SURFACE Emerging Artists of New Mexico, 2021 Exhibition Catalog by Harwood Art Center

SUrFaCE emerging artists of new mexico JUNE 14 - JULy 29, 2021 HArWooD ArT CENTEr

SUrFaCE emerging artists of new mexico

Harwood Art Center June 14 - July 29, 2020

Curated by Helen Atkins, Jordyn Bernicke and Julia Mandeville

COVER: Nate Lemuel, Home will always be there (Belief part II), Digital Photography on Satin Photo Paper, Shiprock, NM (Diné Lands), 26″x30″, 2019

Harwood Art Center is pleased to present SURFACE: Emerging Artists of New Mexico and Beyond the Future by Nate Lemuel. SURFACE is an annual juried exhibition, endowed awards and professional development program presented by Harwood Art Center, to support the creative and professional growth of emerging artists and to expand their visibility and viability in our community. We have received hundreds of noteworthy submissions over the nine application cycles to-date; as of this year, the program has served 106 exceptionally talented, committed artists, including the 10 we accepted for 2021. This year’s SURFACE exhibition in Harwood’s Hall Gallery features Thomas Bowers, Jordan Caldwell, Bridey Caramagno, Harley Kirschner, Adrian Martin, Madison McClintock, Kate Overton Miller, H. E. Ramage, Lauren Dana Smith and Daisy Trudell-Mills. Nate Lemuel received the SURFACE 2020 Harwood Art Center Solo Exhibition Award, presented annually for artistic excellence, originality of vision and dedication to practice; his exhibition runs concurrently in Harwood’s Front Gallery. SURFACE is open to individuals working in any media and from diverse creative fields, including drawing, painting, printmaking, jewelry making, fashion, design, architecture, digital media, etc. We encourage submission of new and /or experimental works. Harwood takes a broad approach to “emerging artist,” and applicants are asked to self-identify with this description. Applicants must be currently living, working and/or studying in New Mexico. SURFACE enjoys a six-week exhibition in Harwood Art Center’s Hall Gallery throughout June and July. SURFACE artists also participate in a private day-long professional development workshop. Workshop sessions are led by professional artists, gallerists, public relations / communications specialists and local media, and focus on refining artist statements / written materials, developing a web and communications presence, audience and collector cultivation, as well as a group walkthrough and critique of the exhibition.

Harwood has a community of supporters, funders and partners. With the support from the Urban Enhancement Trust Fund, New Mexico Arts, National Endowment for the Arts, and the McCune Foundation, we are able to present the SURFACE Emerging Artists of NM Award and Microgrant of $250 to each of this year’s artists.

For 13 consecutive exhibitions, a group of talent pulled from a wealth of creativity, has emerged to represent the trajectory of contemporary art in New Mexico. Despite distance, devastation, and revolution, this year’s cohort persisted in their creative practice. Resulting in an exhibition both intimate and profound. The 2021 SURFACE: Emerging Artists remind us that even in drought, New Mexico’s creative well runs deep. Oil painter Jordan Caldwell presents a portrait of Albuquerque that balances brilliancy with reality. His images feel both honest and holy, reminding his viewer of the majesty in the mundane. Harley Krischner’s works on found objects radiate with a similar reverency. His assemblages are relics of experience- embodying the many facets of identity. The body is examined, manipulated and transformed in Bridey Carmango’s self portrait series. With digital and physical altering, she encapsulates dysphoria, creating portraits that exist in both reality and hyperbole. Lushishly, H.E Ramage paints portraits that confront gender. With gesture and color, her large works blur conventionality. Ramage presents strength in femininity and softness in masculinity. Daisy Trudell Mills approaches identity holistically. In both works on paper and cast sculpture, she balances her figures in realms of extremes between pleasure and pain as well as life and death. In Lauren Dana Smith’s paintings we wrestle with a similar ambiguity. The presence of her pieces feel both monumental and microbial. She blends physical and phycological places, creating abstract landscapes that also feel like spiritual portraiture. Adrian Martin’s wearable artworks capture the outward expression of human emotion. Paired with her “Worm Balls” we confront our gut feelings. Her work makes material the undulation of emotion. Madison McClintock also looks to the insect world, exploring connections between nature and industry. Her films meld documentary with whimsy, creating an atmosphere that reveals the magic in our symbiotic relationships with nature. Kate Overton Miller literally composes nature with memory, placing grass, sticks and bugs onto precious family photos. Her use of personal memorabilia as medium makes what should be particular to her familiar. Miller’s child photos prompt her audience to experience the tactile nature of memory. Thomas Bowers also offers a family portrait in his series. His stylized figures become caricatures of familial archetypes. Paired with his piece “childhood door” we get a glimpse into the creative psyche of a child. In Bowers’ work the mark evolves from chaotic to contained- and with that the viewer remembers their own transition from the freedom of childhood to the constraints of adulthood. The SURFACE 2021 cohort serendipitously echoes Nate Lemuel’s exhibition Beyond the Future. Lemuel, Harwood’s 2020 solo exhibition awardee, sensually captures place and personhood with his photographs. The collaboration between subject and artist is evident in the rawness he is able to capture. Lemule’s vision is both timeless and enlightened. Miraculously, he is able to compress eons of time and the intricacy of identity into a single photo. Each year, the SURFACE: Emerging Artist of New Mexico group exhibition serendipitously arrives at cohesion. This year’s cohort of artists, though distinct in medium, method and message, in many ways offer an exhibition of portraits. Portraits of place and experience, of nature and memory, and of body and identity. But mostly portraits of the artists, who give themselves to their viewer, with admirable vulnerability and authenticity.

