Past Shows / Events
2022
hooray for animals! (11.5.22)
Hip hip(po) hooray for the animal kingdom, so diverse and majestic!
We celebrated creatures with a group show featuring a variety of mediums.
Participating in this open call were the following Rertlings:
Grady Roper
Bill Jeffery
Kevin Pope
Katrin Abel
Jennifer Burchill
Modplexi
Amanda Vaughn
Chad Hopper
Mike Combs
Theresa Bond
Jesse Gengenbach
Kerry Hugins
April Sullivan
Steve Landry
Ariel Ximenes
Opening night was celebrated with the help of music by Attic Ted and a bonfire to dance around!
We celebrated creatures with a group show featuring a variety of mediums.
Participating in this open call were the following Rertlings:
Grady Roper
Bill Jeffery
Kevin Pope
Katrin Abel
Jennifer Burchill
Modplexi
Amanda Vaughn
Chad Hopper
Mike Combs
Theresa Bond
Jesse Gengenbach
Kerry Hugins
April Sullivan
Steve Landry
Ariel Ximenes
Opening night was celebrated with the help of music by Attic Ted and a bonfire to dance around!
Bring your own brainS (10.8.22)
From the folks who brought you "Wet Ball: The Musical" and "Grown Up Baby Time", comes another absurd, interactive experiment in entertainment. IYKYK (ifyouknowyouknow), but for the uninitiated: you can expect comedy, tunes, surprises, and of course... brains! (In the gallery: images that your freshly invigorated imagination will conjure up in response to the titles created by audience handwriting samples!)
furly art (9.10.22)
Furly Travis is a self-taught painter living in San Marcos, TX. He describes himself as a "SCHIZOPHRENIC DELUSIONAL ARTIST FROM ALIEN TEXAS, MANIPULATING COLORS INTO FORMS OF REALITY." We have known him for several decades and have enjoyed watching the evolution of his art. Furly welcomes commissions and also occasionally performs music under the name Unsurpassed Profit.
At the opening reception on Saturday, Sept. 10th, there was live music by H E H E Buddies (Melissa Seely + Stephanie Demopulos).
At the opening reception on Saturday, Sept. 10th, there was live music by H E H E Buddies (Melissa Seely + Stephanie Demopulos).
Motherly (5.7.22)
At Collection Rert, we have a primal instinct to celebrate the working artist. Working to support ourselves in this world is often a challenging and grueling distraction from what we would prefer to be doing with our lives, and yet working class artists make it happen despite the harsh demands of capitalism, for the love of creation. And then there is a whole other realm of creators and workers, those who create and/or support other humans, from conception through every stage of growth into adulthood. We are, of course, talking about mothers, the people without whom our species would simply not exist. Beyond simply having the power to create and nurture other humans, moms are tasked with possibly the most relentless job on earth, being the ones their offspring turn to in need, day and night.
So this May, we are tipping our hats and opening the gallery to those moms who also create art. We know it's not easy!
Having many moms in our roster of alumnae, we started there to curate this show.
Participants included Yamin Li, Brittany Kelly, Megan McAtee, Tucker Bradley, April Garcia, Susan Maynard, Jen Hirt Webel and Beth Link.
So this May, we are tipping our hats and opening the gallery to those moms who also create art. We know it's not easy!
Having many moms in our roster of alumnae, we started there to curate this show.
Participants included Yamin Li, Brittany Kelly, Megan McAtee, Tucker Bradley, April Garcia, Susan Maynard, Jen Hirt Webel and Beth Link.
Shelter in place (4.16.22)
Paintings by Louise Bova created during 2020-21 during the height of the pandemic. NYC was ground zero with the highest death rate in the country. The feeling of isolation was intense in a city that was quickly becoming a ghost town. Ambulance sirens were continually blaring. The subway was shut down, as well as all stores and restaurants.
The artist lived alone in a loud, tiny 5th floor walkup in Brooklyn with no car to escape the city. These works represent the fear, isolation, and chaos of living in the city during a pandemic.
(Apologies for no installed pics of show. Oops!)
The artist lived alone in a loud, tiny 5th floor walkup in Brooklyn with no car to escape the city. These works represent the fear, isolation, and chaos of living in the city during a pandemic.
(Apologies for no installed pics of show. Oops!)
a show of hands (3.26.22)
ock, sack, marionette, paper, or plushie: the options for hand-made puppets are endless!
We put out an open call for folks to get playful, and the community delivered,
resulting in a show that was delightful as well as challenging to "hang".
Participants included:
Sandy Bowie
Del Wieding
Heather Jarry
Laura Freeman
Chad Hopper
Vanessa Gelvin
Jim Tozzi
Jeanne Stern
Jason Blaise Gans
We put out an open call for folks to get playful, and the community delivered,
resulting in a show that was delightful as well as challenging to "hang".
Participants included:
Sandy Bowie
Del Wieding
Heather Jarry
Laura Freeman
Chad Hopper
Vanessa Gelvin
Jim Tozzi
Jeanne Stern
Jason Blaise Gans
viberant (2.26.22)
Art by Aloki Shah
What started as a humble project to create a piece of work to match the aesthetic design for her living room tapped into a vein of imagination and creation that led to Aloki's first ever art collection - VIBERANT. The material and treatment used is meant to create a “vibey” atmosphere, be lighthearted, and interesting. The viewer can relax, zone out, and escape into a world full of bright colors and pleasing shapes after facing a day in what can be a harsh world. She played with depth and layering while keeping all material cohesive to showcase the versatility of eclectic materials for “paintings” such as vinyl, cellophane, and even Saran wrap.
What started as a humble project to create a piece of work to match the aesthetic design for her living room tapped into a vein of imagination and creation that led to Aloki's first ever art collection - VIBERANT. The material and treatment used is meant to create a “vibey” atmosphere, be lighthearted, and interesting. The viewer can relax, zone out, and escape into a world full of bright colors and pleasing shapes after facing a day in what can be a harsh world. She played with depth and layering while keeping all material cohesive to showcase the versatility of eclectic materials for “paintings” such as vinyl, cellophane, and even Saran wrap.
2021
reincarnations (11.6.21)
Artists are alchemists, masters of transformation, turning the humblest of materials into compositions which can touch your emotions and spirit, or inspire a new thought.
When the artist's material is something found discarded on the street or in the trash bin, the transformation is even more profound.
Join us in celebrating the reincarnations made possible by creativity, in this outdoor group show featuring works by: Jennifer Moore, Steve Landry, Henna Chou, Paul Baker, Amanda Vaughn, Jonny Hyrns, Hank Morales, Amanda Jones and Chad Hopper.
When the artist's material is something found discarded on the street or in the trash bin, the transformation is even more profound.
