tokyo, Japan
2014 FOR-two person exhibition Yamauchi Daisuke Taniguchi Tomoe,Shibuya Tokyu head office , Tokyo, Japan
2013 Tokushima Arts Festival city and Sora ,Awa Ikeda tobacco museum ,Tokushima , Japan
2013“Sisters” FOR-two person exhibition Kato Yuki Taniguchi Tomoe ,Murakoshi Gallery ,Tokyo, Japan
2013 Sakae realism Complex  ,Nagoya Matsuzakaya head office Art Gallery , Aichi, Japan
2013 OSAKA REALISM COMPLEX2013,Takigawa Gallery,Tokyo,Japan
2013“Stunning Beautiy” Two person exhibition,Compound Gallery, Portland,America
2013 Young Art Taipei, Taipei
2012 The 3rd South Korean modern-paintings international festival, South Korea
2012 New City Art Fair, Taipei
2012 LINK10 Exhibition , Kyoto Municipal Museum of Art, Kyoto, Japan
2011“Sawada Mansion Gallery Tokyo Exhibition”, Book Gallery Popotame,Tokyo, Japan
2007 Post card T-shirt Art Exhibition, nbox , Kochi, Japan

Awards
2013 FACE2014 Judge’s Choice
2012 Art Award Next Ⅱ Ino Town Art Exhibition Judge’s Choice
2012 Art Complex Center Portrait Exhibition Grand Prix
2012 Shibata Machi Gallery public exhibition next Award
2012 Art move Art Contest Judge’s Choice
2011 Kobe Center for the Arts Competition Judge’s Choice
2010 Kobe Center for the Arts Competition Judge’s Choice
2009 Kochi Prefecture female Exhibition blue tide Award
2007 Kochi Prefectural Exhibition Judge’s Choice

Place: Tokushima, Japan

Contact: tomoe_taniguchi@yahoo.co.jp

Website: http://taniguchi-tomoe.jimdo.com/

Yasuaki Okamoto

Yasuaki_DearLandlord Yasuaki_WatertankInaDesert Yasuaki_BornToDieLiveToSin Yasuaki_NoLittering Yasuaki_Sign

Work1 Title: Dear Landlord Year: 2011 Materials: Oil on Canvas Dimensions: H 30″ W 40″ D 2″ Work2 Title: Water Tank in a Desert Year: 2013 Materials: oil on canvas Dimensions: H 30″ W 40″ D 2″ Work3 Title: Born To Die, Live To Sin Year: 2011 Materials: oil on canvas Dimensions: H 30″ W 40″ D 2″ Work4 Title: No Littering Year: 2012 Materials: oil on canvas Dimensions: H 30″ W 40″ D 2″ Work5 Title: Sign Year: 2010 Materials: oil on canvas Dimensions: H 34″ W 42″ D 2″

Statement:

My paintings perform a kind of surrealist that incorporates animals, plants, everyday objects, landscape, and ethereal beings. I paint them into my paintings as an icon of a death, life, and/or nature… My work is metaphorically based and inspired by my travel throughout Europe, Asia and North America.

Resume:

Selected Honor/Award bet. 2010- 2014

Edward G.McDowell Travel Grant 2014
Winner in the 1st 2014 Showcase Competition / ArtSlalnt
Xavier Gonzalez and Ethel Edwards Travel Grant 2013
Red Dot / The League Concours Exhibition 2013
The 2013 Chelsea International Fine Art
Competition / Agora Gallery
1st prize of 2012 Contemporary Art Competition / Goldman Art
The Laurence Littman Scholarship 2012
Finalist of “The Art Revolution Taipei 2012”
International Art Competition
Mary Birmingham Award / ISE Cultural Foundation

Selected Publications

Direct Art Volume. 21
Fresh Paint Magazine Issue 6
“AT THE EDGE” NYC Arts & Culture Magazine
Gallery Guide / summer 2013
Gallery & Studio / summer 2013
Queens Ledger, Brooklyn Star, LIC/Astoria Journal etc / July 25th 2013

