Hello All,
Be prepared to post your Artist Statement & BIO to the blog by class time, 10/18.
Please post your Artist Statements ans Bios in the comments below.
Please plan to travel to each other's studios for presentations.
Be sure to print copies for all.
Tomorrow's presentations are as follows:
Presentations: Art work, Artist Statement & Bio :: GROUP 1
1. Diandra Oliva
2. Claire Malecot
3. Lucy Heurich
Leah Koontz
ReplyDeleteArtist statement:
I am passionate about learning. Before I can begin to work on a piece I need to have a thorough understanding of the history and implications of my subject matter. I tend to make work about social justice and equality because I feel that this is the duty of an artist and engaged citizen. Currently I am specifically exploring gay rights, women’s rights, and my Jewish identity. I routinely think about control and address contemporary issues in society, as well as my relationship to them. I think about the control or lack of control I have over a specific problem. Most of the time these metaphors rely on difference. Finding beauty in unexpected places gives the work a fresh vision and sense of relevance.
In my case, material is usually the byproduct of an idea. I enjoy getting my hands dirty and working with a range of mixed media to build the vessel for my thoughts. Oftentimes the art object I am working on begins to take on a life of its own. The process and physicality of the work adds additional meaning to my concept. This process becomes momentarily void of thought. After the idea is formed and the product is produced, the question of display is heavily considered. I believe the research, documentation, and curation of my work is as important as the piece itself. It becomes one with the work. I consider my display, the connotations it recalls, and how this impacts my project.
I am passionate about the world, art, and all of the possibilities it has to offer. I utilize my unique experiences as a tool to reach a larger audience, and feel it is my job as an artist to ensure that the general public has access to the resources and knowledge necessary for art appreciation.
Biography:
My work deals with criticality, equality, and process. Considering my identity in relation to larger cultural implications from specific scenarios is a perpetual theme. Giving an idea, concept, emotion, or thought power in its own right is an embodiment of my work. I challenge the idea of art. I constantly ask my audience what is art, and what is its function in contemporary culture?
I currently am part of a group exhibition at the Kugel collaborative. I have exhibited at The Water Gallery, University of the Arts, and The Galleries at Moore. I recently received the SarahPeter fellowship from MCAD. I am living and working in Philadelphia. I will graduate with a BFA in 3D Fine Arts, with a Minor in Curatorial Studies in 2014.
Yvonne Clark
ReplyDeleteArtist Statement:
My work is a form of identification. I am for art with a purpose. I am for art that seeks a change. I am for change as a community instead of change for self. I am seeking to connect with the universal thorough the personal. I work in series because ideas come from ideas. My art makes boundaries, everything has its place and a job to do. My art is rooted in darkness, inspired by shame, motivated by hurt, and held in by fear. My art gives hope to me and others. My art is therapy. When I hurt I create. When I smile I create. Everything I make has a meaning, a story, a passed. My art tells my story. This is the story of a girl and her journey through life.
I am no longer held by materials, my life is ever changing therefore my art follows. I have worked with many different materials, such as, plaster, wax, paint, wood, metals, fabrics, natural material such as, wood, dirt, grass, and many more. I really enjoy working with my hands to create physical objects and exploring new technics and challenging myself in new ways. Through my new explorations I hope to grow more and become an artist in the truest sense.
Bio:
Yvonne Clark was born and raised in Trenton, NJ to a young mother and father. Graduated from Trenton Central High School with honors, then later received a Associates Degree in Fine Arts from Mercer County Community College in 201. Yvonne is now attending Moore College of Art & Design with plans to graduate in 2015 with a BA in Fine Arts. She has volunteer experience with companies like Woman Space, Renovation of Trenton Train Station, Ellarslie Museum, and Dress For Success.
Yvonne's work is focused on creating boundaries to keep people out while simultaneously drawing them in. Her work has a feeling of pushing and pulling of the mental, while expressing a thrust to let go, but showing the pain of trying to hold it all together. All work is rooted in darkness, inspired by shame, motivated by hurt, and held in fear. Her art gives hope for herself while having a conversation with the universal connecting with audiences of all ages. Yvonne describes her art as a therapeutic way of dealing with past hurts that has effected her past.
