A R T D E P A R T M E N T
S E N I O R E X H I B I T I O N
Juried by Brendan Fernandes
APRIL 22 - 30, 2023
The Marlin and Regina Miller Gallery
Brendan Fernandes (b 1979, Nairobi, Kenya) is an internationally recognized Canadian artist working at the intersection of dance and visual arts Currently based out of Chicago, Brendan’s projects address issues of race, queer culture, migration, protest and other forms of collective movement Always looking to create new spaces and new forms of agency, Brendan’s projects take on hybrid forms: part Ballet, part queer dance hall, part political protest always rooted in collaboration and fostering solidarity Brendan is a graduate of the Whitney Independent Study Program (2007) and a recipient of a Robert Rauschenberg Fellowship (2014) In 2010, he was shortlisted for the Sobey Art Award, and is the recipient of a prestigious 2017 Canada Council New Chapters grant. Brendan is also the recipient of the Artadia Award (2019), a Smithsonian Artist Research Fellowship (2020) and a Louis Comfort Tiffany Foundation grant (2019). His projects have shown at the 2019 Whitney Biennial (New York); the Solomon R Guggenheim Museum (New York); the Museum of Modern Art (New York); The Getty Museum (Los Angeles); the National Gallery of Canada (Ottawa); MAC (Montreal); among a great many others He is currently Assistant Professor at Northwestern University and represented by Monique Meloche Gallery in Chicago
Recent and upcoming projects include performances and solo presentations at the Noguchi Museum, New York, NY; Munch Art Museum, Oslo, Norway; The Richmond Art Gallery, Richmond, BC; and The DR Vocal Ensemble, Copenhagen, Denmark
Photographer, Kevin Penczak
As a juror I take on the task of bringing together a group of artists to represent art work that is conceptual, rigorous, aesthetic, and exemplify the use of diverse materials These are all subjective terms, and this is not an easy task The works I chose for this exhibition represent and tackle queerness, in the way that I define it, as a moniker for selfinclusivity For me, “queer” is a space that is open and inclusive It is not necessarily bordered by gender and sexuality, but is, in a wider sense, a state of being non-defined, or in flux, and aims to create solidarity and community This queerness has always represented, for me, an openness that creates a place for many different people to meet, to think together and propose new concepts. Coming out of a darker time, we are still processing the Covid Pandemic and the traumas of social uprising. We are living in a time when many social and political freedoms are being taken away from us. I see this being processed in the works in this exhibition where these young artists are making voice and space to be seen and heard. This queerness holds space for people to think and process differently. It is a gathering, in this exhibition and beyond, to foster community and solidarity within difference
So in the selection process, I was looking both for individual practices that represent this and for combinations of different artists, whose works together might dialogue and expand on each other in interesting and perhaps even “queer” ways
Congratulations Victoria Baron, Acacia Bermudez, Oona Brayshaw, Reegan Christine, Isabel Colon, Katie Dale, Gwendolin Diener, Haley Dunkleberger, Kiana Escuela, Kayla George, Brynn Gigli, Sarah Gontarksi, Maddie Gordon, Brianna Groff, Melody Inostroza, Sonae James, , Emma Pennington, Carmen Popovici, Maria Jose Rojas Tamez, Kasey Rompallo, Natalie Schappell, Jessica Skuraton, Corrine Stumpf, Nicolette Vallaster, and Mackenzie Vanorden
My work focuses on the awareness of humanity’s relationship with the world. I find inspiration in nature’s small details and how our interactions shape our environment. Juxtaposing natural elements, plants, animals, and manmade objects comprise the imagery of my narrative. Animals are used to symbolize aspects of human nature, while manmade objects represent negative impacts on our environment
I primarily work in porcelain and employ wheel-throwing, slab and coil building to create sculptural and functional work
My surfaces include sgraffito, carving and glazing techniques to strengthen my narrative The color palette and dichroic glaze convey optimistic and ethereal qualities The application of glaze emphasizes aspects of carved imagery, while obscuring others Through the combination of these elements, I form a commentary on our environment
2023
Tiger Swallowtail and Skull Dish 1.5”x6.75”x6.75” Porcelain, Underglaze, Glaze
Using adult animation icons and pixelated arcade-like language, Acacia Bermudez’s paintings reflect her stream of consciousness. Navigating the optical extremes of the human senses, Bermudez uses recognizable characters from South Park, The Simpsons, and other animated figures as an exploration of how she processes information through the media she consumes The information relies mostly on visual sensations rather than emotional attachment. The artist uses oil paint to portray abstract neon compositions that do not stick to one dimension Some of the imagery in her pieces are flat while others may be painted dimensionally or scribbled in layers. Bermudez’s collection of work leaves some room for the viewer to explore their connections to the characters represented. She primarily focuses on transforming said characters into compositions and situations that typically are unexpected Bermudez’s goal is to obscure the icons so much that it creates an atmosphere opposite to the television shows they originate from. She also explores different formal techniques within the spectrum of oil paint and pastel.