THoMaS BoWErS

Thomas Bowers, Self-Portrait of Artist #2, graphite, incising on paper, 6″x6″, 2021

Thomas Bowers grew up in Albuquerque New Mexico and began making art in 2014 at the age of 16. He began creating as a form of survival without a formal art education. As artists, as human beings, we pull our livelihoods from the resources were given. His first drawings came out of a tattoo book, and this simple act of meditation quickly transformed into a way to escape the violence, drugs, emotional turmoil and trauma that marks the lives of both himself and countless others. In this way it is essential that the accessibility of art and art making alike should be shared as gifts to the community. Bowers’ work is often influenced by Raw Art, outsider artists, children’s art and expressionism. Thomas’ work is often described as whimsical, fascinating and brilliant. Thomas experiments with a wide variety of mediums consisting of house paint, oil pastels, watercolor, ink, color pencils and acrylic paint. A painting or an idea differs upon the surface. He tends to stay away from traditional materials. Often creating paintings from found surfaces or pieces of ply wood, or even on furniture. Although sticking and experimenting with different types paper or card stock for his drawings. Bowers constructs figures evocative of deeper psychological undertones. In allowing his marks to transform the normal and everyday into serendipitous conglomerations of human, animal, abstract, and monster figures. instagram.com/fappass

BoWErS SEEKS TO CREaTE aN oTHERWoRD In appreciating the beauty of viewers engaging with the pieces from their own, unique perspectives, he intentionally allows space for interpretation. Ultimately the moment of connection between the viewer and any piece of art is what’s most valuable. His process is a continuous experiment in how to make this happen.

L-R; T-B: Thomas Bowers, Conjoined Headed Statue, water soluble, incising on paper, 6″x6″, 2021; Thomas Bowers, Self-Portrait of Artist #1, water soluble, incising on paper, 4.5″x6″, 2021; Thomas Bowers, Father Statue, water soluble, incising on paper, 9″x10″, 2021; Thomas Bowers, Mother Statue, water soluble, incising on paper, 3″x3″, 2021; Thomas Bowers, Childhood Door, oil pastel, 2’′x 10.5”″x 6’′x 2”″, 2020, Aziza Murray & Harwood Art Center, All Rights Reserved

DLY SPaCE To NaVIGaTE WITHIN.

JorDaN CaLDWELL

10 Jordan Caldwell, Alvarado Arches, oil on canvas, 36″x 48″, 2020

Jordan has lived in Albuquerque most of his life, he finds his inspiration from his surroundings as he took the city bus to school and work for many years at all times of the day. He aims to depict the cold/beautiful isolated world he and others live in. He achieves this with his style of balancing realism and details with emphasis on color and texture. Romanticizing the mundane world around him through the glorification of saturation, contrast, and liquid-like textures. His primary influence is Edward Hopper, who captured the essence of 1930’s-1950’s America; geometrical, round, candy-colored, and sleek. Subtly portraying the struggles, isolation, and leisure of the average American. The perspective of Jordan’s art is of the people of Albuquerque. He wants to portray the beauty of mundane life and our everyday surroundings.Finding the beauty in places you would normally overlook and taking the time to appreciate it. To appreciate it is to live in the moment; freeze frame of the city, waking up early for school, getting home from work at dusk. whiptails.com

12 Jordan Caldwell, Corner Store, oil on canvas, 48″ x36″, 2020

CALDWELL PORTRAYS THE BEAUTY OF THE CITY WHERE PEOPLE NORMALLY WOULDN’T LOOK FOR IT.

