Repetitive shapes, colorful exploding burrows, psycho-rhizomes
contact alanacarso at gmail dot com
Over the past year I have focused on the completion of a history painting which incorporates questions concerning immigration, overpopulation, and morality. My current work investigates the veneer of 1950s and early 1960s America and roles designated for people both in and out of the home.
contact wfenn at mac dot com
Danielle Hatch is formally trained in architecture and her art work developed as a means of addressing the interactions and relationships between the body and the built environment. Her projects are almost always site specific and developed as an evaluation of an architectural structure or environment in terms of its history, its uses, and how the past relates to its current state. Her work often deals with the passage of time and its affects on the built environment as well as our own bodies and the parallels between the two. She seeks to draw attention to invisible realities associated with a space.
contact daniellehat at gmail dot com
As an artist, I am fascinated by the personal relationship that evolves between an individual and multimedia environments. By combining a variety of digital and analog technology, I strive to create a more intimate end-user experience. Working in 3-dimensional space, I build interactive sculptures in order to combine the visualization of information with an experience that pushes viewers to emotional extremes. My investigations into the phenomena of spontaneous environments are also expressed through photography and illustration. Sometimes this body of work is conceived as a series and other times it grows from a single source. Although large-scale works often take years to realize, interactive sculpture is my main focus. These pieces present an alternative learning experience. By creating a foreign or abstract multimedia space, viewers approach the work without an understanding of how to interact and are consistently surprised by their initial experience. This shock is the catalyst for further investigation. The participant develops an understanding of the controls and gains confidence only through a direct hands-on exploration of the artwork. This, in turn, cultivates a genuine curiosity for new and unique interactive spaces.
contact annaknos at gmail dot com
Left: Through the muddled, twisted creepers it grew, feeling its way upwards.
oil and acrylic on birch. 8’ x 4’ 2008. Right: My coyote fence escapade astounds me.
oil + acrylic on birch, 48” x 36”, 2011
Pretend you’ve found a little cave. Get down on your hands and knees and crawl inside and look back out at the world. Everything seems shiny and dark. A sound, like the noise at the end of a river. There is a familiar scent of grass, turquoise and dirt. A perfect concoction of earth and mashed up leaves from trees with a smooth white bark. Remember how that feels and tastes, and when you climb back to your bed, tired and damp, with its beige carpet and clean windows, you lie there and try to sum it all up again in your head.
In these works I seek to portray a vacuous cybernetic dystopia populated by biomorphic figures recollecting, encountering, attacking, and sometimes just feeling each other out. These creatures represent an anthropomorphized amalgam of plant and animal elements, sometimes at odds with themselves, cavalcading at once elegantly and at the same time in a parade of reflexive destruction. Borrowing a language science fiction, I seek to explore the issues of a dystopic universe as it relates to contemporary concerns of the often corrosive yet beautiful relation between human animals and the botanic and geologic natural world we occupy.
contact foodnpool at yahoo dot com
Puzzle like paintings of fragmented narratives about getting awesome but are open for interpretation.
contact wiley.wallace at gmail dot com