Homer’s Ascension
50”x47 1⁄2”, Oil paint and oil pastel on paper 2023
My paintings are pulled from my daydreams and fantasies that come to life with each brushstroke. This creates a whimsical space for my creativity and the viewer to enjoy. My materials are preferably oil and acrylic paint on canvas, however, I also make charcoal and graphite drawings and ceramic stuffed animals I generally use both paint mediums on the same canvas to highlight which parts are important to me. Oils are reserved for skin with silky smooth gradients, while acrylic takes care of other mundane imagery; The same is executed on my ceramic work as well.
My subjects have varied throughout my career, they all have a common denominator: portraits
These portraits can be of actual people and objects that represent living things, (such as an animal cracker). Painting or sculpting these specimens is a very intimate process in which a part of me is left behind in each work, especially in clay I believe inanimate objects are just as important as human portraits not only for their aesthetic appeal but for their connotations which allow me to play with themes of innocence, nostalgia and my own infertility.
My work is about escaping from the boring reality of adulthood and coping with a medical condition that affects my mental health These pieces I create are usually for my own enjoyment that gives me a safe place to have forever and to remind myself to carry on I can only hope that my viewers will think my art is weird and humorous. I would like my artwork to be enjoyed and laughed at in a good way.
Hold Me
9.25’’ x 9’’ x 8’’ , Ceramic with oil paint
Growing up on barbies and baby dolls, much of my art consists of these items, and other bodily anatomy As a textile’s concentration, much of my work consists of needle felted dolls I use these items to provide something recognizable to me to provide my messages My work is often found with missing limbs, holes, or broken appendages. It is childlike yet can give the viewer an unsettled feeling. This is because of the underlying messages about illnesses and mental conditions. The missing limbs and holes are often on dolls, or digital media where it typically would feel uncomfortable Most of my work is interactive, the intention of my work is to have it be passed around or to another family member A lineage following the pieces.
The material I typically will include in my work tends to be wire, stockings, paint, varnish, and animal roving (felt) Making a doll consists of three things: Making the skeleton, the bone, and then the skin After this, everything you add is decoration to said doll My digital work looks completely different than my physical three-dimensional work. This is because I am drawing on an iPad Pro. This creates more smooth and accurate brush strokes Creating this type of work gives a sense of relief As if it’s pulling the plug at the bottom of the ocean out Letting others see my work and have their own interpretation is inspiring. It feels free..