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ReplyDeleteThis comment has been removed by the author.
ReplyDeleteMy public artist bio and artist statement is here http://clairemalecot.com/images/artist-bio-statement-web.jpg.
ReplyDeleteArtist Bio
Claire Malécot is an artist and sophist in Philadelphia who shot out of the dark cave in San Diego, California in 1984, where she began her study of what it means to be a body in a room. She has continued to explore the relationship between the self, others, and the universe through the processing of objects, language, and residue. She is currently working on her BFA thesis at Moore College of Art in Philadelphia.
Malécot’s work has shown in several group exhibitions including 5 Years at Sidney Berne Davis Art Centre, Fort Myers; Student Show at The Galleries at Moore, Philadelphia, 2013; Art 24 at Edison State College, Fort Myers; Annual Student Art Show at Bob Rauschenberg Gallery, Fort Myers, 2012; 8 on eighteen at Sidney Berne Davis Art Centre, Fort Myers; Art 48 at Edison State College, Fort Myers, 2011; Degenerate Works at Rush Library Special Collections Gallery, Fort Myers; Couillard-Krupp-Malecot at Rush Library Special Collections Gallery, Fort Myers; Drawing as Installation, Rush Library, Fort Myers, 2010; as well as numerous performances, including Breath 3 at Moore College of Art, Philadelphia; This is Living (Anaïs Nin Can Kiss My Ass) at Art 24, Fort Myers, 2012; Breath 2 at Sidney Berne Davis Art Centre; Paper at Broad and First Gallery, Fort Myers; Garbage (Breath) at Edison State College, 2011; Threat Level Blue at Lovers Key, Estero, 2010.
She is the co-founder and co-editor of forthcoming publications of Potty Cot, the web based curatorial project Inside the White Cube: Desirable Objects on a White Background, and a founding band member of the 2002-2006 project Pop Culture Sycophants.
Alex Kanzer
ReplyDeleteLink to my artist statement- http://www.alexandrakanzer.com/styled-2/
Alexandra Kanzer is a metal smith working in Philadelphia. She was raised an hour southwest, in Landenberg, Pennsylvania, where suburbs dissolve into farmland. She uses traditional jewelry techniques to explore the relation between people, corporations and nature. She continues to explore what it means to be a small farmer in a steadily unfolding post-industrial society. She is currently in her senior year of her BFA at Moore College of Art in Philadelphia. Alexandra’s work is in collection at the Fleisher Art Memorial and has been shown in group exhibitions including the Student Show at The Galleries at Moore, Philadelphia, 2011-13, Annual Show at the Chester County Intermediate Unit, 2009, 2012 and the Student Art Show at Avon Grove ,2009-13. She also participates in Craft shows such as, The Ardmore Clover Market, 2012, London Grove Farmers Market, 2013, Rittenhouse Craft Market, 2011, and the Philadelphia Museum of Art Contemporary Craft Show, 2013.
ReplyDelete• Krista L. Dimond •
38 W. State St • Media Pennsylvania 19063 • (610) 680 7579
kris.dimond@yahoo.com
Krista Dimond is a mixed media artist with a strong interest in the field of anthropology. Her work is centered around the human body. Specifically she concentrates on the movement of beings, the union of two bodies, and the physical space we take up as individuals. Krista often unmasks the topic of sexuality as she presents the viewer with nude or hybrid male and female forms.
Krista Dimond is an independent artist based in Media, Pennsylvania. She is currently enrolled in her third year at Moore College of Art and Design with a concentration in three-dimensional fine arts.
Krista Dimond
ReplyDeleteMy work as an artist is centered around the human body. Specifically,
I concentrate on our movement as beings, the union of two bodies or the
physical space we take up as individuals. My interest with the human form
ultimately stems from the fact that we are such a complex species, that I
want to be able to understand.
