Offerta No. 3, Summer 2022 by Offerta

No. 3 / Summer 2022

No. 3 / Summer 2022 Published by Samuel E Vázquez

Offerta

Publisher, founder,

Offerta

Cover Image:

creative, curatorial, and

www.offertamag.com

Anila Quayyum Agha

design director:

Instagram: @_offerta

Samuel E Vázquez www.samuelevazquez.net

Red Wave, 2020 Mixed Media on Paper (Graphite, Encaustic,

This publication is

Embroidery, Mylar)

made possible with the

15.75 x 13.75 inches

Founder and

generous support of:

curatorial director:

Nicole Biggerstaff Vázquez

Ayanna Tibbs

Frank E. Ross

Instagram: @_ayanna_0724

Channie Jones

Disclaimer: All images, shown in this publication, have been submitted by the artists and/or artists representatives. Offerta

Editorial consultant:

Graphic design:

Atsu F. Kpotufe

The work of sv

www.youaretheride.com

www.theworkofsv.com

does not claim copyright ownership, of images, nor bears any responsibilities from copyrights disputes or damages.

Offerta — No. 3 / Summer 2022

Introduction

Katie So

Roger Blood

Anila Quayyum Agha

Michael Evans

Alysia Nicole Harris

Johnny McKee

Maryam Eivazi

The Founders

Photo by Samuel E Vázquez

Offerta — No. 3 / Summer 2022

Introduction

The goal of many artists today is to not only captivate their audience but to create work that speaks to the heart of their audience. In this issue, rather, it’s in written form or intricate designs; we are feeling our heart strings being moved. Emotion finds itself woven deep within the pages of Offerta; from stanzas, lanterns and dreamscapes to reflections, ice cream cones, stars and beyond. Enjoy! Samuel E Vázquez & Ayanna Tibbs Co-founders, Offerta

KATIE SO, Soft Petal, 2019, Acrylic gouache and ink on wood panel, 14 x 10 in

Offerta — No. 3 / Summer 2022

Katie So Katie is a visual artist from Vancouver, BC.

of my bedsheets? Considering the concept of

Being biracial and autistic, her work often draws

duality in my work helps me to better under-

from themes based in racial identity and mental

stand what it means to be of mixed race and

health. With experience rooted in DIY comics,

how to maintain a healthy, productive practice

Katie’s practice involves a writing process that

while balancing the extremes of positive and

results in a visual poetry that depicts the emo-

negative headspace. My approach is one of

tion in everyday moments. For the past eight

dark humour, poking fun at my shortcomings

years, she has applied her illustrative style to

while my application is focused and precise, so

contemporary tattooing. Katie is currently ex-

as to remain in control of these dualities. I use

panding her creative practice through painting

brush and ink for it’s bold contrast, the results

and installation.

being meticulous yet unforgiving, much like my approach to art.

There are many questions about myself that I address with my work. What race even am I?

katie.so

Why am I sad all the time? How do I get ink out

IG: @ghostmeadow 9

Offerta — No. 3 / Summer 2022

KATIE SO Mary’s Mirror (In Isolation), 2020 Ink and oil pastel on raw canvas Dimensions variable

KATIE SO Are You Still Watching?, 2020 Ink and Oil Pastel on Raw Canvas Dimensions variable

KATIE SO Sorry, I’m running late!, 2020 Ink, acrylic, and oil pastel on raw canvas 30 x 40 in 11

KATIE SO BAF Installation

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KATIE SO BAF Installation

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KATIE SO

Hindsight, 2019

Nurture, 2019

Acrylic gouache and ink on wood panel

12 x 12 in

10 x 10 in

KATIE SO All Dressed Family Size, 2020 Ink and oil pastel on raw canvas Dimensions variable

KATIE SO Laundry Day(s), 2020 Ink, acrylic paint and oil pastel on raw canvas 30 x 40 in

Offerta — No. 3 / Summer 2022

KATIE SO BAF Installation

KATIE SO Ophelia’s Live Stream, 2020 Ink, acrylic paint and oil pastel on raw canvas 30 x 40 in

Offerta — No. 3 / Summer 2022

KATIE SO Spa Day, 2020 Ink, acrylic paint and oil pastel on raw canvas 40 x 30 in

ROGER BLOOD, The Shard (Detail), Photograph

Offerta — No. 3 / Summer 2022

Roger Blood

Born and raised in Coventry, UK, Roger Blood

spanning his hometown, to the Monument

has been capturing the world around him

Circle of Indianapolis, Roger chooses unique

through photography for over 20 years.