Hole where my heart should be 16" x 15" x 5" , Plaster, White spray paint, Glitter spray paint, Twine, Varnish, Glass beads
With every brushstroke and bleeding hue, I tell stories Giving my grief and rage a voice is integral to my survival, so my work journeys deep in the woods where no one goes anymore I give my voice to wild things and allow them to gnash their teeth at anyone who will listen Occasionally, once I have wandered long enough and their grief is worn thin, I can give these wild things a place to play and rest among ink foliage Otherwise, these creatures hole up in the vessels of my heart, clawing at my chest until they have eaten me from the inside out and I am forced once again to sew myself back together Further, I like to bring old heroes and sleeping gods back from the dead, their lives and adventures reimagined in scribbled lines Old gods are resurrected and honored once again, their likeness renewed and tradition carved ever deeper into the annals of time Watercolor and ink are favorites, but I never shy away from mixing media or experimenting Embroidery and jewelry will make an appearance from time to time, each bead carefully selected for its personal significance and how it will contribute individually to the piece. Full color illustrations give me much freedom to speak things that are unsaid, and sometimes only black and white can allow me to haunt you.
Baba Yaga 22" x 18", silkscreen
When you are a woman, queer, or a person of color, you are ostracized from the start, navigating a world that can be unforgiving My art reflects my connection with these identities and visualizes my perception of the world around me My art focuses on mixed-media acrylic paintings and ceramic sculptures I use a color pallet of bright colors and playful motifs to contradict dark subject matter The tension created by the dichotomy is something I am exploring in my art, navigating through personal experiences and social issues through pop art with candy and hearts
20"x24", acrylic and acrylic marker on stretched canvas
2023
Over the years, I have created many different art pieces using a variety of media My primary focus is drawing and illustration I am inspired by artists such as Junji Ito, Bryan Charnley, and Jamie Hewlett Using my own semi-realistic, cartoon-ish style, I am able to exaggerate facial expressions in order to convey very intense emotions My art often depicts mental health struggles that I have faced and still struggle with in my life I make art as a way to express my emotions I am typically reserved and closed off when it comes to being vulnerable around others and I often don’t want anyone to think there is anything wrong with me I sometimes feel emotions heavier than the average person due to some of my mental disorders I get overwhelmed quite easily, but I put up a strong front By putting my thoughts and feelings into my art, I am able to say what I never do As they say, “one picture is worth a thousand words ” Art is like a form of therapy to me and is very cathartic I love being able to create and base my work off of my own life experiences I can only hope that the art I create is able to speak to others on a similar level I use art as a tool not only to express myself, but to show that no one is alone in feeling these particular emotions or going through trauma alone. Ever since high school, I have been creating art about my personal life struggles in order to destigmatize the conversations around hard topics such as mental illness and/or traumatic events.
Within my work I create fluid iterations with emphasis on conceptual aspects related to color, space, and how those interact with one another I intuitively create, where my mind becomes the tool that writes itself
Often, I mix and dilute acrylic paint colors, using mark making and repetition to bring out movement and fuzziness to imply atmosphere and perspective In addition to color ink from marker to provide implied texture Through exploration of color and light, she chose to eliminate black, for its absence of light The restraint in application of pigment decreases the intensity in some colors which by contrast magnifies others and becomes a reflection of how I perceptively see
These works are a way to juxtapose the reality of life through an idealistic, fantastical, dreamlike way but it takes on the perspective of romanticizing how one might view their world through the unwieldy
These works are an elevated focus of how the mind and body works to transcribe intuitive works It is inventive, abstracted, and distorted reminiscent of watercolor
My works unapologetically become a translation of a person who lives with a visual disability and their perceived world through color choices, formatting, and materials. The works are delicate, fluid, tranquil, and grounding within the process and product.
Title: Amorphous #2
18 1⁄4" x 49"
Acrylic on cold pressed paper, sharpie, paint marker
As an artist, I use natural forms to unsettle with purpose. I consider myself a sculptor foremost as I enjoy the process of physically creating works Material plays a large role in my artistic process Once I have a basic idea of what I wish to create, the medium is chosen based on what can best create my vision. Labeling myself as a sculptor leaves room to experiment with any materials I desire. I have never confined myself to a single art-making process or medium but am rather more of a jack-of-all-trades type. I also enjoy combining multiple processes and materials within a single work.