As an artist I like to create problems for myself, which I then have to
solve. Many times, I will take more time experimenting with materials and
concepts before a piece is even started. This leaves the process I take just as
important to me as the final piece. As the actions I take towards creating a
piece are crucial to me; I don’t always find it necessary to show it in the
work. In one instance, by melting and dripping steel I created a matching set
of male and female forms. I approach each form in their own way. The
female I built from the feet up, and the male from the head down. This was
something that only I could have viewed while experimenting the effects
gravity would take on each figure. On the other hand my process does take a
key-role in some of my other pieces. I am currently involved in a long term
performance of collecting the hairs I shed from my head. I am compiling
these hairs to equate the mass of an average human body, which is 1.5
square feet. The act of collecting my hair for this piece will be more
apparent in its final form, as I am estimating this practice to take around two
years to obtain enough. Our creation in the womb determines so much about
the lives that we are destined to live out. This fated time in the womb is
captivating to me; as this is when we are programed as male or female.
Many times I create hybrid forms with conjoined male and female parts. In
doing this I am exhibiting the commonality siblings share with each other
having shared DNA and hereditary traits, but living them out in different
genders.
When I get an idea I immediately think: How can I put a body into
this? I have always used a wide variety of mediums for this reason. With
each material I choose to apply to my next figure, it helps me learn more
about our attributes as humans. The way we move, or balance ourselves, or
take on an intimate union with another form. As an artist I feel driven to
further develop my interest of our bodies, and continue exploring the ideas
behind our complex nature.
Bio:
ReplyDeleteStephanie Potter lives and works in Philadelphia, PA.
Statement:
Stephanie Potter is currently exploring Art as Condiment. She does this through a variety of social media practices. Friend her on FB.
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I find any kind of reveal counterproductive to the work I have been doing.
This is very difficult. I consider the titles of my work to enough of a statement: everything is a joke, I cant give away the punchlines before the knock-knock.
However, I will attach a letter I have recently sent to a close friend to explain what it is I am most curious about as I move towards thesis. ...For the sake of the class and to share some of what I am exploring.
Begin:
I have become preoccupied with the disconnection that occurs between the photograph and the object being depicted within that photograph.
So for example, in the case of Food Photography or “Foodstagraming”: when I post a photo and it enters the mass of images hashtagged with, lets say “#meat”, other users look at it, double tap it, like it… Why? There is no smell to this meat, no juices, no fibers, there is even a photo filter placed over it to remove it even further from life. But somehow we all still lust for this insta-meat simulacrum. We all still post.
I find this fascinating.
However, in the case of your photography work for Cook, including your Instagram, there is a humanist presence that I would say is absent from most amateur foodstagraming. This could be comparable to the absence of humanism in most amateur porn. Just as there is a certain kind of deadness to the low-lit, low-res images of camgirls, there is also a deadness to the Hefe-filtered candle-lit dinner plates of iPhone users everywhere. Your food photography is very different from this. You have been able to offer us a humanist hyper-reality: something like less like porn and more like erotica.
Your eye is as deeply sensuous as it is compassionate.
I can parse this out more using your photograph of the purple tentacles for reference. I chose this one particularly because there is no actual human present (the case with most foodstagraming), however this photo still evokes the body--not as a corpse, but as eminence. There is a certain Being and Becoming to this image. Perhaps it is the ratio of gloss to matte? (Cum to flesh?) The potentiality of this image is writhing. You’ve generated a hyper-reality from the simulacrum (or copy) of something that was probably more dead to begin with; bringing out the sexuality of the tentacles as if it was a human, not just as a photograph. This is what great photographers do to all of their subjects.
This being said, I still will never attain these hyper-real tentacles. I lust for the tentacles you’ve brought me in this photograph; however, I am still repulsed by them in reality. This is the futility in photography I am most interested in. The gap between image and object.
This brings up all kinds of questions about commercial verses amateur.
Why I feel more aroused by the hyper-real than I do by reality?
Bringing new meaning to the phrase “distance makes the heart grow stronger”.
End.
This comment has been removed by the author.
