TRACKFORTY ISSUE 1

T40 Contemporary art Magazine

ISSUE 1

FEATURING Amber Thorpe Luke Cheng Ian Bosak Zach Garrison Jack BRUML Norton ConstaNtin Hartenstein Brian Fell Kaitlin Mazzei Christopher Capriotti Estefi Ramirez

SQUARE (detail) HD Video installation, Acrylic glass, Metal Artist: Constantin Hartenstein 2014

Trackfor Editor / Founder

Contact Info

jessica Hernandez

Trackforty.com Submissions@trackforty.com

Copy Editor April Espinosa

Marketing Director Kaitlin Mazzei

Contributing Writer Kim Ly

Social Media Trackforty Team

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trackforty@gmail.com INstagram @trackforty

ty ISSUE 1

Contents

04 Intro

114 Estefi Ramirez

06 Amber thorpe

126 closing

14 Luke Cheng 26 Ian Bosak 40 Zach Garrison 52 Jack Bruml Norton 66 constantin hartenstein 71 Through the Lens to the Lights by Kim Ly 80 Brian Fell 94 Kaitlin Mazzei 102 Christopher Capriotti 3

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Intro Trackforty is an online and print contemporary art magazine featuring upcoming artists. The artwork presented in this collection was selected and reviewed by other working artists.

With this platform we want to get work exposed and critiqued by artists and art organizations.

Our goal is to expand the connection between different mediums in the art field. We want to show a graphic designer or photographer next to a painter or sculptor and have their pieces compliment each other. There is a need to explore these boundaries and we want to push them as far as we can.

Jessica Hernandez Editor/Founder

Photographed by: April Espinosa

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Amber Thorpe Artist Statement The opportunity to exhibit this work in a show is important because it is taken out of the studio and put into a more ideal context. The lidded jars and open vessels are displayed on table tops to show their domesticity. The blue jars are displayed on top of a blue table to separate it from the other work. This is because they are two different clay bodies, and the approach to these blue jars will be different from the earthenware ones. They need to be separate so they can be examined independently from each other.

When looking up in the space you can see jars placed on shelves, this is meant to allude to the home.

This aspect of the exhibition reflects the moment when you had too many cookies, and your parent placed the jar up high to where you can’t reach it. Exhibiting the work is just one of the steps on the journey to getting it to the homestead where it belongs.

Growing up with a family full of sweet tooth’s, I have plenty of first-hand experience in the world of delicacies. Holidays always had a two to one ratio of desserts to dinner foods. The dessert table at times was quite overwhelming. The conversations during dessert were always surrounding which one we liked the most, and how to pack these up for each of us to take some home. This is where my passion for desserts started, and it soared once my hands met clay.

Medium: Ceramics LOCATION: Rockaway, NJ 6

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Teapot 2014

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Teapot (close Up) 2014

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Cookie Jar 2014

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Luke Cheng ARTIST STATEMENT Through situational portraiture, Luke Cheng investigates the body as a symbolic site expressing intersections of sexuality, power, and race. He is deeply interested in the relationship between personal narratives and their contextual multi-generational familial histories. Much of his work focuses on specific human groups but deals with universal experiences. Formally, he seeks intriguing available light and decisive compositions within the frame.

Some of his past projects include studies on East-Asian-American masculinity, college as a transition between childhood and adulthood, and victims of wrongful incarceration.

Luke Cheng’s work has been featured extensively in Princeton University’s Nassau Literary Review, in addition to exhibiting in various gallery spaces in the University. At Princeton, he studied photography under Deana Lawson, Allan Macintyre, and Accra Shepp as an undergraduate student. He currently works on products in the tech industry, exploring the ways in which new technologies change the shape of human experience and culture.

Silent Home is an exploration of ennui, innocence, and mortality within the familiar confines of white picket fence suburbia. In particular, this highly personal project troubles the historically specific American Dream borne by the wave of college-educated Chinese immigrants coming to the US after the P.R.C. relaxed emigration policies in 1977. The isolated figures, motionless composition, and quiet light invite the viewer to consider reasons for unease.

Medium: Photography LOCATION: SAN FRANCISCO, CA 148

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Bedroom at Night

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Boy at Window

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Girl in Closet

Snowy Trees, Small People Grid

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Julia with Tears

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Hair in Doorway

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IAN BOSAK Artist Statement My body of work expresses the connection between the modern culture and the momento mori.

The concept of the momento mori is both observational and laden with emotion, physically and internally. My work seeks to explore that connection through various mediums such as steel, cement and other mixed media and certain observational perspectives defined by construction while leaving my audience with the same question most of us will ask at some point. How will I be remembered? Through industrial material and calculated research about material, history, and modern culture, my work is introspective, often imbued with a certain emotion such as anxiety or humor, or sillage – a French word defined as the lingering trail of a scent that incorporates my writing practice as a large component of the process seen either directly through text in the work, or as an inspiration. Looking at the idea of a person, both physically and emotionally, in the same lens as an object, my work is executed in a way that brings an air of anxiety and nostalgia into the piece through minimalist and recognizable forms.