Thematically, my works tend to lean toward darker themes such as death, religion, and phobias I have learned that distorting natural forms people are comfortable with brings my work to the uncanny valley. I am fascinated by what makes people uncomfortable Evolutionarily, we are predisposed to be adverse to specific sights and smells I aim to use this psychology in my works to create more of an experience than a simple viewing of artwork. The works have an emphasis on texture, form, and color. Through these elements, subtle realism is achieved to invoke empathy from the viewers Clay becomes no longer clay, but rather an animal suffering. The human response is what my work is truly about, the emotions one may feel and interpretations they take away from the viewing.
11"X16"X3", Ceramic, Acrylic Paint, Leaves
Rotten
To understand oneself is a wavering journey full of inner healing work. Personally, there has always been an underlying feeling of being out of place I search for a space of belonging where I can be all of myself, and here, become intentional with my materials and processes.
I strive to feel connected to my ancestors and past generations by considering my intersectional identity in a complex and layered approach I create large scale abstract drawings, paintings, and soft sculpture to embody the spirit of these connections I have with materials and symbolic archetypes from my heritage and family oral history I shape these intimate sources through the abstraction of gestural lines, natural patterns, and expressions of overlapping and fragmenting Working with materials that represent a close mediation with my heritage, such as raffia and piña fiber, allows me to find some acceptance to the parts of myself that I have not been able to reach before This dialogue through material, onto paper and into soft sculpture becomes a way to positively act on my emotions, in an effort to feel a sense of gratitude. I want to sing the song, write the letter, and tell the story of who I am to those in the past watching over me I bring appreciation to the labor and work that has allowed me to be in the place I am today. In this lifetime, I am here to record my personal marks that reflect the past traditions and experiences that have built my outlook. There is an undeniable spirited energy to my artwork that encapsulates this healing journey that never stop
Three is a Chain
The spirit moves and the ground flows 1 48” x 54”, Gesso on paper, acrylic, paper, cellophane
2023
I Kayla George is a contemporary based artist working primarily with oil paints, to create series of painting that showcases objects of the mundane in everyday life. Working with chromatic, saturated and unexpected color palettes, George focuses her attention on subject matter many would typically write off as unremarkable or memorable. Exploring the beauty and aesthetics of objects ranging from candid scenes in the kitchen, to cluttered piles of jewelry and silverware, George hopes to push others to find something particularly enjoyable in areas of their own ordinary surroundings. Doing so allows the viewer to expand their awareness and perception as to what they consider “remarkable.”
In addition to her prosaic subjects, the artist is drawn to items of reflective and distorting nature. Glass and metal are recurring materials featured in her work, mirrors being a specific item often incorporated as well. George is particularly interested in various ways a subject can be manipulated and warped when interacting with these items. The subjects of her pieces often feature her closest friends as the focal subjects being contorted, creating an intimate setting in a shared personal space that demands attention and interaction with the viewer. Overall, despite having a wide range of subjects, George’s body of work enhances traditional perspective and draws out intense curiosity of the world within her paintings.
In my interdisciplinary art using textiles and photography, I have been exploring and trusting my pIn my interdisciplinary art using textiles and photography, I have been exploring and trusting my process with abstracted nature, memory, and emotions and how those elements correlate with each other. I create art because it is an outlet for me. For my textiles work, I enjoy creating sculpture, wall pieces, and some wearables out of textiles materials. The materials that I enjoy using the most are roving, fabrics, dyes, and embellishments in my pieces. I also do digital photography of landscapes, nature, and others enjoying life outside technology. I try to capture the real beauty of the world and let people see what they are missing out on when constantly absorbed by phones and screens. Nature is overlooked in our everyday lives so by taking a different approach to nature, I thrive to engage outside viewers. I focus on using these mediums because I find comfort and connection between them and the process that I use.