perspectives to help his audience see things

Roger studied at the New York Institute of

in a new light. In addition to his landscape

Photography where he refined his skills and

portfolio, Roger also has a variety of other

grew his passion for digital imagery. Much of

pieces including work completed for local

his work is captured using full frame mirrorless

singing artist Jennie Devoe.

cameras, preferably on a Sony. His pieces often utilize natural lighting to capture the beauty of

By Albert Speler

landscapes and unique architectural structures. From the London Eye, to the fields of yellow

britishroger@gmail.com 21

ROGER BLOOD Autumn Spectrum Photograph

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ROGER BLOOD Elizabeth Tower Photograph

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ROGER BLOOD Trans Am Photograph

ROGER BLOOD Downtown Indy #2 Photograph

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ROGER BLOOD Skyline Photograph

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ROGER BLOOD The Shard Photograph

ROGER BLOOD Penthouse London Photograph

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ROGER BLOOD Java Photograph

ANILA QUAYYUM AGHA, Shimmering Mirage, 2016. Lacquered steel and halogen bulb, 36 x 36 x 36 inches. Jules Collins Smith Museum of Art, Auburn, Alabama, 2021. © Anila Quayyum Agha

Offerta — No. 3 / Summer 2022

Anila Quayyum Agha Anila Quayyum Agha (b. Lahore, Pakistan)

Juried Grand Prize in Grand Rapids, Michigan.

received her BFA from the National College

In 2017, she was awarded the Glenn W. Irwin,

of Arts, Lahore and an MFA from University

Jr., M.D. Research Scholar Award by Indiana

of North Texas. Recent solo shows include

University. Recently, Agha received an

the Amon Carter Museum of American Art,

Endowed Chair position titled Professor –

Peabody Essex Museum, National Sculpture

Morris Eminent Scholar in Art at Augusta

Museum in Valladolid, Spain, Cincinnati Art

University in Georgia, as well as the prestigious

Museum, and the Toledo Museum of Art.

Smithsonian Fellowship in the arts for 2021

For the 2019 Venice Biennale Agha was includ-

and will be working with SAAM and AAA in

ed in a collateral event, She Persists, with 22

Washington D.C. in 2022. Her work has been

contemporary feminist artists. She has received

collected by both institutions and private

the Efroymson Art Fellowship, Cincinnati Art

collectors; nationally and internationally.

Museum’s 2017 Schiele Prize, and DeHaan Artist of Distinction Award. Agha’s 2014

www.anilaagha.com

ArtPrize entry, titled Intersections, earned

IG: @anilaquayyumagha

the Public Vote Grand Prize and split the 33

ANILA QUAYYUM AGHA Itinerant Shadows: Bola, Spiral, Caged Flowers, Arches Installation at Talley Dunn Gallery, Dallas, TX, 2019 Laser-cut Black Lacquered Steel 24 inches for each cube © Anila Quayyum Agha

Offerta — No. 3 / Summer 2022

ANILA QUAYYUM AGHA Liminal Space Exhibited at Amon Carter Museum of American Art, 2021 67 x 63 inches © Anila Quayyum Agha

ANILA QUAYYUM AGHA Sound of Silence 1, 2020 Mixed media on paper (Paper Cutout, Beads, Embroidery, Mylar) 29.5 x 25 inches © Anila Quayyum Agha

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ANILA QUAYYUM AGHA Crushed Tulips, 2019 Mixed media on paper (Steel Dust, Pastels, Charcoal, Wax, Beads, Embroidery, Cut Mylar) 41 x 35.5 inches © Anila Quayyum Agha 37

ANILA QUAYYUM AGHA

Black Tinted Flower, 2020

Winged Shadows, 2019

Mixed media on paper (Paper cutout, Pastels,

Mixed media on paper

Encaustic Wax, Silver embroidery)

(Steel Dust, Charcoal, Wax, Embroidery)

30 x 30 inches

63 x 59 inches

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ANILA QUAYYUM AGHA

Red Wave, 2020

Flight of a Thousand Birds, 2018

Mixed media on paper

Polished mirrored stainless steel

(Graphite, Encaustic, Embroidery, Mylar)

60 and 46 inches

15.75 x 13.75 inches

ANILA QUAYYUM AGHA All the Flowers are for Me - Turquoise Chimei Museum, Tainan City, Taiwan, 2019 Lacquered steel and halogen bulb 60 x 60 x 60 inches Photo Credit: Chimei Museum © Anila Quayyum Agha

