Corliss Chastain

Odalisque. Oil paint stick, oil pastels, colored pencils, collage, metallic thread. 22 x 30 inches. 2001

The impulse that drives this imagery originated from a narrative of personal despair. Images and layers of materials form a frieze-like framework to be read like stanzas or paragraphs. The naked, bound figure in Odalisque is “poked and prodded” into submission. Bound by golden treads of intent, the figures are restrained and confined to boxes of consequence.

Kieran Collins

My works are influenced by the liminal rites of passage of indigenous societies. I juxtapose ritualistic elements in a contemporary environment to deprive them of their cultural and temporal context, allowing for investigation of conscious and subconscious associations. In contemporary Western society, our identities are adhered egocentrically to our memories. This is reflected in our perception of symbols and the unique narrative we construct. Reflecting upon these archetypes allow for greater understanding of the Self.

Jeannine Cook

In Distant Traces II: the Sarmento depicts a dry river bed in Italy where barriers and dykes constrain and bind winter floods into coherency. The river is “bound” and constrained, bound while trying to follow the lay of the land; an expression of personal experience of the theme.

Marcia Cooper

I perceive ‘Bound’ as implicit with contradiction and tension, simultaneously implying opposites; movement and constraint, being connected to the earth and reaching up to the celestials.