In my art, I express emotions and meanings I want others to connect with. I go more the abstracted style to get across all of my thoughts in a piece. I keep my art simple and subtle to express the beauty around us and feelings that others and myself have come across throughout certain life situations. Many people overlook nature and how much it has to offer. It takes me to my safe space to find inner peace with myself while doing this practice. My practice revolves around nature, what many of us are missing out on, emotions, and life connections throughout my works.
My journey as an artist has been, for the most part, an exploration of myself. Through manipulation of items not commonly associated with art, I focus on how we interact with the world around us. Many of my past and proposed works focus on gender, sexuality, and navigating the often messy and tumultuous experience of being a queer young adult. More recently, my works have also been heavily politically charged, using imagery of infants and children juxtaposed with dark topics and symbolism like abortion, violence, and trauma to shine a light on many of the injustices committed by those in power.
A major component of my studio practice as a predominantly assemblage-based sculptor comes from finding items and building pieces around them. One of my most time and labor-intensive pieces, Pursuit of Happiness, was conceived after I found a vintage rocking horse being given away on Facebook Marketplace. The act of finding the materials I use for pieces is both something I enjoy and an integral part of how I create my works.
My most recent work, Autobiography of an Autogynephile, is an exploration of the experiences of transgender women when confronted with the staggering amount of hateful and vitriolic rhetoric and propaganda both online and in mainstream media; at the same time, the piece is a love letter both to myself and other trans women harmed by said rhetoric. The piece consists of a toilet, itself a reference to the many bathroom bans passed by legislators in the last few years, covered in headlines, tweets, memes, and artwork all aimed at tearing transgender women down. Inside the tank of the toilet, I wrote and attached several notes with my personal thoughts, simultaneously pessimistic and hopeful, about the vitriol people like myself are confronted with daily. Coming out of the top of the tank, emerging from both the vitriol and my own thoughts, is a nearly six-foot plant stem, adorned by pink, blue, and white flowers, a direct nod to the transgender flag. This final component of the piece is autobiographical; it symbolizes how, even though I, and many people like myself, are the constant target of undue hate, we still fight our way through a world trying to tear us down and find ways to grow and flourish.
Autobiography of an Autogynephile
Found objects, printer paper, faux plants
2023
Connecting more deeply with myself by dissecting and questioning my human experience is what drives me to create. Working within the textiles medium, I have a particular affinity for quilting and sewing. Additionally, painting and ceramics allow me to expand my practice by further influencing my experimental self-reflection. The body, specifically my own, my lived experiences, and mental health are my inspiration I am able to bring life to otherworldly imagery using bold, bright colors By using unexpected color theory and repeat patterns, I reinvent the relationship between the natural and the unnatural world. I explore playful surface design and textures, particularly with beads and sequins, to foster a disquieting yet lively viewing experience At the intersection of these practices, I find the space to more profoundly accept myself
Innermost Parts
38.5” x 25”, Quilted Dyed Fabric, Plastic, Sequins, Beads
2023
Throughout life, one may go on a rollercoaster of different emotions and feelings We experience them from happiness, sadness, or anger, but what could that feeling look like visually? My work is a representation of how I interpret those emotions throughout my mind I combine abstract forms and realism throughout my artwork to match certain feelings and emotions that many experience My work is primarily in the sculpture medium, the technique I work with most is mold making. It gives me an opportunity to push the material, giving those emotions and feelings a chance to come to life. I use a range of materials such as alja safe, cement, plaster, epoxy, metals, and found objects Being able to explore many different materials allows me to create feelings within my work Color and texture play an important role in my work It allows my pieces to fully reach the emotions and feelings that are felt in a 3-dimensional form. I use my personal experience with anxiety as inspiration I believe we all have gone through both dark times and good times, which is why I find it important to represent those feelings, so one may feel less alone
I focus my art on the research of color theory, symbolic icons for emotions, and my Transgender experience This method of creation benefits me by allowing me to reimagine art history to better suit a narrative in which I can exist as myself. I specialize in oil paint on stretched canvas, wood panels, and paper. My main series of work ranges from 24in x 36in sized paintings, minor sketchbook nude self-portrait studies, and larger scaled paintings I also have knowledge in mediums aside from just oil paint such as charcoal, pastel powder, and graphite My current body of work gives focus on my oil painting knowledge due to the richness and complexity oil paint provides
By combining the way hands connect and communicate, with separate pieces interjecting my body and/or image I can make more meaningful representational art about my own identity as a Transgendered woman of color. Each piece I build helps me process trauma, emotions, and brings me comfort from my day-to-day burdens I continue to challenge myself by keeping an open mind to as many possibilities as possible I often use reference photos from media, in person observations and spur of the moment imagination to influence my work. My art is meant to explore emotions through symbolism with the added joyfulness of pop colors. These symbols are my way of communicating self-expression, intimacy, and pride However, that is not the only way to interpret my art and I invite my viewers to build their own connections and ask themselves what does “Living for love” means to them?