BRIDEY CaRaMaGNo

14 Bridey Caramagno, Self ll, Inkjet Print 12″x 16″ 2020

Bridey Caramagno is a visual and performance artist currently based in Albuquerque, New Mexico. They were born and raised in the East Bay where their interest in art began. Taking their first photography class in their freshman year of high school. They became obsessed with the hands on process that came with the analog processes. This has stayed true in much of their body of work, always trying to find ways to combine any medium they can as much as they can. Bridey has been working in Albuquerque for four years now and is constantly inspired by the scenery the southwest has to offer. They have spent the last 22 years experimenting and learning and hope to do the same for the rest of their life. They are currently working towards a Bachelors in Art Studio at the University Of New Mexico.

The body has always been an abstract idea. The way we move, how we present ourselves to the world, and generally just why our bodies exist. Bridey’s practice spans from photography to painting to performance, any possible way they can abstract the body. Their work is an outlet. Abstracting the body in any way possible feels very cathartic Bridey’s biggest inspirations are those around them and the world around them. Specifically, finding themself looking at faces and bodies and how odd they can begin to appear. As a nonbinary person they have never truly liked having a body. Exploring this through art is something very near and dear to them. They use these mediums to explore the body, and more importantly, why they hate the body as a vessel. different mediums, including drawing, printmaking, and digital art. bridey-caramagno.squarespace.com

CARAMAGNO’S GOAL WITH THEIR WORK IS TO CREATE A TENSE FEELING WITHIN THE AUDIENCE, WHETHER THAT BE DISGUST, INTRIGUE, UNCOMFORTABLE OR EVEN SEEING BEAUTY IN IT.

HarLEY KIrSCHNEr

Harley Kirschner, Sewing the Seeds of Self, oil on gilded wood tabletop, 24″x24″, 2020

Harley Kirschner is an artist, activist, and writer. Originally from upstate New York (Ithaca), they relocated to Albuquerque to transition discreetly. Kirschner has been an art instructor for fifteen years, helping them explore various media for his own practice. Living as a pipefitter in the very toxic coal industry, taught them the importance of following his own passions as an artist, activist, and writer. He is currently a Senior at the University of New Mexico, where they transferred from Central New Mexico Community College in the spring of 2020. Their academic concentration has been painting, mixed media and social justice issues (especially environmental regarding the nuclear devastation of New Mexico and unlearning internalized toxic masculinity that is crucial to upholding these toxic systems). Harley Kirschner’s work combines painting, collage and assemblage, spell craft and writing. Incorporating symbols of flora and fauna their works offer the magic of storytelling with the harsh complexities of reality. Beautifully illustrated narratives of growth, transformation, rebirth, various mythologies, and storytelling itself bring childlike wonder to his pieces. Melding the discarded with the precious. Combining castoff objects, both manmade and naturally shed or collected, offers a mirror to the naturally exquisite, resilient, and beautiful trans community that he belongs to. A community that is all too often discarded and abused. Strong enough to stand alone, Kirschner’s pieces are created in series, often as parts of installations. His box-like works render as maquettes for the installations in which they star, while his paintings, typically gilded portraits, offer faces and bodies to showcase complexities of identity within their community. instagram.com/harleykirschnerart

KIRSCHNER’S WORK CONTRASTS PAIN, FEAR AND HATRED WITH RESILIENCE, GENTLENESS AND HEALING.