ReplyDeleteStatement:
ReplyDeleteIn creating any piece, my research draws on my personal past, tales of ancient history, and various fantastical realms and plots. Dramatic landscapes and natural phenomena also interest me, and are elements that guide my practice. Through metal-smithing, textiles, plastics, and printmaking I create parts of cold, barren, and archaic worlds. I begin with a memory that is specific in its unique textural quality or emotional significance. From there, I collect images, items from nature (like bark, rocks, or plants), and texts that outline the geography or history that inspires me. The materials I use are of equal significance to the story represented; rather than serving as the catalyst for the work, they are dictated by the story. The rough crevasses in an old tree's bark or the sharp, light touch of field grass can conjure the most vivid memory for me. In the world where my pieces exist, vibrancy is hard to come by. In turn, texture and shape operate as the most effective vehicles for communicating my ideas. In my latest work, I explore the weight and significance of past relationships and the ritual of remembering lost love through steel objects of body ornament. My use of muted tones and natural colors in these pieces emphasize the frigid landscape I am working to conjure. Each piece embodies a mysterious adventure within my dark realm.
Bio:
Nora Spillane was raised in Chalfont, Pennsylvania and currently lives and works in Philadelphia where she attends Moore College of Art & Design. Currently in her senior year, Nora is working toward a BFA with a focus in 3D studies. During her time at Central Bucks High School South she was a featured artist in three annual district shows and created the first ever Art Club, serving as its Vice President for three years. In the summer of 2007 she attended F.I.T.'s High School Summer Live Program where she received top grades in unaccredited courses including design, drawing, and draping. Nora’s first exhibition was in the 2006 Touch the Future Show, presented by Mideastern Region of the Pennsylvania State Education Association, in the Gallery on High. She has also been featured in the Moore College of Art & Design Student Show for three consecutive years. Most recently, she was featured in Moore College of Art & Design's 2013 Travel Fellowship exhibition.
Nora has a working knowledge of many mediums including wood, clay, metals, monoprinting, etching, plastics, oil paint, welding, fibers, textiles, photography, plaster, rubber, and wax. She combines her history with fantasy histories from around the world to tell a new story through forms ranging from small jewelry pieces and multimedia installations, to large scale prints.
Coming up, Nora will be participating in the Philadelphia Museum of Art Craft Show. Her metal work will be on display and up for sale from Thursday November 7th to Sunday November 10, 2013. Her work will also be featured in a group show at Society Hill Synagogue opening Friday, December 6, 2013.
THIS IS ALL SUBJECT TO CHANGE BECAUSE MY WORK IS IN A TRANSITORY STATE/PLACE/THOUGHTS:
ReplyDeleteBIO:
Veronica Perez hatched from an egg 30 years ago before Gaga was trending.
ARTIST STATEMENT:
Through narrative performances, I make active works that emphasis a visceral sense of anxiety, fear and tension. These qualities transfer stress and anxiety from artist to viewer.
Working with a collection of contrasting religious imagery, iconography, rituals and alchemy, I craft signs and symbols to be used in my works. The signs and symbols show themselves in performances, materials and tasks I must complete.
The objects used in my performative works have become analogous to sacred relics. These found materials may or may not have religious and spiritual associations, but through ritual acts, these objects are elevated to the sacred. Materials are very important to the tasks because they embody the spirit and idea of the performance. The transference of the performance to the materials is the beginning of the objects becoming venerable.
I put myself into a stasis while performing these ritual tasks and question the reason for my anger, fear, frustration, anxiety and tension. I use physicality and motion to engage my body, so my mind is free. The cathartic nature of the ritual tasks helps with the purging of the stressors.
In engaging with the artwork, the viewer is meant to be pulled in close, so the transference from artist to viewer is complete. I believe when the viewer engages intimately with these works, who they are fades away and the focus is on me transferring out my anxiety and fears.[1]
In reading Alchemy of Art, Gabrielle Selz says, ‘The creation of art and the viewing of it, allow for us to reconfigure our thoughts, and to make ideas and abstractions, concrete.[2]‘ These works germinate from a need to see, understand and communicate my ideas and thoughts.