Join us in celebrating the reincarnations made possible by creativity, in this outdoor group show featuring works by: Jennifer Moore, Steve Landry, Henna Chou, Paul Baker, Amanda Vaughn, Jonny Hyrns, Hank Morales, Amanda Jones and Chad Hopper.
body rites (9.4.21)
"Body Rites" is an experiential art exhibit by Eris Gentle that explores ritual and automatism, and the ways in which one bleeds into the other.
There are the things we do, and there are the things that do us.
Have you ever met your double?
Would you consume the last green plant on Earth?
Does time stop ticking under the water’s surface?
Eris Gentle is a multimedia artist, ritualist, psychonaut, and conjurer of dreamscapes. Conceived and produced while in quarantine, “Body Rites” is Eris’ response to the observation of physical rituals that become fluidly automatic, as if possessed by a force outside the body. This outdoor exhibit examines the relationship between manual construction and spontaneous evolution through paintings, sculpture, and interactive installation, inviting you to be both observer and participant.
There are the things we do, and there are the things that do us.
Have you ever met your double?
Would you consume the last green plant on Earth?
Does time stop ticking under the water’s surface?
Eris Gentle is a multimedia artist, ritualist, psychonaut, and conjurer of dreamscapes. Conceived and produced while in quarantine, “Body Rites” is Eris’ response to the observation of physical rituals that become fluidly automatic, as if possessed by a force outside the body. This outdoor exhibit examines the relationship between manual construction and spontaneous evolution through paintings, sculpture, and interactive installation, inviting you to be both observer and participant.
curiosity cousins (8.14.21)
We sent out an open call to artists and scientists, from novice to professional, who want to follow their curiosity and document their discoveries.
A few years back we held our first science fair, called Show Us Your Left Brain, and that basic concept has returned to give more people a chance to play with the scientific method.
This time around we're opening the door to artistic experiments as well, because why not? Art and science are cousins, after all.
Some submissions came with explanatory statements, some just a question.
A few years back we held our first science fair, called Show Us Your Left Brain, and that basic concept has returned to give more people a chance to play with the scientific method.
This time around we're opening the door to artistic experiments as well, because why not? Art and science are cousins, after all.
Some submissions came with explanatory statements, some just a question.
What does an idea look like?
"Strong Idea" by Bill Jeffery
How can life-drawing be re-imagined?
visit www.studiojcg.com for more
How can I document my experience of the COVID-19 pandemic through art?
by Jen Webel
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Palmetto SP, Colorado Bend SP, Garner SP, McKinney Falls SP, Pedernales SP, and Enchanted Rock SNA are Texan outdoor spaces my family and I visited 40 times during the covid pandemic starting in March 2020 to now.
I have always loved and collected park maps; the topography lines showing elevation changes, scientific illustrations of flora and fauna of a particular print quality, and historical stories that add to the value of being there is treasured, along with their pragmatic information to navigate trails, rivers, and caves on day hikes or multiple day camping trips. While attending a friend’s covid scrapbooking party, an intentional gathering to reflect on joys and woes of the covid experience in July 2021 through art making and record keeping, I began to doodle cartoon covid particles on these Enchanted rock maps. I added dark shadows for fear, and noticed the elevation changes on the map look like the charts showing the rise and fall of infections. I outlined the birds in silver since during the pandemic I had more opportunities due to being homebound to observe the natural world, especially birds attracted to my front yard bird feeder, a literal ‘silver lining.’ In fact, when camping in Enchanted Rock for several days in March 2021 a painted bunting like in the map appeared at our campsite for over half an hour while I was collaging a painted bunting bookmark from another identical map. I decided the weft strips should angle down, whereas traditionally warp and weft strips are woven at right angles, since the pandemic has negatively affected so many with illness, job loss, evictions, other insecurities and death. I created a pocket within the weaving behind the birds to hold natural trinkets of personal value: my cat Ladybird’s fur, a felt flower, and a feather from my hen. |
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How can we examine the microanatomy of living creatures?
by Dr. Amanda K. Vaughn
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We histologists use waxes, razors and dyes (in that order) to embed, section, and stain different cellular features along a single plane of tissue. In these experiments, we create a cross sectional image to look at the shape that cells form and the types of cells that exist in that plane (fat cells, osteocytes or bone cells, cancer cells, neurons, myocytes or muscle cells, and many more - I could go on for days!). We can analyze tissue in situ or in its whole form by staining the organ or organism directly, thereby illuminating cellular features that we would not have seen otherwise. By exploring microanatomy, we are identifying more pieces of the greater puzzle of the mystery of life!
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top shelf, l-r: adult mouse brain; kidneys of mice at assorted ages
bottom shelf, l-r: mouse pup with Alcian blue staining; adult mouse liver
Images, top row, l-r: painting of embryonic neural tube during closure; H&E stain of closed neural tube of embryonic mouse pre-brain
Images, bottom row, l-r: mouse embryo during neural tube closure (day 8 of development); painting of embryonic mouse pre-brain section
bottom shelf, l-r: mouse pup with Alcian blue staining; adult mouse liver
Images, top row, l-r: painting of embryonic neural tube during closure; H&E stain of closed neural tube of embryonic mouse pre-brain
Images, bottom row, l-r: mouse embryo during neural tube closure (day 8 of development); painting of embryonic mouse pre-brain section
Paint that it’s ok if you eat it
by Andy Miller
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How:
2 tbsp sugar 0.3333 cup cornstarch 2 cup water put it all in a saucepan on medium-high heat stir/scrape consistently when hair-gel-quality take off heat pour in container add lots of food coloring to make it bright (1) How’s the paint? It tastes bland in a good way Be careful with the water — too little water and it’s like a firm jelly that sits atop the paper, too much water and it doesn’t really set/stick very well There’s probably a good specialized use for it that I haven’t found |
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(2) Can I paint with my tongue?
It is difficult to control your tongue well enough to paint lines, shapes, textural effects, anything recognizable, or happy accidents
So it depends on how you define “painting”
(3) Can I paint with my face?
It is difficult to control your face well enough - see above - there is a psychic desire to pretend you’re like making a mold out of the food colors but it’s just like a random stain
(4) Can I paint with my hair?
Yes, if you can grab your hair and shape it into a vaguely brush-like extension
You can approach the act of intentional movement and depiction, but you’d probably be more successful if you used better paint than this paint you can eat
(5) Can I paint with my spit?
Yes, if you want abstract type stuff
Really what’s best is mixing the different food colorings with whatever biohazard or not biohazard type liquid and getting some pretty color mixes
(6) Can I paint with my teeth?
You can sort of get some of the paint on the food or paper but really it’s better if you use something like your hand or a utensil
(7) What’s the best surface for use of this paint?
Anything in the world is ok, but I only used a few things around the house
I guess I felt the most comfortable with paper towels because I felt like they understood what the food paint meant in a way that they couldn’t really “get” commercial paints
(8) What’s the verdict?
This paint is super-cheap, which is awesome - I could go for weeks painting all the time from just a couple bags of sugar and cornstarch
Except I won’t, unless I’m too sad to do other stuff instead
(9) Is there anything I’d like to share?