It is unusual to be viewed as a certain race, gender or ethnicity before you are viewed as a person. In my work, I highlight the other side of negative stereotypes. I create photographs, sculptures and ceramic work that targets issues of race, inequality, social injustices. The conversation I am engaging with is embracing black culture and individualities. Universally, each demographic has a shared cultural experience. As a black woman, I focus on specific topics that I’ve personally experienced through intersectionality. I capture moments that are the opposite of what pop culture and social media demonstrates in hopes to show how we as a community actually are and how we are much different then what is typically portrayed of us. African Americans as a community have been visualized photographically through the lens of violence. I focus on cultural moments that illuminate empathy and unity through the African American experience. I'm interested in showing the uncomfortable truths about African American history. I'm focusing on moments that define the black experience as a whole whether it's the history of slavery or black joy. My work starts and continues to influence having the hard conversation people are generally afraid to have.
My work is about the disruption of personal, intimate spaces. I create paintings with distorted perspectives, exaggerated color, clashing imagery, and incongruous architectural scale to challenge the idea of psychological and emotional normalcy Perception and reality have always been interesting to me, and as I paint interiors from memory, the overlaps and contrasts between what we see, know, and remember become embedded into my process
My work is not meant to be an accurate representation of a real space, but rather a reflection of an experience, memory, or emotion Some of my interiors depict impactful environments I have witnessed throughout my life, and many are reinvented from memories of my childhood home because I am particularly interested in how our ideas of safety and our perspective on the world shift as we age I also create my very own spaces that do not exist anywhere in real life and are built purely from my own psychological imprints
Inspiration is found through cluttered spaces and areas that feel busy because it is through this chaos and imperfection that we really grow to understand our relationship with space and architecture. Color is an important element in my work, and by using bolder colors that contrast with a painting’s disorientation, it is my way of creating a visual anchor for myself and the viewer. These pieces are meant to challenge the viewer’s sense of normalcy, what is realistic and unrealistic, and to undo the human need to find order and organization in space.
he paintings I create are explorations of my view on the world void of representation, creating a sense of freedom but also discord in the non-representational. My work depicts landscapes being translated into abstract organic forms with mark making. A balance between chaos and control is illuminated in my work. Layer upon layer, conveying moods and emotions that I process through my current insecurities, struggles, and achievements. Directly taking the real world and portraying my own perspective, working with color relationships, and more examination of my perception of value is what interests me As a plus size woman, my viewpoint is unique hence my art will always exhibit that through the choices made, what I choose to create and continue to show With abstract painting being historically more male dominated, I am able to bring a different view on painting the world As I grasp for freedom or perhaps celebrate it, I bring forward the spontaneous controlled chaos that is my work
am a printmaker that uses different varieties of printmaking to create art, however, linoleum is my favorite technique since it is the process that I find the most relaxing and challenging in order to create beautiful art. The process of carving is a time I use as self reflection about my own experiences, therefore, it gives me more time to find a topic to create my art.