Harley Kirschner, Look Out The Window (detail), mixed media on briefcase, 16″x 13″ x4″, 2019, Aziza Murray & Harwood Art Center, All rights Reserved; Harley Kirschner, The Healing Cabinet, To Detoxify Gender is to Decolonize Identity (interior), mixed media on medicine cabinet, 27″x 16″ x5″, 2020

Adrian Martin was born and raised in New Mexico. In 2010 she received a BFA from the University of New Mexico, and spent most of the following decade photographing weddings and events throughout the state. Her mixed media work has been used in film productions, decorated theme bars, and cluttered up a number of private residences at home and abroad. She currently lives in Albuquerque. Similar in function to dolls or taxidermy animals, these mixed media pieces act as both everyday decorative objects as well as uncanny artifacts. instagram.com/some_rabbits

aDrIaN MaRTIN

Adrian Martin, Oh, you know, I’m fine., polymer clay, acrylic, 7″x7″x7″, 2021

DRAWING ON INFLUENCES FROM HORROR, FANTASY, turn of the century art and design, absurdism, and internet subcultures, this work straddles the line between desirability and revulsion.

Adrian Martin, Vampire Bolo, air dry clay, leather, metal, acrylic, pastel, water color pencil, 18″ x 1.5″ x 0.5″, 2021; Adrian Martin, Ugh, Ugly Cry, Goat Eye, Lover’s Eye, Uzumaki, air dry clay, acrylic, pastel, water color pencil, 1.5″ x 1.5″ x 0.5″, 2020, Aziza Muray & Harwood Art Center, All Rights Reserved; Adrian Martin, Worm Balls, polymer clay, acrylic, each approximately 3″ x 3″ x3″, 2021

MaDISoN MCCLINToCK

Madison McClintock, Metallic Silk, (detail), video, 2021

CK Madison McClintock is a filmmaker and multimedia artist based in Albuquerque, New Mexico. Her aim is to share the human stories behind conservation efforts, document cultural traditions for future generations and give a voice to underrepresented communities and the environment. By doing so, she hopes to highlight the nuances and contradictions that exist in all stories and cultivate a sense of understanding and compassion in audiences. Madison received her BFA in Environmental Studies & Studio Art from Franklin University Switzerland and her MFA in Science & Natural History Filmmaking from Montana State University. Madison’s films Red Wolf Revival and Fungiphilia Rising have been broadcasted and featured at film festivals and in classrooms around the world. She is also an instructor and consultant, previously teaching documentary production to high school and non-traditional college students in the Amskapi Piikani (Blackfeet) & Apsalooke (Crow) communities and to Tibetan community leaders in Northern India. madisonmcclintock.com

MADISON’S PRACTICE BEGINS IN REALITY Influenced by stories of real people and present sociocultural and environmental inquiries, she uses video to illuminate these stories in an effort to offer an alternative sense of understanding and to cultivate compassion in audiences. Madison is fascinated by what new meaning can be created in the space between reality and stylization. By creating films that blur the lines between genres, she invites viewers to question their own assumptions and create a space for alternative ways of perceiving reality.

28 Madison McClintock, Metallic Silk, (details), video, 2021

George Richardson, Float # 1, sculpture, 2020, $350

KaTE oVErToN MILLEr

Kate Overton Miller, while the day grows long and branches stretch, archival pigment print, 16″x12″, 2019

30 Kate Overton Miller, rest still the wind has caught, archival pigment print, 10″x8″, 2019

Kate Overton Miller graduated from UNM with a BFA in studio art. She has been a part of various local exhibitions and eagerly volunteers her passions for art in learning environments, formal and informal. She is a multimedia artist with a deep resonance and first love for the photographic process. Much of her recent work explores the ways in which photography lives in a symbiotic relationship with death and preservation, and sometimes even life. Her imagination wanders through process from everything from collaborative video pieces with caterpillars to annotating books with spinach anthotypes to photographing the cultivation of brilliant mold-gardens. Her art lives in a poetic and whimsical humor with roots in intuitive play. Her heart is to offer these tiny worlds for auratic thought, a good laugh, precious holding, and inevitable decay. During Kate’s childhood, when the alleyways would flood with rainwater, she would collect the writhing earthworms in her pockets to save them from the storm drains. Seashells also filled her pockets, collected with an obligation and desire to remember whatever place or memory she feared forgetting. A photograph exists somewhere between earthworms and crusted seashells. Earthworms signify a liberation and afterlife of sorts, while seashells are caskets of death that house memories but constantly remind us of all that they will never be, all that we lost. Photography lives in a symbiotic relationship with death and preservation, and sometimes even life. Through the revival and simultaneous memento moris of whimsically paired specimens with forgotten family photographs, she seeks to understand the context and nature of death and life through its inherent qualities in photography. instagram.com/kate.m.overton

HER ART LIVES IN A POETIC AND WHIMSICAL HUMOR WITH ROOTS IN INTUITIVE PLAY. HER HEART IS TO OFFER THESE TINY WORLDS FOR AURATIC THOUGHT, A GOOD LAUGH, PRECIOUS HOLDINNG, AND INEVITABLE DECAY.

