Current
November 1st to December 5th 2023
Mandy Cano Villalobos
My practice is a form of cultural scrapping. I use discarded, “rewanted” objects to discover and celebrate the everyday stories of everyday people. Materials include tattered clothing, orphan socks, broken toys, kitchen utensils, candy wrappers, and the like. When I integrate these castoffs in my work, I resurrect them, and assign them a new value. Craft plays an important role in my work. In a hyper capitalist world that prizes efficiency, entertainment, and consumption, my craft is an intentional, time consuming love that provides a quiet, revolutionary alternative.
Scott Bluedorn
I am an observer of the natural world and a critic of its disruption by contemporary human society. My work is influenced by science, history, geography, cultural anthropology, “primitivism”, and supernatural tradition; and I strive to distill imagery that speaks to the collective unconscious through visual storytelling. I work primarily in drawing, painting, collage, printmaking, assemblage, and installation; separately or sometimes in combination. Making personal work in this range of media addresses a spectrum of ideas, though there are distinct central themes pertaining to different environmental aspects. I work primarily in realism based on observation and recording detail, yet there is often an element of chance, chaos and/or abstraction involved in the execution. In the last few years I have attended many residencies and as an avid world traveler I integrate new experiences and geographies into my work, investing in the psychic energy of a place and hoping to translate that in my art. My current interests are in material studies, human/non-human interaction, the interconnection of living systems, “new” ecologies, climate disruption, sustainable design and living practices.
Brenda R. Fernández
Brenda Patricia Rodríguez Fernández was born in Mexico City in 1973. She studied Initiation in the Arts at Mexico's National Institute of Fine Arts (INBA), later earning a degree in Art at the University of the Cloister of Sor Juana. In 1997, she studied with Master Luis Nishizawa, (notorious painter, sculptor, ceramist, famous for his multiple disciplines and his profound knowledge of various techniques and language) from whom she learned the handling of multiple painting techniques and procedures. In 2007, she began a Master's degree in Social Responsibility at Anahuac University. For more than 20 years, she has combined her passion for art with a career in social development, working in different sectors to design innovative strategies for social inclusion within communities. From the moment she began to hold exhibitions, she decided on her professional name: Brenda R. Fernández. Fernández's artistic career has seen her exhibit work in various national and international venues in Mexico, Germany, France, Spain, Brussels, Austria, Italy, England, USA and Switzerland, among other countries. Brenda Patricia Rodríguez Fernández was born in Mexico City in 1973. She studied Initiation in the Arts at Mexico's National Institute of Fine Arts (INBA), later earning a degree in Art at the University of the Cloister of Sor Juana. In 1997, she studied with Master Luis Nishizawa, (notorious painter, sculptor, ceramist, famous for his multiple disciplines and his profound knowledge of various techniques and language) from whom she learned the handling of multiple painting techniques and procedures. In 2007, she began a Master's degree in Social Responsibility at Anahuac University. For more than 20 years, she has combined her passion for art with a career in social development, working in different sectors to design innovative strategies for social inclusion within communities. From the moment she began to hold exhibitions, she decided on her professional name: Brenda R. Fernández. Fernández's artistic career has seen her exhibit work in various national and international venues in Mexico, Germany, France, Spain, Brussels, Austria, Italy, England, USA and Switzerland, among other countries.
Deniz Yurtbay
Play is the common underlying feature in my work. I observe socio-political events and cultural experiences with a satirical and playful perspective which is reflected back into my paintings. Sometimes a misogynist proverb, other times a personal experience or an unquestioned custom within my culture are my source of inspiration. I intend to subvert them with satire. Alternative ways of considering the world we live in and my critical assessment of commonly accepted social beliefs constitute the mainstay for the satire in my art. Social issues, political opinions and cultural differences are the topics that interest me. I create the foundations of my art by researching these cultural accepted subjects and then I blend them through abstraction to offer alternative perspectives.
Lena Buzueva
For the past three years I have worked in the field of science art, exploring the relationship between human and non-human agents, between past present and future, avoiding oppositions "nature vs. technology", "science vs. magic" but trying to create a speculative hybrid environment suitable for different mindsets. I am an interdisciplinary artist and researcher with a background in history/writing. My practice way or another relates to the themes of "dark" ecology, post-museology, new material studies and digital sacrality, involving multimedia tools. I direct "situations', where sometimes I myself play the main role. I use my camera as a tool in most of the projects. Initially used for documenting events, over time it took more free forms: mockumentary interview, music video, horror movie, anthropological fairy tale. Working with matter as "language", transforming domestic "ritual" into real one, one physics to another.
Hovey Brock
"My paintings, installations, writings, and social actions are part of a project I call Crazy River, which grew out of my life-long relationship with the West Branch of the Neversink, a river that runs between Ulster and Sullivan counties in New York State. “Neversink” is a corruption of the river’s original Lenapé name that means something like “crazy river.” Two catastrophic back-to-back floods, Hurricane Irene in 2011 and a localized super storm in 2012, woke me up to the climate crisis. Crazy River explores its psychological cost through an autobiographical lens, while addressing actions for mitigation and adaptation."