ANILA QUAYYUM AGHA This Old Shade 1, 2020 Mixed media on paper (Graphite, Encaustic, Embroidery, Mylar) 15.75 x 13.75 inches © Anila Quayyum Agha

Offerta — No. 3 / Summer 2022

ANILA QUAYYUM AGHA The Greys in Between Site-specific installation at MOCA Jacksonville, 2018 Walking With My Yesterdays: (Octahedron), 10 x 5 feet Flowers Once Yours: (Tetrahedron), 5 x 5 feet Laser-Cut Steel, Powder coated, Motorized Movement, and Lightbulb © Anila Quayyum Agha Photo by Doug Eng This project was funded and made possible by the Efroymson Family Fund, Indianapolis, IN & New Frontiers of Creativity and Scholarship, Indiana University

Offerta — No. 3 / Summer 2022

ANILA QUAYYUM AGHA Intersections, 2013 Toledo Museum of Art, Toledo, OH, 2019 Lacquered wood and halogen bulb 78 x 78 x 78 inches © Anila Quayyum Agha

MICHAEL EVANS, Under Construction No.3 (Detail), 2011, Digital painting, 18 x 23 in

Offerta — No. 3 / Summer 2022

Michael Evans

As a lifetime visual artist, I’ve acquired an

After decades of exploration, I’m as inspired

increasingly deeper appreciation for the gift

as ever and look forward to expressing new

of creative expression. Being able to capture

interpretations of as many subject matters as

common subjects, sometimes not so common,

my imagination and abilities will allow.

and interpret them in a completely unexpected way is nothing short of fascinating. It’s the

mevans@mevansvcd.com

ability to make sense out of chaos and chaos out of sense or capturing a subject as real as it appears. I think this describes me best as an artist. I’m an explorer, and my art reflects this in the variety of subject matters and mediums I employ, including painting with light – digital art. 45

MICHAEL EVANS Under Construction No.5, 2011 Digital painting 18 x 23 in

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MICHAEL EVANS Under Construction No.7, 2015 Digital painting 18 x 23 in

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MICHAEL EVANS Under Construction No.6, 2013 Digital painting 18 x 23 in

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MICHAEL EVANS Under Construction No.9, 2022 Digital painting 30 x 30 in

MICHAEL EVANS Under Construction No.3, 2011 Digital painting 18 x 23 in

Offerta — No. 3 / Summer 2022

MICHAEL EVANS Under Construction No.8, 2015 Digital painting 18 x 23 in

Offerta — No. 3 / Summer 2022

MICHAEL EVANS Under Construction No.4, 2011 Digital painting 18 x 23 in

Image courtesy of Alysia Nicole Harris

Offerta — No. 3 / Summer 2022

Alysia Nicole Harris Alysia Nicole Harris is an Afro-Atlantic poet

Ph.D. in linguistics from Yale University

and arts writer from the U.S. South. Trained as

and her MFA in creative writing from NYU.

a linguist and a spoken word artist, her interest

She serves as Scalawag Magazine’s arts and

extends to all manner of Black vernaculars, be

soul editor and currently lives and worships

they verbal, visual, or metaphysical. Her newest

in Corsicana, Texas.

poems take their cue from the Spirit in Genesis 1:2, hovering in the Dark, on the surface of the

alysiaharris.com

Deep, as close to the Void as possible, in order

IG: @poppyinthewheat

to uncover new bodies of faith and fecundity. Alysia was a founding member of the poetry collective The Strivers Row. She received her 57

Offerta — No. 3 / Summer 2022

SONNET FOR MESSIAHS

it was all myth, you know. except the flood & the salt & the earth’s opium-den mouth, moist & full of mice. in the well of remembrance, when our bodies have been shed like snakeskin, after the world is drunk with fire & the millennial trumpets have blurted out their victory tracks— do not reappear where the hero hurled themself over the side to carry us like an ark, the complicated earth on their broad back. let the dead bury the dead. then allow us the whole story to swim ashore & the original void, over which is barely a breeze, leave to the cyclops & the sheep. — Alysia Nicole Harris

Image courtesy of Alysia Nicole Harris

Offerta — No. 3 / Summer 2022

OUTSIDE CAPE TOWN, I SAW A SEAL ESCAPE

when i was pissing by the Atlantic, next to the men selling opium because there was no opening, hustlers threw their voices at me in the dark, calling out remedies for whatever brightness i suffered: Snowball, Black Pearl, Dagga, Tik. their teeth caught in the act of begging. they needed another body to break & they needed to call it pleasure. that night, every seller was alive in their meat, expandable with hunger, made luminous and pitiful under a moon which accused us all of want & trespass. in that mercurial drink, i flirt with the tides the way one flirts with a fever—warm seal-like, somewhat safe in shadow, black against black, layers of slick Inscrutable fat, layers of rubber to hide