Selected Exhibitions / Solo, Group and Art Fair bet. 2012-2015

New Artist’s Spring Show at Chalk Farm Gallery / Santa Fe, NM
SPECTRUM Miami 2014: Booth #613 / Miami FL
The ARTEXPO NY 2014: Booth #240 / New York, NY
The 40th ARTEX NY at Ward-Nasse Gallery / New York, NY
SPECTRUM Miami 2013: Booth #603 / Miami FL
Governors Island Art Fair 2013: Bldg#5A / New York, NY
The Collective Exhibition at Agora Gallery / New York, NY
Merit Scholarship Winners Exhibition at The Phyllis Harriman Mason Gallery / New York, NY
Red Dot Winners Exhibition at The Phyllis Harriman Mason Gallery / New York, NY
Solo Exhibition at Lincoln Square Neighborhood Center / New York, NY
The Art Revolution Taipei 2012 / Taipei World Trade Center, TAIPEI
Group Exhibition at COOHAUS Gallery / New York, NY

Place: New York, NY

Contact: yasuaki.ok@gmail.com

Website: http://www.yasuaki.info

Lauren Kalman

Kalman_1 Kalman_2 Kalman_3 Kalman_4 Kalman_5

Work1 Title: But if the Crime is Beautiful…. Composition with Ornament and Object (7) Year: 2014 Material: Inkjet print Dimensions: H 20 W 16 D 0 Work2 Title: But if the Crime is Beautiful…. Composition with Ornament and Object (18) Year: 2014 Material: Inkjet print Dimensions: H 20 W 16 D 0 Work3 Title: But if the Crime is Beautiful…. Hood (12) Year: 2014 Material: Inkjet print Dimensions: H 28 W 20 D 0 Work4 Title: But if the Crime is Beautiful…. Sculpture (1) Year: 2014 Material: Plaster, paper maché, faux gold leaf, Philippe Stark “Ghost Chair” Dimensions: H 36 W 24 D 24 Work5 Title: But if the Crime is Beautiful…. Year: 2014 Material: Inkjet prints, Swarovski pearls, gold-plated brass, faux gold leaf, fabric, plaster, paper maché, laser cut plywood, furniture, lighting stands, mixed media Dimensions: H 39 W 30 D 15

Statement:

My work combines functional and craft objects, sculpture, photography, video, installation and performance. Through my work, I bring to light uncomfortable connections in visual culture between body image, media, class, and style.

Historically my work has references diseases like acne, cancer, herpes, and elephantiasis, or physical trauma like amputation and facial reconstruction surgery; presenting them as jeweled infections, fabric growths, or wearable electronic instruments.

My recent has utilized a sterile aesthetic borrowed from Modernism combined with adornment and the female body. Fabricated objects that reflect sculptural ornamentation and adornment are combined with the body and design objects to produce photographs. These juxtapositions point to historical, political, and social contexts relating to sex, gender, power, pleasure, and beauty.

Resume:

SELECTED SOLO EXHIBITION 2012-2014
2014 Coveted Objects. Cranbrook Museum of Art. Bloomfield Hills, MI
2014 Composition with Ornament and Objects and Hoods Sienna Gallery. Lenox, MA
2013 Spectacular. Exhibition/Performance. Redux Contemporary Art Center, Charleston, SC
2012  Spectacular. University Gallery, Stellenbosch University, South Africa
2012 Tributaries. National Ornamental Metals Museum. Memphis, TN

SELECTED GROUP EXHIBITIONS 2012-2015
2015 Body Embellishment. Mint Museum, Charlotte, NC
2015 AJF Award Exhibition. Patina Gallery at Schmuck, Munich, Germany
2015 Eye of the Beholder. Atkinson Museum, Southport, England
2015 Crafting Anatomies. Nottingham Trent University, Nottingham, England
2014 Multiple Exposures. Museum of Arts and Design, New York, NY
2014 Luscious: Bodies Adorned, University of Arkansas, Fayetteville, AK
2014 Identity, Gallery Nine5, New York, NY
2014 Différence et repetition, galerie NextLevel, Paris, France, Galeri Format, Bergen, Norway
2013 Locally Made. Rhode Island School of Design Museum. Providence, RI
2013 Shift: Contemporary Makers. Grunwald Gallery, Indiana University. Bloomington, IN
2013 Artists in Conversation: The Body, Southern Illinois University Edwardsville, Edwardsville, Il
2013 Daphne and Peter Farago Gallery ,Museum of Fine Arts, Boston, MA
2013 Stirring the Waters | Across the Pond, Socha a Objekt. Bratlislava, Spiš Artists’ Gallery, Spišská Nová Ves, Slovakia
2013 Unconventional Narratives: The Triumph of the Witch. Gibson Gallery. SUNY Potsdam, Postdam, NY
2013 Out of the Box: Trends in Contemporary Jewelry, Virginia Museum of Contemporary Art
2012 Jeweled Prosthetics.  deSaisset Museum. Santa Clara, CA
2012 40 Under 40: Craft Futures. Renwick Gallery, Smithsonian American Art Museum.Washington, DC
2012 Mirror Mirror , Velvet DaVinci, San Francisco, CA, Espace Solidor, Cagnes-Sur-Mer, France
2012 Pretty Ugly. Boston Center for the Arts. Boston, MA