The best stuff (imo) has my spit all over it which grosses a majority of people out
The painting with hair was kinda “art-like”, could probably have been done with tempera instead but I guess I felt more of an emotional connection with the paint I made myself. There you go
It is difficult to control your tongue well enough to paint lines, shapes, textural effects, anything recognizable, or happy accidents
So it depends on how you define “painting”
(3) Can I paint with my face?
It is difficult to control your face well enough - see above - there is a psychic desire to pretend you’re like making a mold out of the food colors but it’s just like a random stain
(4) Can I paint with my hair?
Yes, if you can grab your hair and shape it into a vaguely brush-like extension
You can approach the act of intentional movement and depiction, but you’d probably be more successful if you used better paint than this paint you can eat
(5) Can I paint with my spit?
Yes, if you want abstract type stuff
Really what’s best is mixing the different food colorings with whatever biohazard or not biohazard type liquid and getting some pretty color mixes
(6) Can I paint with my teeth?
You can sort of get some of the paint on the food or paper but really it’s better if you use something like your hand or a utensil
(7) What’s the best surface for use of this paint?
Anything in the world is ok, but I only used a few things around the house
I guess I felt the most comfortable with paper towels because I felt like they understood what the food paint meant in a way that they couldn’t really “get” commercial paints
(8) What’s the verdict?
This paint is super-cheap, which is awesome - I could go for weeks painting all the time from just a couple bags of sugar and cornstarch
Except I won’t, unless I’m too sad to do other stuff instead
(9) Is there anything I’d like to share?
The best stuff (imo) has my spit all over it which grosses a majority of people out
The painting with hair was kinda “art-like”, could probably have been done with tempera instead but I guess I felt more of an emotional connection with the paint I made myself. There you go
The Many Moods of Media
by Chad Hopper
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What can we see when we magnify things??
Interactive station with microscope and rocks provided by Clay Allison
(+ other specimens found around the house)
Lepidalite (flat)
Drusy Quartz
Peacock Copper
young cockroach
aloe leaves
onion skin
(+ other specimens found around the house)
Lepidalite (flat)
Drusy Quartz
Peacock Copper
young cockroach
aloe leaves
onion skin
The Transmedia Tesseract
by Christian Raymond, Sergiu Lupse
How can the structural four-dimensional equivalent of a cube, or "hypercube" be used to contemplate and as a creative tool to explore and craft new media stories?
The very story of our fascination with tesseracts weaves across the arts, science, technology and culture. Meanwhile, many structural models, such as plot mountains, building blocks, or emotional rollercoasters have been developed to describe story and used as creative tools by storytellers, generally applied within individual mediums like short stories, film or gaming. So, the question is, how do we similarly contemplate and even design better complex media-jumping cross-media stories, which may incorporate such elements as narrative interactive story branching or extended reality elements?
Here the mind-bending concept of a tesseract with its intricate structural framework, is re-imagined with interconnected shifting “portals” akin to how both artists and users now ultimately can make choices about creative content and experience. Such a perspective can be used to consider said quantum leap in new media storytelling:
The Transmedia Tesseract is a creative structure and tool which explores and expresses new dimensions of storytelling unfolding across multiple forms of media and platforms.
Scan for more info and an animation, go to transmediatesseract.ne
The very story of our fascination with tesseracts weaves across the arts, science, technology and culture. Meanwhile, many structural models, such as plot mountains, building blocks, or emotional rollercoasters have been developed to describe story and used as creative tools by storytellers, generally applied within individual mediums like short stories, film or gaming. So, the question is, how do we similarly contemplate and even design better complex media-jumping cross-media stories, which may incorporate such elements as narrative interactive story branching or extended reality elements?
Here the mind-bending concept of a tesseract with its intricate structural framework, is re-imagined with interconnected shifting “portals” akin to how both artists and users now ultimately can make choices about creative content and experience. Such a perspective can be used to consider said quantum leap in new media storytelling:
The Transmedia Tesseract is a creative structure and tool which explores and expresses new dimensions of storytelling unfolding across multiple forms of media and platforms.
Scan for more info and an animation, go to transmediatesseract.ne
TAYSHAS (6.19.21)
The name Texas is derived from the Native American Caddo term tayshas. The expression was used by the Caddo to describe “friends”, and was first heard by Spanish explorers during early encounters with the native tribes in the 1600's. Keatan McKeever, Fernando Flores, and Michael Flanagan all have roots in the Rio Grande Valley, a region that comprises areas of South Texas in the United States and Northern Tamaulipas in Mexico. Each artist draws on their unique experiences in the area to create work that explores themes of identity, material, and environment.
Keatan McKeever is a visual artist from the Rio-Grande Valley of South Texas. Working primarily in the mediums of printmaking and sculpture, her work explores the relationship between natural and manufactured environments.
Fernando A. Flores was born in Reynosa, Tamaulipas, Mexico, and grew up across the Rio Grande in Alton, TX. His debut novel, Tears of the Trufflepig, was published by FSG Originals in 2019. Depicting a futuristic South Texas, the novel blends humor with social commentary in an exploration of border life. Similarly, his photographs depict street scenes in Austin, South Texas, and other places that his travels have taken him.
Michael Flanagan was born and raised in McAllen, TX. Combining painting and printmaking, his work reappropriates popular imagery while examining the historical context that informs contemporary social culture. Michael curated this show of his and his friends' work.
Keatan McKeever is a visual artist from the Rio-Grande Valley of South Texas. Working primarily in the mediums of printmaking and sculpture, her work explores the relationship between natural and manufactured environments.
Fernando A. Flores was born in Reynosa, Tamaulipas, Mexico, and grew up across the Rio Grande in Alton, TX. His debut novel, Tears of the Trufflepig, was published by FSG Originals in 2019. Depicting a futuristic South Texas, the novel blends humor with social commentary in an exploration of border life. Similarly, his photographs depict street scenes in Austin, South Texas, and other places that his travels have taken him.
Michael Flanagan was born and raised in McAllen, TX. Combining painting and printmaking, his work reappropriates popular imagery while examining the historical context that informs contemporary social culture. Michael curated this show of his and his friends' work.
the descending castle (5.15.21)
The Descending Castle is the newest offering of drawings and installation by artist James Roo. The show has been referred to by acclaimed interdimensional art critic Smerch the Craamp as “...not unlike a shambling nocturnal rodent, it’s hair matted with the grease of a burned out car engine nestled in the weeds of the abandoned cul-de-sac it calls home, emerging, swathed in the gloaming of dusk, it’s eyes—absurd glittering beacons, guiding it to the nearest turgid swamp to feast on bugs and crawling things under the cover of dark...”
When reached for comment, the artist had this to say:
“I have never had a helpful thought or an interesting whim in my entire life! I am the grey dust that settles on your half-eaten sandwich. “These images were beamed directly into my brain as I knelt paying homage at the alter of the Glowing Heap, my mind awash in the Stygian rays of the Effulgent Dump, all glory and power to the Glimmering Pile!”