Offerta — No. 3 / Summer 2022

my lean muscle, dense as marble when a man carves my body, he means it to be like cutting marble. the dust that chalks his face is the moon glare on a shark fin, is the white sand under my feet. one shark carcass exposed by heat & erosion was stripped down to ossein lonely, mortal & broken on the stone. but it’s not me. this time i’m the black mammalian ribbon who skirted saliva’s sheen. alive because no one can tell one darkness up against another. i avoided those Great Whites. i zipped my pants. i slip away. — Alysia Nicole Harris 63

Offerta — No. 3 / Summer 2022

Images courtesy of Alysia Nicole Harris 65

EX-IT

the wound is the strategy, not the arrow’s imposition but the body’s assent to it. if the end is barbed, it must be walked all the way through. yank it out, and whatever it is, it’s over. all I have to give, i am not giving and you are not taking, rather it pulses there in my open fist. along with my need for pleasure, my need is exiting altogether. doubt remains, grows, and now i know a new need, which exists but does not insist like a well-behaved guest at dinner—wait, i’ve become a guest too: always consenting, accepting my role. never hosting.

Offerta — No. 3 / Summer 2022

merely passing through on the welcoming journey towards exit. and between, existing in a far less imagined body. i’ve been having such a good time in the mirror i forgot about the door— look! over the entrance, one like the son of man drawing x’s. — Alysia Nicole Harris

JOHNNY McKEE, Wonder in the Face of Being (Detail), 2021, Acrylic, aerosol paint, and tempera, 51 x 52 in

Offerta — No. 3 / Summer 2022

Johnny McKee Since graduating from Herron School of Art

— McKee's compositions strive to capture

and Design with a BFA in 1997, Johnny McKee

the ethos of these intangible ideas and the

has been an active fixture in the Indianapolis

questions they engender.

arts community. He is a Resident Artist at the Harrison Center, where he occupies the roles

His latest series of work, Follies of the Living,

of educator and curator of the Underground

debuted in January 2022. McKee found the

Gallery.

concept of the eponymous episode of M*A*S*H to be a compelling microcosm of

Now decades into his career as a contemporary

the trivialities and absurdities with which

mixed-media artist, McKee is most well-known

humanity is often concerned. The works in this

for the starscapes and emotive clouds that

show expand on this idea and also remain

remain constants in his oeuvre. These works

faithful to the distinctive and often enigmatic

often employ the use of various techniques and

style that McKee has cultivated throughout

materials to evoke notions of liminality, memo-

his career.

ry, mystery, nostalgia, and negligibility. Through his ever-evolving blend of mediums; painting,

mckeej53@yahoo.com

sculpture, photography, collage, woodworking

IG: @johnnymckee 69

JOHNNY McKEE Myself being Myself, 2021 Oil 52 x 41 in

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JOHNNY McKEE Descartes’ Premonition, 2021 Oil 33 x 29 in

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JOHNNY McKEE Double Duty, 2021 Found object 42 x 11 in

JOHNNY McKEE, Triptych from Follies of the Living, 2021

JOHNNY McKEE Losing Illusions, 2021 Found board and copper nails 13 x 27.5 in Accidental Instrument, 2021 Found board and nails 7 x 16 in A Coathook for Winchester and Hawkeye, 2021 Found object 6 x 9 in 73

Offerta — No. 3 / Summer 2022

JOHNNY McKEE Wonder in the Face of Being, 2021 Acrylic, aerosol paint, and tempera 51 x 52 in

JOHNNY McKEE He Laughed, 2021 He is Laughing, 2021 Pyrite Night, 2021 Acrylic and tempera 8 x 8 in. each 75

Offerta — No. 3 / Summer 2022

JOHNNY McKEE Farewell, 2021 Acrylic 8 x 8 in. each

JOHNNY McKEE Double Double Toil, 2021 Found object 24 in. tall

JOHNNY McKEE Collection of works from Follies of the Living, 2021 Antique photographs and tempera 4 x 8 ft

JOHNNY McKEE Al Fredo I, 2021 Archival digital print on panel 10 x 10 in. each

JOHNNY McKEE Infinitesimal, 2021 Acrylic, aerosol paint, and tempera 51 x 52 in

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JOHNNY McKEE A Strange Rival in a Dual with Life, 2021 Acrylic, aerosol paint, and tempera 51 x 52 in