H.E. raMaGE H. E. Ramage (b. 1993, United States) received a BFA in Painting with a minor in Portrait Arts from the Savannah College of Art and Design in 2017. She has exhibited her work internationally in Lacoste, France and domestically in New Mexico, Georgia, and Ohio. Ramage has participated in both group and solo exhibitions, and her work is part of private collections in New Mexico and Georgia. Ramage was the Artist in Residence at Lacawac Sanctuary in Lake Ariel, PA in the fall of 2018. She is currently living and working in Los Alamos, NM. H. E. Ramage’s work uses the figure as storyteller for moments in the lives of the artist and those close to her. In Watching Football Ramage’s partner wears her grandmother’s nightgown, a precious artifact filled with memories. After moving into the artist’s childhood home, they were coping with dissonance between past and present. Like Ramage’s partner as he sat trying to watch a game, they adapted and became comfortable in the unfamiliar. Teacup 1 presents the artist with an heirloom porcelain teacup and is the first nude self-portrait H. E. Ramage painted. Ramage’s teacup series stems from her recovery from disordered thinking and body image, moving beyond a childhood of fear and control. heramage.com

H.E. Ramage, Teacup 1, oil on panel, 48″ x 36″ x 2″, 2020

THESE WORKS DEPICT A JOURNEY FROM CONTROL TO AGENCY, FROM FEAR TO ADAPTATION AND GROWTH.

Lauren Dana Smith, Los Rios Road, acrylic, mixed media, plaster, custom wood edge on stretched canvas, 60″x 47.5″, 2020

LaUrEN DaNa SMITH Raised in the Northeastern United States, Lauren Dana Smith is a painter and art therapist who lives on the mesa in Taos, New Mexico. She creates textural and sculptural paintings that explore the interior spaces and exterior boundaries of physical form, the natural world and human consciousness. A visual artist and mental health care worker shaped by intensive care units, hospice care and the emergency rooms of New York City, she brings arts-based perspectives into the dialogue around living, dying, healing and wellness in this country. She is interested in honoring the depth, contour and narrative of the American Southwest and its parallels to personal histories, myths and memories. Smith studied painting and studio art and received her Bachelor of Arts at Skidmore College in Saratoga Springs, NY; she received her M.P.S. in Creative Arts Therapy and Creativity Development from Pratt Institute in Brooklyn, NY. Lauren Dana Smith’s current work explores the climate of internal place, magnified through the layering of unexpected yet familiar corporeal forms, the emotional impact of color and the stillness of memory. Prior to permanently relocating to New Mexico in 2020, Smith served as a front-line healthcare worker in a New York City hospital providing psychological support to COVID-19 end-of-life patients and their families. To be present for these intimate moments, Smith initiated this series in response to the immensity of loss witnessed on a daily basis. Smith’s creative life has always straddled two worlds: healing and art. These works explore rupture and repair; the impact of personal and collective trauma and transformative experience on the psyche through the composition of abstracted forms, saturated colors and textural/sculptural elements. laurendanasmith.com

SMITH’S PAINTINGS REFLECT THE BODILY EXPEREINCE OF THE LAND AND THE MIRROR IT PROVIDES IN TIMES OF CALM AND CHAOS.

Lauren Dana Smith, Los Rios Road (detail), Aziza Murray & Harwood Art Center, All Rights Reserved 2021 Lauren Dana Smith, Every Day I Will Go Out to Look, acrylic, plaster, mixed media on stretched canvas, 60″x 40″, 2020