Through my art I get a sense of healing since I make art regarding my everyday life and the struggles that come along with it My designs are inspired mainly by the weight mental health has in our daily lives I am mainly interested in giving it a face and a physical representation because I truly believe it is easier to fight something tangible rather than something hard to describe I aspire to have the audience relate to my artwork and have them identify other people that might have the same struggles, therefore creating support for those who are going through something on a daily basis
am a printmaker that uses different varieties of printmaking to create art, however, linoleum is my favorite technique since it is the process that I find the most relaxing and challenging in order to create beautiful art. The process of carving is a time I use as self reflection about my own experiences, therefore, it gives me more time to find a topic to create my art. Through my art I get a sense of healing since I make art regarding my everyday life and the struggles that come along with it My designs are inspired mainly by the weight mental health has in our daily lives I am mainly interested in giving it a face and a physical representation because I truly believe it is easier to fight something tangible rather than something hard to describe I aspire to have the audience relate to my artwork and have them identify other people that might have the same struggles, therefore creating support for those who are going through something on a daily basis
Nature can be beautiful, but it can also be volatile, it is forever changing and unpredictable. The art that I create aims to reveal these hidden secrets and ways of life Choosing to center my work around the bisecting themes of science and art brings to life a fascinating dialogue between the two Investigating scientific themes of cells and biology to inform the objects being depicted as well as the colors and designs used allows me to generate a unique take on the biological landscape of nature and delves into the more artistic aspect of science. Abstract patterns and organic shapes that accentuate natural themes are some of the elements that are significant throughout my work Organic forms and abstract designs depicted in nature are transformed and altered through artistic interpretation. I convert what I see in nature and turn it into a more abstracted version. This method allows me to think freely and openly explore the subject that I choose to depict Environments are widely different and I aim to capture the beauty in all of them through specific details and patterns found in each My keen eye allows me to add details into the smallest of places, bringing to life seldom seen features of the natural world. The level of detail goes beyond the initial viewing. Every time you look at a work, you delve deeper into the layers beneath I explore materiality and how objects could be used to display the more natural aspects despite being unnatural items Intricate embroidery, sinuous beading, and repurposed fabrics capture the essence of nature and reproduce the natural elements that I aim to capture.
In Your Veins
18”x19”, Cotton Fabric 2023
I am fascinated by the idea that human and non-human organisms are more similar than one might assume Throughout my undergraduate studies, I have become increasingly engrossed in the topic of ecofeminism. This ideology argues that environmental issues and gender inequality are intertwined, with patriarchy as the root of both issues According to this line of thought, the natural world and nonmale people have a profound bond in that they are both grappling with forces that aim to suppress them. Honoring the fact that our bodies are interconnected with a boundless and formidable network of plants, animals, and microbial forms can empower us to challenge injustice In my work, I am motivated by this prospect and also by a desire to portray femininity, which manifests in my art in diverse and evershifting ways.
Working with a variety of materials including fibers, paint, pastels, ceramics, and found objects, I intuitively create biomorphic forms that combine imagery from the natural world. An experimental and playful approach to art-making has been invigorating, and has allowed me to go down routes that I would never have previously imagined. I have begun to create what I see as specimens of a world where the natural world and the human world have become one. These beings are simultaneously of this Earth and extraterrestrial They symbolize a yearning to break free of the constraints that humans place upon nature and upon each other, but are also a celebration of life itself.