My work also attempts to deconstruct the traditional body, human and object and the relationship we have with a certain body, and how the memory of a person or object is preserved. My work often takes on a precarious nature through seemingly unstable structures and qualities that force the viewer to interact in a site-dominant atmosphere. My work creates and responds to a space with a solemn and emotionally heavy air that allows the viewer to acclimate to the space in a theatrical nature; However, it also aims to confront both the piece and the viewer’s own preconceived notions on how objects can illustrate a person or body without their presence.

Medium: SCULPTURE / PHOTOGRAPHY LOCATION: PHILADELPHIA, PA

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Remnant Of An Incubator Mortar, Re-bar, Radiator Heating Coils. 2014.

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I PREDICTED THIS Mortar, STEEL. 2014.

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PATIENT #237 ARCHIVAL DARKROOM PRINT. 11X14.

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(right) REFUSE ARCHIVAL DARKROOM PRINT. 11X14. 2014.

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DEAR STRANGER ARCHIVAL DARKROOM PRINT. 11X14. 2014. DIPTYCH, PART I

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DEAR STRANGER ARCHIVAL DARKROOM PRINT. 11X14. 2014. DIPTYCH, PART II

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Clairvoyance Steel, Wood, Found Object, Mixed Media. 2014.

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Clairvoyance Steel, Wood, Found Object, Mixed Media. 2014.

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Zach Garrison

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Artist Statement Finding the simplicity in the immersive grounds of New York City, I let my mind explode with transcending information. Distorting reality, I produce my thoughts in a tangible form. Evolving my creativity and process rapidly through emerging technology. An edgy surrealist minimalism world, is seen through my personal lens. I strive away from trends, searching for new approaches when designing and try my best to think wrong. A challenge in the creative world is where my brain begins to turn its gears and pump creativity throughout my body. I seek the unordinary out of ordinary, and find the future to consistently be the most influential client.

Medium: GRAPHIC DESIGN LOCATION: Brooklyn, NY 41

glitch (series) Digital Composite 2014

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ghost (series) Digital Composite 2014

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glitch (series) Digital Composite 2014

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ghost (series) Digital Composite 2014

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glitch (series) Digital Composite 2014

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Jack Bruml Norton Artist Statement Jack Bruml Norton’s work can be difficult to place. He uses paint not only as a medium, but as a narrative tool that relates to history, politics, and personal experiences. While he uses images/photographs as a reference, a large part of Jack’s process involves re-arranging, and re-compositing those references right up until the painting is complete. This kind of process allows the paint dictate its own story as it is applied and then sometimes manipulated. In the end it is not how the artist relates to the painting but the viewer.

Medium: Painting LOCATION: Brooklyn, NY 52

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Face of Infinity oil and aluminum foil on canvas . 38”x28” 2015

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shiva oil on panel 24”x20” 2013

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norm oil on panel 11”x14” 2013

Peelin Out 1 oil on linen. 26”x26” 2014

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Sat on a Snake oil on canvas. 44”x40” 2014

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untitled oil on panel. 18”x24” 2013

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worlds collide oil on panel. 24�x20� 2013

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untitled. oil on panel. 16”x20” 2013

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suspended oil on panel. 20”x24” 2013

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Constantin Hartenstein

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Artist Statement My practice is focusing on the transitions of dominating power structures in contemporary society. Operating within the media of print, video and installation, my projects raise questions around abstract representations of corporate ideologies, the body as a projection surface and superiority understood as a concept of imperious structures. I investigate what recognizable role global branding, especially corporate architecture, plays in today’s digital consumer culture. By positioning the viewer between the real and the imagined, my work aims to reveal existing power constructions and spatial linearities.

Medium: VIDEO / INSTALLATIONS LOCATION: BROOKLYN, NY Š portrait: Eli Cornejo

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photographic series taken undercover in corporate stores 62 C_A 68 dimensions variable 2014

C_A photographic series taken undercover in corporate stores dimensions variable 2014

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FIt Video installation, 4 min loop, color, stereo sound 2012

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Through the Lens to the Lights A hypnosis into the alpha male tunnel. A motivational dictation into leadership and superiority. Making the world a better place. A man parallel to what gravitates him, grounds him and balances him in a way which is cohesive with his daily exercise routines. An array of beautiful lights on vinyl and acrylic glass hitting the white walls like an asylum of an acid brain explosion.