When reached for comment, the artist had this to say:
“I have never had a helpful thought or an interesting whim in my entire life! I am the grey dust that settles on your half-eaten sandwich. “These images were beamed directly into my brain as I knelt paying homage at the alter of the Glowing Heap, my mind awash in the Stygian rays of the Effulgent Dump, all glory and power to the Glimmering Pile!”
yard marvels (4.24.21)
For our first venture back into in-person viewing after the winter COVID-19 spike, we put out an open call for all sorts of sculptures. This theme-free community show included pieces by Amanda Vaughn, April Garcia, Chad Hopper, Clay Allison, Dennis Moore, Grant Cross, Jay Maclaskey, Jessica Nixon, Jillian Joy Newman, Josh Ronsen, Lloyd Smith, Megan McAtee, and Tucker Bradley.
VARIETY SHOW WITH A.H.B.J. (3.7.21)
Amanda h. b. Jones, a.k.a. one of the co-directors of Collection Rert, took her first solo show here as an opportunity to revive her zeal for performing. However, given the circumstances of the pandemic, modifications had to be made, and the project was turned into an amateur video-making self-challenge. The resulting collection includes some vulnerability (a peak into the behind-the-camera process), a dance video, some Amanda-style humor, a minor "action" scene, a relaxation demonstration, and a music video involving stop-motion animation.
WHAT IS IT? (1.21)
In this open call show for abstracts & inventions (things that make you go "What is it?"), we received submissions from Lauren Lowe, David Dennis, Sandy Bowie, Dennis Moore, Mark Strelecky, Carol Hayman, Katrin Abel, Chad Hopper, and Karen Woodward.
Before you read each caption, see what your imagination comes up with as to What It Is...
Before you read each caption, see what your imagination comes up with as to What It Is...
2020
My little biomorphic pony (11.22.20)
Visual artist and all-around lovely human April Garcia brought her latest collection of soft sculptures to our gallery and let them play and preen as they would... The resulting installation was a near-to-bursting fun-stravaganza for the senses.
Outdoors she collaborated with Amanda Jones to turn the permanent semi-sculptural ▲ into Fort Rasquache!
For more info about the term "rasquache" check out this link.
Outdoors she collaborated with Amanda Jones to turn the permanent semi-sculptural ▲ into Fort Rasquache!
For more info about the term "rasquache" check out this link.
scales & scorpions (10.19.20)
As this year has been pivotal, uncertain, and brought many changes around the world, it calls to question what new future we are moving into…but in the meantime, we linger here on the cusp.
The show’s title refers to the two zodiac signs which October straddles, Libra (the scales) and Scorpio (scorpion). Someone born on the edge of these two solar signs may inhabit a blend or synthesis of those two energies, much like a chimera.
We have invited our community of artists to explore the theme of cusps, welcoming any and all interpretations.
The show’s title refers to the two zodiac signs which October straddles, Libra (the scales) and Scorpio (scorpion). Someone born on the edge of these two solar signs may inhabit a blend or synthesis of those two energies, much like a chimera.
We have invited our community of artists to explore the theme of cusps, welcoming any and all interpretations.
King of crayons: the art of melvin scott (9.30.20)
Collection Rert's backyard neighbor often attracts curiosity from visitors for his unique and mysterious hand-built home.
And perhaps even more for the eye-catching candy-colored fence surrounding his unofficial plot of land.
This is the home of Melvin Scott, a local in the most specific sense. For decades he lived around the corner, in a similarly
quaint tiny home behind the residence of his foster mother. He cared for her in her old age, but when she passed away almost a decade ago, he was left with no resources or place to live except his non-running gold Volvo. Some opportunities to work and live elsewhere popped up over time, but he always felt a strong pull to return to this neighborhood. Now he has made his home here and when he is not doing odd jobs for neighbors, he can often be found melting crayons into the abstract masterpieces you see below. As the first photo below, of the incomplete collection of his work, shows, they probably number in the thousands. Although he is a very private individual, he welcomes art-loving strangers to approach him about viewing and purchasing pieces from him.
And perhaps even more for the eye-catching candy-colored fence surrounding his unofficial plot of land.
This is the home of Melvin Scott, a local in the most specific sense. For decades he lived around the corner, in a similarly
quaint tiny home behind the residence of his foster mother. He cared for her in her old age, but when she passed away almost a decade ago, he was left with no resources or place to live except his non-running gold Volvo. Some opportunities to work and live elsewhere popped up over time, but he always felt a strong pull to return to this neighborhood. Now he has made his home here and when he is not doing odd jobs for neighbors, he can often be found melting crayons into the abstract masterpieces you see below. As the first photo below, of the incomplete collection of his work, shows, they probably number in the thousands. Although he is a very private individual, he welcomes art-loving strangers to approach him about viewing and purchasing pieces from him.
Selections from the Abstract Series
Selections from Coloring Pages
anthropomorphic (9.19.20)
In our second installment of pandemic outdoor-only gallery viewing,
we hosted the collages of Andrea Alfaro and the drawings of Chris Martino.
Together they offered us many reasons to smile and reflect, with riddles coexisting and colliding
and wrapping our brains in mysterious splendor.
The dynamic duo provided us with this map of what to expect:
horses riding cats
myth
cats riding horses
tarot
imaginary wilderness
anatomy
cats talking on landlines
obscurities
cats and horses
Below is the semi-complete documentation of that exhibit.
we hosted the collages of Andrea Alfaro and the drawings of Chris Martino.
Together they offered us many reasons to smile and reflect, with riddles coexisting and colliding
and wrapping our brains in mysterious splendor.
The dynamic duo provided us with this map of what to expect:
horses riding cats
myth
cats riding horses
tarot
imaginary wilderness
anatomy
cats talking on landlines
obscurities
cats and horses
Below is the semi-complete documentation of that exhibit.
Blessed: the many visions of lloyd smith (8.16.20)
Next in our SOLO VERTUAL series, we are delighted to bring you an up-close look at some of our neighbor Lloyd Smith's
many creations. If you've spent time at the Vortex, Butterfly Bar, or the new restaurant on Manor Road, Vic and Al's, you
may have seen his handiwork and not known it. In addition to taking care of many of the plants at these establishments,
he provides custom installations of his unique sculptures and assemblages.
Lloyd is a lifelong artist who got a lot of his early crafting experience from tagging along to his mother's
Girl Scout troops (she was a troop leader in addition to a registered nurse). His father was in the military,
so the family moved a lot. Lloyd attended 17 different schools, including some time in Korea.
There he learned "not to be obedient, but the meaning of obedience."
"I got so many punishments for being too independent.
I would teach people how to do things that I had never learned how to do.
I've always been a champion."