Place: Detroit, MI

Contact: info@laurenkalman.com

Website: http://www.laurenkalman.com

Yuki Nagashima

Nagashima01 Nagashima02 Nagashima03

SONY DSC Nagashima05

Work1 Title: SWIRL Year: 2014 Material: Etching on paper Dimensions: H 72 W 72
Work2 Title: INSIDE Year: 2014 Material: Etching on paper Dimensions: H 90 W 65
Work3 Title: OUTSIDE Year: 2014 Material: Etching on paper Dimensions: H 90 W 65
Work4 Title: THE EYE IN THE EYE Year: 2014 Material: Etching on paper Dimensions: H 72 W 72
Work5 Title: LIPS Year: 2014 Material: Etching on paper Dimensions: H 72 W 72

Statement:

I’ve been engaged in making artworks focusing on such subjects as self, other, identity, and slight difference or gap between the worlds inside them.

Projecting self reflected in other on an expressive media has motivated me to make art; I draw, as it were, a self-portrait as anonymous other. For me, drawing a boundary line between self and other is to recognize self in human being, or is a dialogue with other, which is intrigued, like a simulated experience, during various processes of making etching. In making etching, I go through repeating corrosion, trying proofs to let printed image appear, etc., during the process of frequent repetition of destructing and reconstructing images.

Resume:

◆Academic Qualification
4.2012-3.2014 Master of Fine Art – Print making , Tama Art University / Tokyo, Japan
4.2008-3.2012 Bachelor of Fine Art – Print making , Tama Art University / Tokyo, Japan

◆Activity history
8.2014 Group exhibition / Isetan Urawa / ( Saitama , Japan)
3.2014 Master Course Print Making Exhibition / GINZA YOKYO HALL / ( Tokyo , Japan)
2.2014 The 37th Joint Graduation Exhibition of Five Art University in Tokyo / The National Art Center Tokyo / ( Tokyo , Japan )
12.2013 The 38th exhibition of Art college print association / Machida city museum of graficarts / ( Tokyo , Japan )
10.2013 Yuki Nagashima Solo Exhibition / Four Seasons Hotel Tokyo at Marunouch / ( Tokyo , Japan )
7.2013 Artwork for a setting of TV program-BS JAPAN
6.2013 Yuki Nagashima Solo Exhibition / Gallery Uehara / ( Tokyo , Japan )
10.2012 Groupe exhibition / Hiltopia Art Square / ( Tokyo , Japan )
8.2012 Group exhibition / Art Factory Gallery / ( Brisbane , Australia )
8.2012 Group exhibition / Pop Gallery / ( Brisbane , Australia )
4.2012 ART KYOTO 2012 / Hotel Monterey Kyoto / ( Kyoto , Japan )
3.2012 Groupe exhibition / Kanagawa Prefectural Lake Sagami-ko Exchange Center / ( Kanagawa , Japan )
3.2012 The 11th Lessedra World Art Print Annual-Mini Print 2012 / Lessedra Gallery / ( Bulgaria )
2.2012 The 35th Joint Graduation Exhibition of Five Art University in Tokyo / The National ArtsCenter
Tokyo / ( Tokyo , Japan )
8.2011 Art Debutant Urawa 2011 – Artist Audition / Isetan Urawa / ( Saitama , Japan )
8.2011 The 79th Exhibition of The Japan Print Association / Kyoto Municipal Museum of Art / ( Kyoto , Japan )

◆Artist-in-residence
8.2012-9.2012 Griffith University Queens College of Art / ( Brisbane , Australia )

◆Award&Grand
10.2011 Excellent prize ,The 5th Yamamoto Kanae Print Grand Prix Competition / Municipal Museum Kanae Yamamoto,Ueda /
( Nagano , Japan )
12.2010 Michinoku bank prize,”Aomori print Triennale2010″ / Aomori Comtemporary / ( Aomori , Japan )

Place: Tokyo, Japan

Contact: yukiiinagashima@gmail.com

Website: http://yukinagashima.tumblr.com/