Constantin Hartenstein uses video, neon and installation to reflect upon relevant societal issues like masculinity, newly invented materials and reflective surfaces. Along with his contemporary direction and messages in his videos, he is able to capture the beauty of formality with his installations. Born in a small town called Herzberg in former East Germany, he found his true passion when he decided to move to Berlin. After being accepted to the University of Arts in Berlin, he was chosen by his video art professor to participate in a workshop with the musician Brian Eno. The topic for this workshop was “What is art?”

The concept involved the creation of a piece of art that would convince the other groups of being able to change common perceptions. Hartenstein’s group had an idea to initiate a Polonaise dance in which every participant would dance throughout the university, led by Brian Eno. Reflecting on that day, he states, “We knocked on every door and all students in the building participated. Eventually, 70 people and Mr. Eno danced a silly German folk dance together. All guards were let down. One argument we brought forth was that art has the ability to motivate people, to change their behavior, even if it doesn’t make any sense to them in the moment.”

From then on, it struck Hartenstein to create art that induces a fuel of energy and thought-provoking actions. Hartenstein and I have been emailing back and forth about his work and he come up with some interesting responses to my questions: K.L: What inspires your video work?

C.H: I get inspiration from several different directions. Books, magazines, historical events, my own biography, encounters with interesting people and mostly stories. Once an idea is stuck in my head, I start to research very intensely on the topic and organize ways to realize the work. Since I’m not exclusively working with video, this could mean conceptualizing, finding materials, or directing a video shoot.

K.L: What is your favorite piece of your own work? And why?

C.H: It’s probably always the latest one since it’s the freshest and newest.

When Hartenstein is not making art, he is playing the Wagner tuba in a Gay and Lesbian marching band called Big Apple Corps in New York. I asked Hartenstein for his favorite quote: “Reality continues to ruin my life, Bill Watterson,” he stated. I guess what society is built upon, as far as I am concerned, is a form of creations of one’s own reality made from initial experience which we envision and re-imagine in our heads. We could translate this quote in many ways, there is no argument here. We could equally agree with Hartenstein’s favorite quote, and take a look at the challenges of life which might present a possible danger to create. Escapism through art. Leaving the conventions, trying to define who we are.

For Hartenstein, if he found reality, he wouldn’t have ever found his great passion in art.

So I asked him: K.L: If you could give any kind of advice to a group of people, what would it be?

C.H: Don’t listen to any advice.

By Kim Ly

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ALPHA Video installation, 11 min loop, color, stereo 2014

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PROTOTYPE II acrylic glass, ccfl lights, flexible acrylic sheets, UV print on transparency, metal. 24 x 36 in. / 60,9 x 91,4 cm 2014

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PROTOTYPE I (photograph) UV print on flexible acrylic sheet, ccfl neon lights, metal, 52.4 x 78.7 in. / 60 x 80 cm 2014

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VANITY neon tubes, UV print on backlit vinyl, mylar, acrylic glass I 55.1 x 39.4 in. / 140 x 100 cm 2014

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UNTITLED (APPLE/SAMSUNG) neon tubes, acrylic glass, floor remnants, advertisement stickers, metal I overall 100.4 x 162.5 in. / 120 x 160 cm 2014

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SQUARE (detail) HD Video installation, Acrylic glass, Metal 2014

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Brian Fell

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Medium: Sculpture / drawing LOCATION: Philadelphia, PA

Artist Statement Born and raised in Easton, Pennsylvania. Enrolled at PrattMWP in Utica, New York in 2010 and graduated in 2012 as a sculpture major. Enrolled as a sculpture major at Tyler School of Art, Temple University in Philadelphia, Pennsylvania in 2012 and currently still attending. While sculpture is my main mode of expression, drawing is an alternate approach to problem solving that I’ve always utilized and plan on continuing within my practice in the future.

Photographed by Ian Bosak

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Artist As Material 66�x36�, charcoal, conte, ink, artist 2014

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“You Work So That You Can Afford the Car That You Drive to Work 26”x30.5”, graphite, 2014

Elijah’s Mantle 28”x30”x7”, steel, artist’s hat, artist’s father’s used tarp, artist’s grandfather’s dollar bill, plastic picture frame 2014

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A Friday Night 61”x53”, mixed media, & found objects 2014

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Nightcap 2 weeks worth of bags accumulated by the purchase of 40 oz. bottles of malt liquor, matte medium, tissue paper 43”x84”x5” 2014

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title collaborative performance orchestrated by Christopher Capriotti and Brian Fell, a bare-knuckle boxing match utilizing the London Prize Ring Rules (revised in 1853) in which 12 fighters participated in total. the ring was constructed in the Stella Elkins gallery at Tyler School of Art, fights were one on one, 6 rounds total, 35 seconds per round. For each round, the current pair of fighters remained for the following rounds while another pair of fighters were added to the ring, eventually adding up to 6 separate and simultaneous fights in the same space by round 6, the winners of each fight were decided at the end of all 6 rounds and signified their victory by tying their handkerchief to the rope of the ring before leaving the space. wooden palettes, rope, sod, dimensions vary 2012

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title wooden palettes, rope, sod, dimensions vary 2012

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Kaitlin MAZZEI Artist Statement As an artist, my aim is to fully understand the roots of my thoughts and interpretations. In order to do so I reflect and compare my behaviors in each setting, allowing room for growth in perspective. Becoming too comfortable creates a halt in growth; there is no challenge, no change in ideas, and no sense of accomplishment. Once that comfort is broken, there is rebirth.