In true Sagittarius form, is often running in multiple directions taking care of multiple projects and
sparking new ideas along the way. He says "I'm not under any pressure, except for thinking" (pointing to his head).
"That's why I have to continue. I do something for somebody every day; I give every day."
"When I had my accident, it took me 20 years to forgive myself. But I met Him. I learned love.
Everywhere I go I’ve got a place for me. Some people are outcasts; I’m an uncast - I fit in anywhere."
To purchase some art from Lloyd, find him at his headquarters on E. 22nd St. @ Maple Ave.
(across from the back of Eastside Commons)
many creations. If you've spent time at the Vortex, Butterfly Bar, or the new restaurant on Manor Road, Vic and Al's, you
may have seen his handiwork and not known it. In addition to taking care of many of the plants at these establishments,
he provides custom installations of his unique sculptures and assemblages.
Lloyd is a lifelong artist who got a lot of his early crafting experience from tagging along to his mother's
Girl Scout troops (she was a troop leader in addition to a registered nurse). His father was in the military,
so the family moved a lot. Lloyd attended 17 different schools, including some time in Korea.
There he learned "not to be obedient, but the meaning of obedience."
"I got so many punishments for being too independent.
I would teach people how to do things that I had never learned how to do.
I've always been a champion."
In true Sagittarius form, is often running in multiple directions taking care of multiple projects and
sparking new ideas along the way. He says "I'm not under any pressure, except for thinking" (pointing to his head).
"That's why I have to continue. I do something for somebody every day; I give every day."
"When I had my accident, it took me 20 years to forgive myself. But I met Him. I learned love.
Everywhere I go I’ve got a place for me. Some people are outcasts; I’m an uncast - I fit in anywhere."
To purchase some art from Lloyd, find him at his headquarters on E. 22nd St. @ Maple Ave.
(across from the back of Eastside Commons)
BIRDWATCHING (7.25.20)
After 4.5 months of no in-person art shows during the COVID-19 pandemic of 2020, we made adjustments and "reopened," albeit in a different form. For our Birdwatching show, audience members signed up in advance for appointments, then viewed art from the windows and in the yard. Simultaneous viewings were capped at 6, and audience members wore their masks and stayed spread out. Binoculars were available for an extra dimension of seeing.
Participating artists offered beautiful, reverent, abstract, philosophical, spontaneous and humorous homages to avian creatures of the world. These artists self-selected to participate through an open call:
Participating artists offered beautiful, reverent, abstract, philosophical, spontaneous and humorous homages to avian creatures of the world. These artists self-selected to participate through an open call:
|
Lloyd Smith
Josh Ronsen Kate Abel Chad Hopper Amanda Jones Rene Perez Robert (Bob) Jones Johnny Villarreal Kathi Herrin Mei Pantuso Stephanie Reid |
Aerica Raven Van Dorn
Richard Samuel Amanda Vaughn + Travis Byargeon Linda Wandt Jason Brooks Eric Jordan Katherine Vaughn with Malika Boudissa Douglas Laustsen Linda Kelsey-Jones Leah Smith + Chris Skinner + Chad Allen Molly + Twyla Rhode |
Twyla Rhode: Portraits and other work (6.18.20)
Twyla Rhode is a 15 year old artist living in Austin. This is her first solo show (outside of Instagram) and she is excited to be sharing some of her work and passion! Involved in the arts from a young age, in the last year or so her painterly work has jumped to another level of amazing through her dedicated daily practice.
PALIMPSESTS & ITERATIONS (5.28.20)
Linda Kelsey-Jones is an accomplished artist, educator, and curator living in San Marcos. Her work incorporates photos (original and archival) plus digital techniques as well as traditional and experimental media, often creating layers of texture and nuance within an overall rhythmic composition. It's not hard to see in her work how Reflections Create Possibilities...
THE PERMANENT COLLECTION (4.25.20)
While we are all sheltering in place, we decided to document a large part of our personal art collection for you to look at and enjoy. We counted approximately 64 artists (including a few collaborations)! Some of the artists are on our walls more than once, but we chose just one piece from each artist for now.
Below is a list of artists in our collection along with (work-in-progress) website links or instagram handle if available.
|
Adam Young
Amanda Jones Amy Tetcha Basil Andy Miller Antonio Vazquez April Garcia Bill Ivey+Jason McDonald+Lance McMahan Bill Jeffery Boone Graham Carl Smith Chad Hopper Chris Martino Chris Skinner Corinne Loperfido David Pratt David Taber Debangana Banerjee Del Wieding Dennis Hodges Don Nedobeck Eric Jordan Erin Parr Fernando A. Flores FFTwinz George Zupp Grady Roper Grady Roper+Amanda Jones Haley Haden Henna Chou Ike Eichenberg Jamie Panzer Jeff Dahlgren |
Jennifer Jarding
Jessica Nixon Jessica Tracy Jieun Beth Kim Joe Jack Talcum Jonny Hyrns Kambiz Shabankare Kevin Pope Lace Durant Lance McMahan Leah Smith Linda Kelsey-Jones Lindsey Verrill Lisa McPike-Smith Lloyd Smith Mark Strelecky Megan McAtee Melvin Scott Michael Abelman Michelle Proksell Molly Rhode Raquel Bell Scott Porter Silky Shoemaker Toto Miranda Trevor Lewis Rieck Twyla Rhode Viktor Scot Vincent Martinez Wendy Rhode Zoe Darsee |
THE PARTS UNKNOWN (2.15.20)
Luchador004.png and El Margo Amargo Present: The Parts Unknown
[Dax Norman + Bill Byrne]
The Parts Unknown are a tag team of multi-media artists and musicians who will be in the squared circle with your brain.
They play a punk rock meets electronic psychedelic that recall Suicide and early Butthole Surfers. Their performance is an
experience with mind-melting animation performed alongside their music. The Parts Unknown are made up of visualist, singer
and acrobat, luchador004.png and electronic musician, vocalist, and bad dancer El Mago Amargo.
Their visual and performance art is a world built from the personalities of professional wrestling. The merchandise the Parts Unknown create is artwork derived from their unique personas that come in the form of comic books, t-shirts, posters and other collectibles.
So, do you have what it takes to get into the ring and put over The Parts Unknown?
[Dax Norman + Bill Byrne]
The Parts Unknown are a tag team of multi-media artists and musicians who will be in the squared circle with your brain.
They play a punk rock meets electronic psychedelic that recall Suicide and early Butthole Surfers. Their performance is an
experience with mind-melting animation performed alongside their music. The Parts Unknown are made up of visualist, singer
and acrobat, luchador004.png and electronic musician, vocalist, and bad dancer El Mago Amargo.
Their visual and performance art is a world built from the personalities of professional wrestling. The merchandise the Parts Unknown create is artwork derived from their unique personas that come in the form of comic books, t-shirts, posters and other collectibles.
So, do you have what it takes to get into the ring and put over The Parts Unknown?