Bibliography:
Selz, Gabrielle. “Alchemy of Art.” ‘Alchemy of Art’ http://www.alchemy-of-art.com/ Gabrielle Selz, 29 Apr. 2010. Web. 04 May 2013.
[1] Selz, Gabrielle.
[2] Selz, Gabrielle.
Disclaimer: this is from last year and is now completely irrelevant. when i write new ones i will post them.
ReplyDeletestatement:
Currently, my work is about memory, experience, and the way that photographs interact with personal narratives and history. I started making art as a photographer and made my way into sculpture and eventually textiles. In the process of making my work, I’ve found that I lose pieces and details of events and people as time goes on, and I find this fact frightening and intriguing.
I am interested in the spaces left behind where memories are lost, and the ways in which we try to fill them with our own ideas or pieces of our history we know only from old photographs. To talk about these ideas, I combine textiles with photographic imagery. Combining the two is symbolic to me because I will always see things photographically, and I approach everything with that lens. Textiles symbolize tradition and nostalgia for me, as well as narrative and family lineage. I learned to sew from my mother, who learned from her mother. I see thread as a direct metaphor for lineage and relationships. I deliberately remove defining qualities from some of the images I use, like certain parts of faces or lines, so that the viewer can project their own experiences into them. We all have a story to tell and I like my work to encourage this type of dialogue.
bio:
Mellisa Robbins was born and raised in the depths of the New Jersey Pinelands, where her mother held weekly get-togethers that involved quilting and pie. Her work explores the relationship between tradition, textiles, love, and teenage angst. She is a student at Moore College of Art & Design in Philadelphia, expecting her BFA in 3D Fine Arts in 2014. She is deeply inspired by the work of Shepard Fairey and Chris Burden, much to the confusion of those who view her body of work. Her most recent work utilizes embroidery, drawing, and patience.
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ReplyDeleteStatement:
ReplyDeleteMemory is powerful. What remains and what is lost? The documentation of preferred moments becomes important. My work deals with exploring these questions through photographs, video and painting. I want to recreate specific images that investigate what memories are lost with photos from my past. What is important is the act of deconstructing and reconstructing the image to recover the loss. My paintings express the expunged memories. Portraying the physical action of adding then subtracting the loss of memory. It is as if I am restricted it will never be how it once was. My photographs push the boundaries of mysterious and strange. The presences of the same figure and the elapse of time counteract with the similarity is unsettling.
Lucille:
Being a professional humorist is what I do and improvisation is second nature to me. I am a storyteller. In my performance based work I make videos. The script doesn’t exist. I simply make it up as a go along. You see story telling has been passed down from generation to generation in the Heurich Family. We pride ourselves in the ability to captivate people with our truthful and authentic stories. As a right of passage each Heurich member entering adulthood at the age of sixteen has to be able to recite the great family history. They must tell a series of three stories. Once they do this successfully they earn themselves the trademark of the Heurichs’ a white sport utility vehicle. It is a huge moment when a Heurich earns themselves that car. It not only allows them to get from one place to another but it also shows great dignity in the Heurich name. Storytelling is in my blood and I earned my right of passage. I now proudly cruse the streets in my white Hummer.
Bio:
Lucy Heurich was born in Pittsburgh Pennsylvania and grew up in Sewickley. Moved across the state to Philadelphia where she hopes to strike it big in the wonderful city. She is currently attending Moore College of Art & Design studying fine arts with a 2D emphasis and will graduate in May 2014. The work she is currently exploring deals with the loss of memory. She is creating reconstructed images of photographs from her past through mixed media. Along side she creates videos mainly regarding improvisation.
Statement
ReplyDeleteI want to explore different kinds of systems in my work. For example I use visual content like vascular systems and blood slides as a representation of organic structures that keep you alive. Life and living structures like root systems are also interesting to me. Visual patterns are great for me because they deal both with my interest in structures and organic patterns.
Bio
I lived all over the west coast before moving to Philadelphia to go to Moore college of art and design. I aspire to be not unemployed.