DaISY TrUDELL-MILLS Daisy Trudell-Mills hails from the mountains and meadows surrounding Mora Valley of Northern New Mexico, where she was born in 1998. They studied at the New Mexico School for the Arts from 2013-2015, and went on to receive their Bachelors degree in Fine Arts from New Mexico Highlands University in Spring 2019. She was awarded the Lorraine Shula Scholarship in 2017, and was a recipient of the National Museum of Women in the Arts Scholarship in 2019. Daisy’s work is an exploration of self through recollection of memory, dreams, and the concept of identity. Daisy’s recent work examines the child archetype and the trauma brain and studies how these two things intertwine and manifest in the subconscious dream state. Daisy continues to learn and practice in her home state of New Mexico. As an artist, Daisy Trudell-Mills works primarily with human and natural form in a metaphysical surrealist style. This allows for a confrontation of the viewer with juxtapositions of real and fantasy imagery. Surrealist dreamscape allows for an element of unexplained mystery which can be interpreted in various ways. Trudell-Mills intends for each viewer to take away a personal reading based on individual life experience. Scenarios presented in their work are meant to provoke emotion and to pose questions about the essence of life and the manner of an individual’s engagement with the world around them. By juxtaposing animal, human, and floral subject matter with fantasy dreamscapes, Trudell-Mills explores the child archetype and the trauma brain’s manifestation into dreams and identity. Sensuality, tenderness, and innocence are central to the content of her work and she utilizes the figure to communicate these themes.

daisytrudellmills.com

Daisy Trudell-Mills, Bound, pen on paper, 8.5″x11″, 2020

TRUDELL-MILLS EXPLORES THE CHILD ARCHETYPE AND THE TRAUMA BRAIN’S MANIFESTATION INTO DREAMS AND INDENTITY.

44 Daisy Trudell-Mills, Rose, pen & colored pencil on paper, 8″x10″, 2020

JUNE 14 - JULY 29, 2021 • HARWOODARTCENTER Monica and Nate Lemuel, No Holding Back, Digital Photography on Satin Photo Paper, The White Sands, New Mexico (Mescalero Apache, Tampachoa Lands) 2021, 33″ X 50″

BEYoND THE FUTUrE nate lemuel

Nate Lemuel, Home will always be there (Belief part II), Digital Photography on Satin Photo Paper, Shiprock, NM (Diné, Lands),

48 26″x30″, 2019

A TIME FORWARD AND ALWAYS A REFLECTION FROM THESE MOMENTS. There comes a moment of appreciation for what one loves to do as they struggle, but continue to make it happen no matter how much it means to them. The joy that envelopes, the realness that conveys honesty, the unity of hopefulness, the passion for stepping out in confidence, the struggle with identity, and the continuance of stories that need to be told more, visually continue to happen as we live our lives through we pass.

Nate Lemuel, Our Home is Yours, Digital Photography on Satin Photo Paper, Shiprock, NM (Diné Lands), 40″x57″, 2020

“When I photograph, I want to build an environment that is real and portrays a reference to the future. What I find fascinating about my photography is that I can be limitless with my surroundings because I grew up here on the Navajo Nation.I have always imagined things from afar to be a signal of memory. How I balance the space from town to town here is based on the landscapes that are around me. I get a sense of calmness and worry-free feeling when I don’t need to be informed of how long it will take or how far it will be until I see what is ahead of me. I take that form of thought and use it every day as an inspiration to my life. There are no limits to time, and space when I photograph.“

NATE LEMUEL RECEIVED THE SURFACE 2020 HARWOOD ART CENTER SOLO EXHIBITION AWARD, PRESENTED ANNUALLY FOR ARTISTIC EXCELLENCE, ORIGINALITY OF VISION AND DEDICATION TO PRACTICE.

Pg 50-51: Ramonda Holiday X Nate Lemuel, Long Lost Family, Digital Photography on Satin Photo Paper, The Dunes, NM (Tewa Pueblo Lands), 34″x48″, 2020; Nate Lemuel, Self Palindrome 21/21/21, Digital Print on Canvas, Bisti Badlands (Diné, Pueblo, and Ute Lands), 24″x24″, 2020

Nate Lemuel is a Queer Diné Indigenous Artist who creates visuals through digital photography and film. From Shiprock, New Mexico, Lemuel’s work consists of a variety of photography styles from stop-action, editorial, and futuristic minimalism. This year, his photography reached many publications from working with local indigenous artists, major magazine companies, and fashion brands. He was also featured on HBO’s show, “We’re Here” which he was featured and performed alongside Bob the Drag Queen in a one-night-only drag performance nearby his local hometown. His reputation started from freelancing on his reservation at music shows, to then local fashion shows, and also worked nights as a janitor to support his love for his creativity. His Professional Achievements include Surface Emerging Artist of 2020 awarded by Harwood Art Center, The 2020 Naat’áanii Honeree of Navajo Nation’s Diné Pride, and is currently in a mentorship by Creative Futures Collective. darklistedphotography.com 53