MARYAM EIVAZI, Untitled (Ice Cream Series), 2017, Acrylic on linen, 200 x 150 cm

Offerta — No. 3 / Summer 2022

Maryam Eivazi Maryam Eivazi’s works capture chaotic

Graduating from Tehran’s Faculty of Art and

moments in which asymmetry, suspension,

Architecture University in 2006 with a

and circulation of forms and objects on canvas

bachelor’s degree in painting and continuing her

demonstrate the artist’s engagement with the

education in Conservation and Restoration

action of painting. Maryam Eivazi’s painterly

of Cultural Heritage in 2012 at the same univer-

use of color, rhythm, texture, and form renders

sity, she went to the Academy of Fine Arts

the process of painting as a means to come up

(Bologna, Italy) in 2014 to obtain her Master’s in

with new methods and perspectives. Using

Visual Arts. Maryam Eivazi’s works have

coincidences that happen during the artist’s

been exhibited in a number of solo and group

studio work, each painting becomes an

shows around the world.

opportunity through which Maryam Eivazi explores, experiences, and discovers novel angles

maryameivazi.com

enabling the beholder to observe common-

IG: @maryameivazistudio

ly-known objects from new perspectives. Living and working in Milan, Italy, Maryam Eivazi is best known for her abstract paintings. 81

MARYAM EIVAZI Untitled, 2022 Acrylic, oil, oil stick and conte on linen 200 x 150 cm

Offerta — No. 3 / Summer 2022

MARYAM EIVAZI Untitled, 2022 Acrylic, oil, oil stick and conte on linen 200 x 150 cm

Offerta — No. 3 / Summer 2022

MARYAM EIVAZI

Untitled (Ice Cream Series), 2017

Acrylic on linen

200 x 150 cm

MARYAM EIVAZI Untitled (Latent Inhibition Series), 2020 Acrylic, oil sticks, oil bar, chalk color, color sticks and conte on linen 190 x 185 cm

MARYAM EIVAZI

Untitled (Sometimes Some thing’s Series), 2019

Untitled (Latent Inhibition Series), 2020

Acrylic, oil stick, pencil and conte on linen

Acrylic, oil sticks, oil bar, chalk color, color sticks

205 x 190 cm

and conte on linen 227x 178 cm

Offerta — No. 3 / Summer 2022

MARYAM EIVAZI

Untitled, 2022

Sun, Sky and Something’s II (Archimedes Series), 2019

Acrylic, oil, oil stick and conte on linen

Acrylic, oil stick, oil bar, chalk color, color stick and

200 x 150 cm

conte on linen 200 x 194 cm

MARYAM EIVAZI Untitled (Untitled Series), 2022 Acrylic, crayon, oil, oil stick and conte on linen 200 x 200 cm

Offerta — No. 3 / Summer 2022

MARYAM EIVAZI Untitled (Untitled Series), 2021 Acrylic, crayon, oil, oil stick and conte on linen 200 x 185 cm

Offerta — No. 3 / Summer 2022

MARYAM EIVAZI

Untitled (Untitled Series), 2022

Untitled (Stickers Series), 2016

Acrylic, crayon, oil, oil stick and conte on linen

210 x 190 cm

200 x 150 cm

MARYAM EIVAZI Untitled (Untitled Series), 2021 Acrylic, crayon, oil, oil stick and conte on linen 200 x 180 cm 91

Offerta — No. 3 / Summer 2022

The Founders

Samuel E Vázquez (b. 1970, San Juan, Puerto Rico)

Ayanna Tibbs (b. 1990, Indianapolis, Indiana) is a

is a contemporary visual artist working primarily in

contemporary artist who aims to merge complex

found materials and mixed media. He has exhibited

ideas with simple yet striking imagery. Her most

alongside Helen Frankenthaler, Joan Mitchell, Sam

recent body of work has been a study on how light

Gilliam, Sabina Klein, Sam Francis, Keith Haring,

interacts with structure.

Torrick “Toxic” Ablack, and Futura 2000 among others. His work is rooted in the New York City subway

ayannatibbs1design@gmail.com

painting era of the 1970s and 80s and informed

Instagram: @_ayanna_0724

by the work of Ed Clark, Mimmo Rotella, Jacques Villeglé, Jackson Pollock, and Jean-Michel Basquiat. Vázquez holds degrees from New York City College of Technology—CUNY and Indiana University’s Herron School of Art and Design. His work is in numerous public and private collections. www.samuelevazquez.net 92