PIECES AND PIECES OF PIECES (1.11.20)
Group collage show! With 20 participants and opening night sound-collage performed by Epop Nivek.
2019
black clown, except it's not a clown (12.7.19)
Black Clown, Except it’s not a Clown is a body of work that is inspired by Langston Hughes’s “The Black Clown” poem, the dichotomies between performance and reality, depictions of the clown archetypes, and the tarot card The Fool. In this series, ideas of how the clown archetype can be embodied as a metaphorical representation for black expression is explored.
Working with the notion of clowns being allowed governance to traverse their own polar-emotions, my work investigates the role of the Black Clown as a manifestation of the reclamation of one’s own identity, rather than being portrayed as a negative stereotype as seen in Hughes’s poem, and in many other media portrayals.
Diane Campos is a 4th year undergraduate student double majoring in Studio Art and Mexican American Studies with a minor in African and African Diaspora Studies at The University of Texas at Austin. Being queer and Afro-Mexican, they work with painting, print-making, transmedia, and mixed media to emphasize different black identities that exist throughout the diaspora. As they explore different black identities within the art context, they challenge the historical canon of black visibility within Latinx spaces. They also conduct research on Afro-Latinx identities using their own and others’ works of art as a basis for understanding.
Website: dianec.work
Insta: @sir.dica
Working with the notion of clowns being allowed governance to traverse their own polar-emotions, my work investigates the role of the Black Clown as a manifestation of the reclamation of one’s own identity, rather than being portrayed as a negative stereotype as seen in Hughes’s poem, and in many other media portrayals.
Diane Campos is a 4th year undergraduate student double majoring in Studio Art and Mexican American Studies with a minor in African and African Diaspora Studies at The University of Texas at Austin. Being queer and Afro-Mexican, they work with painting, print-making, transmedia, and mixed media to emphasize different black identities that exist throughout the diaspora. As they explore different black identities within the art context, they challenge the historical canon of black visibility within Latinx spaces. They also conduct research on Afro-Latinx identities using their own and others’ works of art as a basis for understanding.
Website: dianec.work
Insta: @sir.dica
gay dregs: Archive rejects (11.9.19)
FFTwinz (Beth Cita and Lex Vaughn) filled our gallery with the "didn’t make its" of the gay archives. (Although, for the record, all of it was created for this show.) Delightful knick-knacks, ephemera and wearables gave viewers a humorous and engaging immersion into issues/experiences concerning lesbian identity.
The unforgettable opening night party featured a pop-up bar ("Tassy's") which was an installation unto itself.
The unforgettable opening night party featured a pop-up bar ("Tassy's") which was an installation unto itself.
SHOW US YOUR FEARS (10.19.19)
What gets your heart racing and your palms sweating?
What do you avoid to the point of inconveniencing yourself or preventing your own growth?
Fears come in flavors rational and irrational, light and dark.
Fifteen bold artists mustered up their courage and responded to our open call for work about fears, including--
Katrin Abel
Andrea Alfaro
Jason Brooks
Justine Crosby
Adam G.
April Garcia
Chad Hopper
Jonny Hyrns
Chris Martino
Todd Mein
Jessica Nixon
Joseph Noderer
Dax Norman
Sean Thornton
Del Weiding
What do you avoid to the point of inconveniencing yourself or preventing your own growth?
Fears come in flavors rational and irrational, light and dark.
Fifteen bold artists mustered up their courage and responded to our open call for work about fears, including--
Katrin Abel
Andrea Alfaro
Jason Brooks
Justine Crosby
Adam G.
April Garcia
Chad Hopper
Jonny Hyrns
Chris Martino
Todd Mein
Jessica Nixon
Joseph Noderer
Dax Norman
Sean Thornton
Del Weiding
grown up baby time (9.7.19)
Grown Up Baby Time was a once-in-a-lifetime interactive art experience for all ages which involved coloring, 15 second game shows, food games, a giant thirsty baby, potions, neck photography, magic, a time capsule the size of the gallery, and much more. Audience members were treated to absurd skits and scenarios, care of Chad Hopper (mastermind) and the ensemble cast including: Andy Miller, Emily Summerfield, Kevin Pope, Amanda Jones, Michael Aaron, Chris Martino and Julia Bond. Behind the scenes help was provided by Jessica Nixon and Chris Skinner, and the time capsule "art-ifacts" were created by the audience members themselves.
"Hilarious, actually!" - Matt
"Hilarious, actually!" - Matt
Beyond language (7.27.19)
Beyond Language: new works from Chris Skinner
(digital prints, mixed media paintings, and 3 channel video)
The work that I'm doing now has a through-line of obfuscation. Like the limit-experience in critical theory as seen by Foucault & Bataille, the visual language is explosive and erratic from a continual critique of its own self-consciousness and existence. To further explain, the limit-experience could be seen as an event of extreme psychic weight that pushes a person towards madness or, oppositely, towards revelation. Seen by Foucault & Bataille, the limit-experience is that moment when comprehension and, by extension, language breaks down due to a recursive loop, a moebius strip, of understanding imminent within the subject. Language/thought breaks free from its moorings and turns toward itself pointing to its own limitations to communicate, even just within the subject, as in the situation of talking to one's self. This is a moment when the subject (ie. the audience) is faced with the prospect of obtaining some power over their own comprehension through transgressive experience.
Chris topped off the evening with a live performance, bringing the audience closer to the limitations of verbal language for the living body and mind.
(digital prints, mixed media paintings, and 3 channel video)
The work that I'm doing now has a through-line of obfuscation. Like the limit-experience in critical theory as seen by Foucault & Bataille, the visual language is explosive and erratic from a continual critique of its own self-consciousness and existence. To further explain, the limit-experience could be seen as an event of extreme psychic weight that pushes a person towards madness or, oppositely, towards revelation. Seen by Foucault & Bataille, the limit-experience is that moment when comprehension and, by extension, language breaks down due to a recursive loop, a moebius strip, of understanding imminent within the subject. Language/thought breaks free from its moorings and turns toward itself pointing to its own limitations to communicate, even just within the subject, as in the situation of talking to one's self. This is a moment when the subject (ie. the audience) is faced with the prospect of obtaining some power over their own comprehension through transgressive experience.
Chris topped off the evening with a live performance, bringing the audience closer to the limitations of verbal language for the living body and mind.
LINE TIME (6.29.19)
We put out an open call for artists to pick a date from the past, present, or future and to create a piece of art (any medium) connected to their chosen date. Nineteen participants submitted artwork (including two interactive pieces!) and a thread was strung around the room connecting all of the pieces in chronological order. Viewers could then take in the art and contemplate past, present and future... time traveling without the usual hassles.
The captions of the photos indicate which date(s) each artwork was referencing.
The captions of the photos indicate which date(s) each artwork was referencing.