Life Force I: Vegetal 48”x36”, Oil pastel on paper 2022
Chrysalis
94”x14”x16”, Handwoven cotton, various fibers, found objects
2023
When pre-established thoughts, ideas, and systems are challenged; a new canal of creativity can be explored. Sifting through my own discrepancies in maintaining a sense of faith and spiritual being, my work functions as a tool to explore questions that are prompted by the roots of Roman Catholic ideology as well as looking at how the religion itself is practiced and talked about in the 21st century. I favor in harvesting pre-existing imagery and use it in combination with found objects, acrylic paint, and other experimental mediums With a Catholic upbringing, my sculptures, collages, and mixed media pieces are heavily influenced by inconsistencies that have emerged from my own observations of Roman Catholicism. Gluttony, indulgence, and richness are associated with the work. It is universally known that our own upbringing and experiences influence the development of our spirituality Most of the found images or objects I use as source material have their own meanings that are woven throughout Catholic ideology. Religious objects of devotion can be used to represent a connection with God, however, could they also be used to challenge it? Is it appropriate to do so? With my three-dimensional objects, I expose ulterior motives and meanings behind perceived decadence. Looking back at its histories, patronage, and overall development throughout the ages, a sense of uneasiness can emerge as well as an ultimate disconnect I believe it is up to the individual to sever the ties or to keep them attached, as I can only make work that allows one to ponder the question in contrast to being force fed all the answers on who to believe and what to believe
My focus within my artwork is destruction I have been working towards the idea of destruction and objects in ruins in my pieces and was unsure how everything all tied together because at some points while making, I did not know that it was about a form of destruction I objectively looked at destruction as a whole from metaphorical to actual and have shown various means of the concept throughout my pieces.
While I was working metaphorically, the main content of my work were objects that were made to last forever. Things such as buildings and people that seem permanent but all eventually fall to destruction of some sort. This turned into showing emotional destruction such as loss and mental stress. As the work I was creating became more literal, I began working
This being objects falling apart right before your eyes or things broken into pieces as to never be able to see it whole.
The idea of destruction has so many parts and can be broken down into a variety of meanings The work I make, though it has no meaning to convey that is set in stone, can become anything to the viewers Everyone has experienced destruction in their lives one way or another and are able to interpret the works as it connects to them These pieces are for everyone and can mean anything whether that be literal or metaphorical.
time to grow up 53.5” x 25” Carpet Warp
Through the use of art as poetry, Mackenzie VanOrden’s whimsical illustrations provide a window into the world as we all know it: a world of loving and feeling, hurting and healing Her works sometimes invite the viewer into uncomfortably crowded or liminal spaces, and challenge them to breathe deeply through the overwhelming suffocation life can sometimes make us feel- other times, she provides the viewer with a sanctuary in which they may feel calm Through symbolic imagery, she conveys themes such as the bittersweetness of aging, the unstoppable force of time, opening the heart and soul, vulnerability, and learning from life and all its’ experiences What is happiness, if we are strangers to sorrow? How can we find a modicum of something good on a seemingly dreary day? How fast must time go for us to slow down? Is pain at the cornerstone of all of life’s most beautiful and lovely elements? These are questions she tries to evoke within the viewer. Furthermore, VanOrden often features figures within her works, and while these figures typically tend to be versions of her, they seem to represent the embodiment of the human subconscious. Her figures display emotional reactions to untold stories which the viewer must piece together to understand through available symbolism within the space They always make intense and confrontational eye contact with the viewer, almost challenging the viewer to make them feel vulnerable on purpose VanOrden’s illustrations can sometimes be colorful, while other times the focus falls on her black and white graphic linework (mostly on paper, but sometimes placed on the surface of ceramic vessels) Her colorful illustrations are created with alcohol-based ink, while her line drawings are completed with black fine liner pens In both regards, her illustrations showcase the universality of the collective human mind, as they are representations of common snapshots from the human experience
“Fancy Feast”
6” diameter, 2” width, Underglaze pencil on wheel-thrown ceramic snack and dip plate
www.kutztown.edu/millerartgallery
Miller Art Gallery, Sharadin Arts Building , Kutztown University
Kutztown, PA 19530
Hours:
Monday - Friday 10am - 4pm
Saturday 12 -4pm
Sunday 2-4pm closed on university holidays and weekends in the summer