Through the use of distortion and various sources of light I try to create a stimuli for the viewer that allows an expansion in thought of the complexities of the human experience. Through this disfiguration I capture distinct emotions and sensations rooted inside my observations and find there is an exact moment of perceiving discomfort while simultaneously breaking through it. I intend to communicate the importance of self awareness and focus this conscious sensibility into each painting by utilizing the figures and their facial expressions as an autobiographical portrayal.

Different light sources are a key element throughout my work. It is a tool that I use to invite the viewer and hold their attention through the subtle changes in color. With the intensity of artificial light, I am able to express the drama of human experiences. Strain and suffocation are represented by combining warm and cool complimentary colors, insinuating an environment that places emphasis on conflict and exertion. Paying close attention to the composition and placement of the figure, I communicate the psychology of the face and body language through the drama of light. We are consumed by our surroundings, just as the light consumes the figure throughout my paintings.

Medium: PAINTING LOCATION: Brooklyn, NY 94

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CHRISTA OIL PAINTING 2014

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Infrared Oil Painting 2014

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Significant Contact Oil Painting 2014

Trust Oil Painting 2014

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497 Greene Oil Painting 2014

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CHRIStopher Capriotti

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Medium: Sculpture / Printmaking LOCATION: Philadelphia, PA

Artist Statement Narrative is an applied structure. In fiction it’s applied from the outside, at a safe distance, where the viewer forms their own connections and establishes a clear beginning, middle, and end.

This doesn’t happen in real life.

The narrative I’m engaging with is my own, a series of arcs with an innumerable number of climaxes.

Some of those arcs will never end, some have ended without my noticing, and no matter what, I will never be able to see the full picture. I will never be the outside observer.

To me, making art is a form of selfishness, whereby I reinforce my role as the protagonist within an ongoing narrative that I will never fully grasp.

Photographed by Ian Bosak

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Cross Section Cast cement, steel support 2014

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title, Traditional bare-knuckle boxing ring in Stella Elkins Tyler Gallery, Tyler School of Art, Philadelphia. Found wood, pallets, laid rope, turf, spotlight. One pair of fighters added to ring each round, for a total of six rounds. Winners’ bandannas added to ropes post-performance. 2012

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Before Fight

AFTER Fight

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Greater Monolith II Relief monoprint of found wood on rice paper. Part of the series The Thud And The Echo 2014

Lesser Monolith II: Repeated, Relief monoprint of manipulated melamine on rice paper. Part of the series The Thud And The Echo 2014

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29 Days Canvas, wood, acrylic paint, Bondo audio recording of Riz Ortolani’s “The 7th Dawn (Closing Theme)” 2014

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ad nauseam Gallery installation featuring three pairs of cast cement slabs alongside three monoprints on rice paper.

Each slab was cast onto plastic and allowed to form its own shape. The three monoprints are taken from the smaller halves of each pair. Slabs: Cast cement, steel rods, steel pipe, relief ink, gamsol. Prints: Relief ink, rice paper, clips, nails.

2014

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ad nauseam (continued) 2014

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Estefi Ramirez

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Artist Statement I was born and raised in Quito, Ecuador and this has been a clear influence in my work specially in my early years in college. I am a senior Communications Design major with a focus on Graphic Design at Pratt Institute. As a designer, it is all about innovation and looking at work from other artists and pulling ideas to create something new. I draw inspiration from my own personal experiences, opinions and understanding of life. My work as a graphic designer ranges from brand development, poster, editorial, packaging, and website design and development. What I want to portray in my work is not only a visual pleasing experience but also having the viewer experience the reasoning behind the design.

Medium: Graphic Design LOCATION: Brooklyn, NY 115

The american Dream (series) 2014

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The american Dream (series) 2014

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The american Dream (series) 2014

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The american Dream (series) 2014

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The american Dream (series) 2014

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The american Dream (series) 2014

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Dead horse bay (series) 2014

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Dead horse bay (series) 2014

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Book Cover Redesign: Perfume By Patrick Suskind 2014

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For a Chance to be featured in the next issue submit your artwork at our website or Directly at submissions@trackforty.com

Special thanks to our trackforty team

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glitch (series) Digital Composite Artist: Zach Garrison 2014

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