jack felice
care package
Materials:
Magazine Clippings & Glue
sheilah restack
rose you made a letter shaped like an ax, good girl
Materials:
plotter paper, acetate, thread, pencil, paper, tape. 20" x 30", 2019
Notes:
These photo sculptural works are begun by attaching photo paper to my feet, then going about my day. When I am done, I develop them in the darkroom and they reveal marks of light, contact, wear of the ground through the material. The work was begun as a gesture towards documenting the in between of identities and unacknowledged moments as I moved through studio, dropoff, playdate, work, students, home. Artist, mother, lover, teacher, friend, artist, mother lover, child, mentor.
This particular work is a scanned walking print with my daughters imitation of the walking print laid on top. She taped her own paper to her feet to make a print, and it became incorporated with this piece.
john liles
hunger
Notes:
Erasure poem from eleven:eleven, original by Anthony Seidman
ieva sliziute
three pieces from (un)intentional cuts
(un)intentional cuts is a series of analog collages created by visual coincidences. This assemblage technique paired with creative intuition merges images found in fashion magazines (always two images per collage) into new scenarios, where everything is seamlessly interconnected through either shape, colour or context. Becoming an extension of each other, the photos are removed from their original stories and carefully layered by means of cutting, destroying, combining and rearranging to provide a new contextual setting for visual material. (un)intentional cuts aims to celebrate both the world, where scissors and hands are the only tools for image manipulation, and the value of printed media, which in this overly digital age reemerges in rather unexpected ways.
hannah lawless
viatique / viaticum
Materials:
Antique brass business card holder, antique book and notebook papers, dried flower petals, plastic vellum, and thread. Photos of work taken by Joelan Howes.
raymond de borja
two pieces from fracture
Materials:
Collage of cut papers on paper, 9.75 x 7.2 inches.
émilie kneifel
i have a keyboard shortcut for how we say i love you
Notes:
text messages with the author's mother, compiled and resent
patrick dunham
duly sliced above the hissing fossils
Notes:
Digital collage with photographs and found imagery
alonso llerena
12 (from la casa roja)
8 (from la casa roja)
Notes :
La Casa Roja foregrounds difficulties in familial relationships and identity against a journey through the Peruvian Internal Armed Conflict, immigration to the United States and a long-sought return to the speaker’s place of birth after nearly twenty years.
In these movingly voiced poems, a struggle of what it means to be a Peruvian creating memory abroad is hashed out by recounting events during the time of the conflict, the time away from my homeland, and the final return to a politically charged and now divided nation. Sensual turns come in poems which explore bilingual identity on the page and the importance of public space as a battle for commemoration. A son and a father confront this past over a drink, mestizaje and conflict are juxtaposed, a poet visits roadside execution sites or prisons destroyed by the state, and a desert speaks to us.
jack felice
care package
care package
Materials:
Magazine Clippings & Glue
sheilah restack
rose you made a letter shaped like an ax, good girl
rose you made a letter shaped like an ax, good girl
Materials:
plotter paper, acetate,
thread, pencil, paper, tape. 20" x 30", 2019
Notes:
These photo sculptural works are begun by attaching photo paper to my feet, then going about
my day. When I am done, I develop them in the darkroom and they reveal marks of light, contact,
wear of the ground through the material. The work was begun as a gesture towards documenting the
in between of identities and unacknowledged moments as I moved through studio, dropoff, playdate,
work, students, home. Artist, mother, lover, teacher, friend, artist, mother lover, child, mentor.
This particular work is a scanned walking print with my daughters imitation of the walking print
laid on top. She taped her own paper to her feet to make a print, and it became incorporated with this piece.
john liles
hunger
hunger
Notes:
Erasure poem from eleven:eleven, original by Anthony Seidman
ieva sliziute
three pieces from (un)intentional cuts
three pieces from (un)intentional cuts
Notes:
(un)intentional cuts is a
series of analog collages created by visual coincidences. This assemblage technique
paired with creative intuition merges images found in fashion magazines (always two
images per collage) into new scenarios, where everything is seamlessly interconnected
through either shape, colour or context. Becoming an extension of each other, the
photos are removed from their original stories and carefully layered by means of cutting,
destroying, combining and rearranging to provide a new contextual setting for visual
material. (un)intentional cuts aims to celebrate both the world, where scissors and
hands are the only tools for image manipulation, and the value of printed media, which
in this overly digital age reemerges in rather unexpected ways.
hannah lawless
viatique / viaticum
viatique / viaticum
Materials:
Antique brass business card holder, antique book and notebook papers, dried flower petals,
plastic vellum, and thread. Photos of work taken by Joelan Howes.
raymond de borja
two pieces from fracture
two pieces from fracture
Materials:
Collage of cut papers on paper, 9.75 x 7.2 inches.
émilie kneifel
i have a keyboard shortcut for
how we say i love you
i have a keyboard shortcut for how we say i love you
Notes:
text messages with the author's mother, compiled and resent
patrick dunham
duly sliced above the hissing fossils
duly sliced above the hissing fossils
Notes:
Digital collage with photographs and found imagery
alonso llerena
two pieces from la casa roja
12 (from la casa roja)
8 (from la casa roja)
Notes:
La Casa Roja foregrounds difficulties in
familial relationships and identity against a journey through the Peruvian
Internal Armed Conflict, immigration to the United States and a long-sought
return to the speaker’s place of birth after nearly twenty years.
In these movingly voiced poems, a struggle of what it means to be a Peruvian creating
memory abroad is hashed out by recounting events during the time of the conflict, the
time away from my homeland, and the final return to a politically charged and now divided nation.
Sensual turns come in poems which explore bilingual identity on the page and the importance
of public space as a battle for commemoration. A son and a father confront this past over a
drink, mestizaje and conflict are juxtaposed, a poet visits roadside execution sites or
prisons destroyed by the state, and a desert speaks to us.