HArWood ArT CENTEr 2021 eXHIbITioN cALeNdA

Harwood Art Center is dedicated to providing exhibition, audience expansion and professional development opportun artists working in any media and from diverse creative fields. Featuring established, emerging, and youth artists, our G Program engages a supportive process from concept development through installation and public opening. In 2021, w a hybrid model that bridges in-person and virtual platforms. For each exhibition, Harwood creates comprehensive outr and digital materials including exhibition catalogs, virtual galleries and artist talks to amplify the unique visions and vo our artists. For more information, or to learn how to apply, please visit harwoodartcenter.org

nities to Galleries we offer reach oices of

MARCH 8 - APRIL 15 ENCOMPASS: A Multi-Generational Art Event Featuring four outdoor installations, one indoor gallery exhibition and online Open Studios shop and galleries. Our featured artists are Lynnette Haozous, Ade Cruz, Caitlin Carcerano, Viola Arduini, Escuela Del Sol Montessori students and Harwood studio artists. Harwood’s annual Encompass is both a reflection of and an offering to our community. Virtual Artist Talks: Thursday, March 25 | 5:30pm

APRIL 26 - JUNE 3 Until The Mud Settles: Katherine Hunt Contrasting the methodic repetition of line and geometry with naturally occurring irregularities in fiber, Until the Mud Settles examines the duality between the obligation to some semblance of order and the presence of ubiquitous chance. Catastrophic Molt: Madelin Coit This installation of light, polycarbonate, paper, and mesh is meant to embody the transformation that occurs when we replace old ideas with new ones, and is deeply informed by Coit’s experience in the Antarctic. Virtual Artist Talks: Thursday, May 13 | 5:30pm

JUNE 14 - JULY 29 SURFACE: Emerging Artists of New Mexico Harwood Art Center’s annual juried exhibition, professional development and endowed cash awards program honors emerging artists currently living and working in New Mexico.

SEPTEMBER 27 - NOVEMBER 4 Residency for Art & Social Justice Harwood’s Residency for Art & Social Justice is dedicated to feature and support artists working at the intersections of creative expression and social justice. For the occasion of Harwood’s 30th Anniversary, we are offering and formally establishing our first official seven month residency program. Virtual Artist Talks: Thursday, October 14 | 5:30pm

DECEMBER 2

Virtual Artist Talks: Thursday, July 8 | 5:30pm

12x12 Fundraising Exhibitions Harwood’s annual fundraising exhibitions featuring established, emerging and youth artists from New Mexico. This event includes 150 works that remain anonymous until sold – for the flat rates of $144 (12”x12”) or $36 (6”x6”), printed exhibition catalogs ($36) and an Artwork Preview before the original works go on sale.

AUGUST 9 - SEPTEMBER 16

Exhibition Runs: December 2 – March 2022

Beyond the Future: Nate Lemuel Solo Exhibition Winner of our 2020 SURFACE: Emerging Artists of New Mexico.

Don’t Think Twice: Apolo Gomez A series of photographic works about the empathic voids brought about by queerness and the societal bonds that form from it. Crocodile Tobacco Flowers: Zahra Marwan A short, sequential, visual narrative of gentle man interrupted by two angry, constantly fighting men who live near him. Running free with their institutionalized misogyny, the series questions masculine traits and being excessively self-impressed. Virtual Artist Talks: Thursday, August 26 | 5:30pm

Harwood staff curate four exhibitions annually, ENCOMPASS: A Multi-Generational Art Event, SURFACE: Emerging Artists of New Mexico, and BRIDGE: Art & Social Justice. 12x12 is our annual fundraiser; all proceeds support our free community arts education, outreach and professional development. (Top to Bottom; Left to Right): Viola Arduini, Chimera Manifesto (Hybrid Hummingbirds), digital photography, 2020; Apolo Gomez, Poolside with Luke, print, 2020; Madelin Coit, 11.21.16, steel and plastic mesh, 2016; Zahra Marwan, Long Way Home, Watercolor and Ink, October 2019; Katherine Hunt, Tetra no. I, Fiber, Acrylic, Glue, Masonite, Charcoal, Soot, Resin, 2020; Nate Lemeul, Ryan, photography, 2020;