WHAT REMAINS, RISE AND FALL (5.11.19)
Conceptual artist Jieun Beth presented her new works, a diptych of a flower bouquet interpreted in layers of gradual decay and a collection of nine lenticular prints showing the motion of change of the flower as viewers walk from left to right. Alongside those, a few works from her past series, "Always Saying Goodbye" and "Being" were on display.
This exhibit revolves around Jieun Beth's continued interest in the idea of Personal Identity; the influence of a body and the memory (mind) on one's perception, inquiring the effect of the Life's impermanence on one's psyche.
"Bloom and fade,
time passed away.
No movement stays the same,
only flows away.
End hasn't been tasted,
though flesh knows it's there.
Look away, no other way.
Mind ascends, body sheds,
What remains, rise and fall."
---------------------------------------------------------------
Artist Bio:
Jieun Beth (b. Texas) was born in the U.S. and lived in twelve different cities, diverse influences motivating her artistic direction. She graduated with her MFA in Studio Art at the University of Texas at Austin in 2013 and received her BFA in Painting at the Savannah College of Art and Design in 2009. She explores the idea of Personal identity and examines the influence of the body, memory and transience of life on the understanding of one’s identity. She is the Exhibit Coordinator at the Austin Central Library.
In 2017, her works have been part of multiple group shows nationally and internationally, including New York City, Austin, and Bulgaria. Her collaborative public art project, "The Dwelling", was fulfilled by the City of Austin’s Culture Alive grant at the Elisabet Ney Museum in Austin, TX and the project was relocated to Colorado Spring, CO in 2018. Her Solo shows were exhibited at the Czong Institute of Contemporary Art in Seoul, South Korea, at the Big Medium in Austin, TX , and Midland Community College in Midland, TX in 2018. Her upcoming shows will be at the Collection Rert in Austin, TX and at the ARTIFACT gallery in New York, NY in 2020.
This exhibit revolves around Jieun Beth's continued interest in the idea of Personal Identity; the influence of a body and the memory (mind) on one's perception, inquiring the effect of the Life's impermanence on one's psyche.
"Bloom and fade,
time passed away.
No movement stays the same,
only flows away.
End hasn't been tasted,
though flesh knows it's there.
Look away, no other way.
Mind ascends, body sheds,
What remains, rise and fall."
---------------------------------------------------------------
Artist Bio:
Jieun Beth (b. Texas) was born in the U.S. and lived in twelve different cities, diverse influences motivating her artistic direction. She graduated with her MFA in Studio Art at the University of Texas at Austin in 2013 and received her BFA in Painting at the Savannah College of Art and Design in 2009. She explores the idea of Personal identity and examines the influence of the body, memory and transience of life on the understanding of one’s identity. She is the Exhibit Coordinator at the Austin Central Library.
In 2017, her works have been part of multiple group shows nationally and internationally, including New York City, Austin, and Bulgaria. Her collaborative public art project, "The Dwelling", was fulfilled by the City of Austin’s Culture Alive grant at the Elisabet Ney Museum in Austin, TX and the project was relocated to Colorado Spring, CO in 2018. Her Solo shows were exhibited at the Czong Institute of Contemporary Art in Seoul, South Korea, at the Big Medium in Austin, TX , and Midland Community College in Midland, TX in 2018. Her upcoming shows will be at the Collection Rert in Austin, TX and at the ARTIFACT gallery in New York, NY in 2020.
STREET SEEN(3.30.19)
For STREET SEEN we gathered some favorite photos from photographer friends old and new. The roster included:
Gretchen's selections happened to have been in a larger body of work she did on "Messes", so her fantastic artist statement for those is included below...
MESSES by Gretchen Phillips
How do we respond when we see inside things splayed outside? For example: feelings that are supposed to be kept to ourselves, or perhaps mattresses on the street? How do we respond when we enter someone's home and it's a mess, messier than our own? Do we have judgments? Do we want to clean up this mess? Or do we want to escape quickly before we're asked to clean up this mess? What if it's a pile of stuff that's just been dumped in public, like, "Here, I've pulled this crap out from inside, now you deal with it. I simply can not deal anymore." When I see a mattress in the rain placed next to an insufficiently small waste bin, I think, "This is as far as they could interact with this unwanted thing."
A hot dog dropped and left on the floor of the Ikea elevator is somewhat amusing. Homes and hotels in former Yugoslavia bombed and ransacked and left to the elements as reminders that people can be so cruel to each other are not.
My father was a hoarder and my mother is a neat freak. Both of those compulsions live inside me. If I want to clean up my messes I need to take the time to actually sift thru their contents, feel the feelings that seeing the objects elicit, and discard what's no longer useful. Ideally I do this with another person present so that I needn't feel totally alone with what a hot mess I am.
Ultimately I find it comforting to see how messy and imperfect people are. It's like, You mean it's not just me?
- Gretchen Phillips
- Melissa Seely with Molly Richardson
- Brad Marcum
- Tomas Fierro
- Amarachi Ngwakwe
- Fernando Flores
- and Steve Landry
Gretchen's selections happened to have been in a larger body of work she did on "Messes", so her fantastic artist statement for those is included below...
MESSES by Gretchen Phillips
How do we respond when we see inside things splayed outside? For example: feelings that are supposed to be kept to ourselves, or perhaps mattresses on the street? How do we respond when we enter someone's home and it's a mess, messier than our own? Do we have judgments? Do we want to clean up this mess? Or do we want to escape quickly before we're asked to clean up this mess? What if it's a pile of stuff that's just been dumped in public, like, "Here, I've pulled this crap out from inside, now you deal with it. I simply can not deal anymore." When I see a mattress in the rain placed next to an insufficiently small waste bin, I think, "This is as far as they could interact with this unwanted thing."
A hot dog dropped and left on the floor of the Ikea elevator is somewhat amusing. Homes and hotels in former Yugoslavia bombed and ransacked and left to the elements as reminders that people can be so cruel to each other are not.
My father was a hoarder and my mother is a neat freak. Both of those compulsions live inside me. If I want to clean up my messes I need to take the time to actually sift thru their contents, feel the feelings that seeing the objects elicit, and discard what's no longer useful. Ideally I do this with another person present so that I needn't feel totally alone with what a hot mess I am.
Ultimately I find it comforting to see how messy and imperfect people are. It's like, You mean it's not just me?
TEARS AND LAUGHTER THEY KNOW ABOUT: PORTRAITS OF JUDY (3.2.19)
Multi-media artist and performer extraordinaire Silky Shoemaker chose to transform the space into an homage to one of her many idols, Judy Garland. Here is what she had to say about it:
"June is the 50th anniversary of Judy Garland's death. She was 47 at the time and gay lore has it that her death was the catalyst for the Stonewall Riots that erupted in the nights that followed. Whether or not her passing had an actual effect on those events is questionable, but it is interesting to consider her significance and symbolism as an enduring icon at the start of the gay liberation movement.