WWW.HARWOODARTCENTER.ORG • GALLERY@HARWOODARTCENTER.ORG

ABOUT HARWOOD ART CENTER & ESCUELA DEL SOL MONTESSORI HARWOOD ART CENTER’S GALLERIES

is dedicated to providing exhibition, audience expansion and professional development opportunities to artists working in any media and from diverse creative fields. Our gallery program is curated and managed by our Chief Programs Officer and Associate Directors of Opportunity and Engagement. Artists are invited to exhibit during three of our annual capstone events, Encompass, Residency for Art & Social Justice & 12x12, the rest of our exhibitions are awarded to individuals and groups through a competitive application process. Most of our applications are free to apply, any collected fees allocated to replenishing Harwood’s endowed cash awards for the program. Each featured exhibition is a supportive process, we work with the artists from concept development to installation in the galleries. For our 2021 exhibiting artists, we have developed a hybrid offering of both in person and virtual programming. For each exhibition we create comprehensive outreach and digital materials including exhibition catalogs, virtual galleries and artist talks to support the unique visions and voices of our gallery artists. Seeded in 1991, Harwood Art Center blooms the philosophy of our parent organization Escuela del Sol Montessori, with recognition that learning and expression offer the most resilient pathways to global citizenship, justice and peace. Harwood engages the arts as a catalyst for lifelong learning, cultural enrichment and social change, with programming for every age, background and income level. We believe that equitable access to the arts and opportunities for creative expression are integral to healthy individuals and thriving communities. In all of our work, we cultivate inclusive, reflective environments where everyone feels cared for. We nurture long-term, multi-faceted relationships with participants, building programs with and for diverse communities of Albuquerque. We integrate the arts with social justice, professional and economic growth, and education to cultivate a higher collective quality of life in New Mexico. For 50 years, Escuela del Sol, an independent Montessori school, has nurtured selfdiscovery, social responsibility and passion for learning in our students. Each day Escuela supports students from ages 18 months to 13 years on their real-world quests to excel academically and to develop the skills they need for meaningful, happy and successful futures.

HARWOOD ART CENTER’S OFFICIAL GALLERY & EXHIBITION PHOTOGRAPHER We are so thrilled to have an official Harwood Photographer for our galleries program this year! We are able to present the SURFACE Emerging Artists of NM Award and Microgrant of $250 to each of this year’s artists thanks to the Urban Enhancement Trust Fund, New Mexico Arts, National Endowment for the Arts, and the McCune Foundation.

Aziza Murray is a New Mexico based artist working primarily in photography. In 2015 she graduated with an MFA from the University of New Mexico where she also worked as a pictorial archiving fellow for the Center for Southwest Research. Since then, Aziza has worked in different capacities in the film industry in Santa Fe and Albuquerque, further piquing her interest in cinematography. Much of her work stems from a well of nostalgia for objects and moments, the materiality of photography, and her personal history—from experiencing tragic loss at an early age, to her multilayered experiences as a biracial person growing up in Washington, DC. She has shown her work in DC at Connersmith and the Corcoran Gallery of Art, in Albuquerque at the Harwood Art Center, the UNM Art Museum and the National Hispanic Cultural Center and, at MASS Gallery in Austin, TX. azizamurray.com azizamurray@gmail.com

MANY THANkS TO OUR geneROUS paRTnERS. We are deeply grateful to The FUNd at Albuquerque Community Foundation, Bernalillo County, City of Albuquerque / Urban Enhancement Trust Fund, The Geissman Family, The Abrams Family, Marjorie Fasman Trust, McCune Charitable Foundation, New Mexico Arts and National Endowment for the Arts for their support of SURFACE: Emerging Artists of New Mexico, as well as to Marion & Kathryn Crissey and Reggie Gammon for establishing our endowed awards for this program, and to Meghan Ferguson Mráz and Valerie Roybal for their unwavering support and constant inspiration – and for whom we named new annual awards in 2019. SURFACE would not be possible without our extraordinary local collaborators at A Good Sign, Albuquerque Art Business Association, The Grove Cafe & Market, Tractor Brewing Company, and UNM School of Architecture and Planning. 57

WWW.HARWOODARTCENTER.ORG · 505.242.6367 · 1114 7th NW, ALBUQUERQUE, NM 87102