She once said "I try to bring the audience's own drama - tears and laughter they know about - to them." I think it was this unique ability to convey her own pathos and humanity, delight and devastation, which so resonated with queer audiences across decades. Her music as a body expresses profound longing for love, a desire to find oneself embraced and accepted, against a cold world. Her live performances were characteristically intimate and raw, a rockstar singing showtunes and ballads. In Judy, queer culture found an avatar who gave voice to their pain, but also their wildness.
Considering Judy, I think of the queer lore surrounding so many old Hollywood celebrities, the stories about them passed along in the outskirts of popular culture. These acts of mythologizing are often campy, frivolous, sometimes salacious, but they also serve as a serious way to make sense of a world that often alienates queer people. It is an essential action. It is a pathway of access to mainstream culture.
In this show I wanted to investigate "Judy", the icon and human, and to consider some of the queer lore that surrounds her legacy. The pieces shown here were all created in the past month (except for one) as an attempt to understand her, formally as a subject and culturally as a torchbearer. I also included some paintings of other Hollywood icons who have held a place in queer mythology and I’ve tried to interpret via my paintbrush some stories about them that persist in our oral history.
Working so intimately with this iconography has been a way for me to connect to my queer ancestry and to find a place within the flow of these never ending stories/histories.
I hope you enjoy!
-Silky Shoemaker"
Opening night featured an intimate candle-lit performance of Judy standards by J.C. King and Molly Fischer.
"June is the 50th anniversary of Judy Garland's death. She was 47 at the time and gay lore has it that her death was the catalyst for the Stonewall Riots that erupted in the nights that followed. Whether or not her passing had an actual effect on those events is questionable, but it is interesting to consider her significance and symbolism as an enduring icon at the start of the gay liberation movement.
She once said "I try to bring the audience's own drama - tears and laughter they know about - to them." I think it was this unique ability to convey her own pathos and humanity, delight and devastation, which so resonated with queer audiences across decades. Her music as a body expresses profound longing for love, a desire to find oneself embraced and accepted, against a cold world. Her live performances were characteristically intimate and raw, a rockstar singing showtunes and ballads. In Judy, queer culture found an avatar who gave voice to their pain, but also their wildness.
Considering Judy, I think of the queer lore surrounding so many old Hollywood celebrities, the stories about them passed along in the outskirts of popular culture. These acts of mythologizing are often campy, frivolous, sometimes salacious, but they also serve as a serious way to make sense of a world that often alienates queer people. It is an essential action. It is a pathway of access to mainstream culture.
In this show I wanted to investigate "Judy", the icon and human, and to consider some of the queer lore that surrounds her legacy. The pieces shown here were all created in the past month (except for one) as an attempt to understand her, formally as a subject and culturally as a torchbearer. I also included some paintings of other Hollywood icons who have held a place in queer mythology and I’ve tried to interpret via my paintbrush some stories about them that persist in our oral history.
Working so intimately with this iconography has been a way for me to connect to my queer ancestry and to find a place within the flow of these never ending stories/histories.
I hope you enjoy!
-Silky Shoemaker"
Opening night featured an intimate candle-lit performance of Judy standards by J.C. King and Molly Fischer.
DOUBLE DATE (2.9.19)
We presented an assignment with one rule to two previously unacquainted artist couples. The rule was: do whatever you want in our room!
The participating duos, Megan McAtee + Kaya Sumer and Liz Gomez + John Moloney, quickly found their areas of common interest, and the idea sparks flew. The resulting piece was a participatory sound installation inviting viewers to play and discover what sounds would emanate from the experimental assemblages.
Since the art medium made hiring a musician redundant, the quartet decided to spend the entertainment budget on a projection artist, Nils Hoover, who provided dazzling patterns and sound-reactive visuals for the installation (inside and outside) on opening night.
The participating duos, Megan McAtee + Kaya Sumer and Liz Gomez + John Moloney, quickly found their areas of common interest, and the idea sparks flew. The resulting piece was a participatory sound installation inviting viewers to play and discover what sounds would emanate from the experimental assemblages.
Since the art medium made hiring a musician redundant, the quartet decided to spend the entertainment budget on a projection artist, Nils Hoover, who provided dazzling patterns and sound-reactive visuals for the installation (inside and outside) on opening night.
2018
PAPER OR PLASTIC (12.1.18)
A self-guided time warp tour through the mind of Chaired!
Chaired = Chad Hopper a.k.a. Palfloat)
"My brain is full so I've decided to empty it into this room. This installation is an homage to all of the things from my youth that inspired me to become an artist...not only the magazines and toys, but also routine trips to the grocery store. In creating an amalgam of all my different bedrooms, I hope to share these inspirations and fill up other people's brains with an interactive experience."
The opening reception featured entertainment by the always-unique Andi Skeemax and the Slow Jams, preceded by a comedy set by Name Secrets.
Chaired = Chad Hopper a.k.a. Palfloat)
"My brain is full so I've decided to empty it into this room. This installation is an homage to all of the things from my youth that inspired me to become an artist...not only the magazines and toys, but also routine trips to the grocery store. In creating an amalgam of all my different bedrooms, I hope to share these inspirations and fill up other people's brains with an interactive experience."
The opening reception featured entertainment by the always-unique Andi Skeemax and the Slow Jams, preceded by a comedy set by Name Secrets.
WE WORK WITH WOOD (11.10.18)
This show celebrated wood and the art that can be made of it when power-tools and sandpaper are in the hands of women.
Participating artists:
April Garcia
Molly Strehl
Megan McAtee
Laura Sturtz
Abby Ruston
Amanda Jones
Jona Burkhalter
Lisa Hubley-King
Shanda Sansing
Terrie-Lynn Bach
& Raquel Bell
The reception featured music by Kenzie Slottow and friends.
Participating artists:
April Garcia
Molly Strehl
Megan McAtee
Laura Sturtz
Abby Ruston
Amanda Jones
Jona Burkhalter
Lisa Hubley-King
Shanda Sansing
Terrie-Lynn Bach
& Raquel Bell
The reception featured music by Kenzie Slottow and friends.
JONNY HYRNS (E.A.S.T. 2018)
https://thehyrnsman.tumblr.com/
"Jonny began art about 6 years back.
So it's abstract collage with a good dose of found stuffs.
Much has to be smashed flat.
Much is made whilst self-medicating.
Another part of the puzzle."
"Jonny began art about 6 years back.
So it's abstract collage with a good dose of found stuffs.
Much has to be smashed flat.
Much is made whilst self-medicating.
Another part of the puzzle."
IN THE DARK (10.27.18)
We asked artists to create something in complete darkness and then to conceal it from themselves for delivery to the gallery.
The creations were not seen by the artists until the day of the show!
Mysterious? Yes.
Difficult? Very.
But we know some very intrepid artists. The results were exciting and impressive, to say the least.
The creations were not seen by the artists until the day of the show!
Mysterious? Yes.
Difficult? Very.
But we know some very intrepid artists. The results were exciting and impressive, to say the least.
