Katrina Bello is a visual artist whose focus is painting and drawing. Recently she founded Newark Bunker Projects, a rogue curatorial experiment in Newark, New Jersey. She has exhibited in the United States and the Philippines. She lives in New Jersey and Metro Manila.
There are encounters with things, events and
places that are so compelling that they persist in our memory. Sometimes
we say they haunt us. For some, there arises the need to encounter them
again by actively seeking them or keeping alert of their re-emergence,
reoccurrence, or their approximate other. This happens because these
things, events and places have left their imprints on us.
I have borrowed the term from imprinting
psychology, a very early learning process that arguably predestines animals and
humans to think and behave certain ways based on the first encounter with a
stimulus. Some studies of imprinting pronounced its irreversibility, while
others say otherwise.
When I think of imprints I am reminded of the
Mad Men TV episode where model-turned-housewife Betty Draper tells her
eight-year-old daughter of the virtues and consequences of the first
kiss: "The first kiss is very special… Every kiss after that will be
a shadow of that kiss."
And so like the first kiss, the imprint is
special. Its power is located in its primacy, leaving its followers as
approximations, reproductions, or attempts for reincarnations.
Tamara Cedré was born in Brooklyn, New York and was raised in Central Florida. She studied at the New World School of the Arts in Miami, FL where she received BFAs in Photography and Graphic Design. Her lens-based work captures the interiority of everyday life, revealing its realities and constructions.
In 2009, she was awarded a fellowship endowed by the Joan Mitchell Foundation to attend a juried residency with Rineke Dijkstra at the Atlantic Center for the Arts. Her photographs, video and sound installations have been exhibited in Miami, Philadelphia and in the Mid-Atlantic Area. This winter, a selection of portraits from her series Gethsemane, was featured by Maryland Art Place in their annual juried photography exhibition in Baltimore.
Photographs inhabit the interstice between reality and fiction. What interests me about photography are the ways that an image can subsume meanings outside of an artist’s intention; a photographer frames and directs, but because of the medium’s direct indexicality of placing the viewer into a captured reality, photography can at once negotiate two places of the imagined and the real.
Narrative is also a place where reality meets fiction. A narrative doesn’t aspire to a standard of objectivity, instead it gives us the truths of our experiences.
The relationship I have with the people I photograph oscillates between estrangement and intimacy. This relationship is usually built around my commitment to portraiture. While portraits allow us to gaze at the face of another, the most poignant portraits draw our attention back to our own identity and existence.
In this current body of work, I have begun photographing women against the vernacular of a domestic American landscape. Here, interior moments and the gestures of personal effects form possible becomings. By presenting still images alongside moving images, I am questioning the phenomenon of the photograph as a transcendent document. Can a moving image on screen simultaneously record a passed moment and occupy a present one? What happens when we try to still life, both in the literal sense of photographing and in the cultural sense of limiting its essence through language, symbols and systems?
Jeff Hensley lives and works outside of Baltimore, MD where he teaches for the Howard County Public School System and exhibits his paintings at the national level. Currently, Jeff is a MFA candidate at the Maryland Institute College of Art and will be featured in the upcoming book International Painting Annual published by Manifest Press. ____________________________________
If we ask ourselves what person or institution stands behind the word ‘truth,’ the word then becomes something for which materials and meaning can hang onto. This social relation is always negotiated depending on the motivation of those who use these words, symbols, and metaphors. As a visual artist, it is my interest to move within the gap of the symbolic and the actual. As a result, the ambiguity or disorientation that occurs in this gap offers a threshold for the audience to engage as a participant and structure their identity, time, and relationship to the materials as a new experience. Anthropologist Arnold Van Gennep defines this moment when participants no longer hold their pre-ritual status but have not yet begun the transition to the status they will hold when the ritual is complete as “liminal.” This slippage or in-betweeness has greatly impacted the art production of the 20th and 21st Century.
The materials I use are elemental (mud, ash, gold, etc.) yet have a much deeper and more complex meaning which are dependant on cultural context and the view of the participant. During this time of interpretation a hyper awareness is raised around perception and the confrontation of the artwork.
It is important to note that the work I make is slow and methodic. Each mark is predetermined by a system, which dictates length, color, width and quantity. They are recorded and reproduced in another painting, making the second work complimentary and symmetrical. The work is only a means to create a situation within a space. The installation in the room is hung upon the existing light, architecture, and feeling of the room, emphasizing what naturally occurs in the space. It is the combination of the predetermined with the coincidental that is reconciled by the viewer, which truly completes the piece.
Although this work does reflect the adage that life is the journey not the destination, it is not truly about the adage alone. It is more than that. This work is about inviting people to consider liminality…to consider the space between the symbolic and the actual…to experience the power of that space and the disruption of the present-ness to build a deeper relationship to the connection and disconnection we have with the world.
Emily Harris is a Queens-based artist and a current MFA Candidate at Maryland Institute College of Art in Baltimore. She has exhibited her work in venues in New York; Ai Gallery and Bridge Art Fair, Chicago, IL; and internationally at 2B Gallery in Budapest, Hungary; Galeria Z in Bratislava, Slovakia, The Museum of Arts & Crafts Itami, Itami-shi, Japan and Galeria Ajolote Arte Contemporaneo, Guadalajara, Mexico. She most recently participated in a performance at The Great Hall, Cooper Union, NYC titled Roaming Urban Soundscapes where she and Paul Sadowski re-staged Cage’s 49 Waltzes for 5 Boroughs as part of the NYMS Anniversary and John Cage Centennial in September 2012.
My work challenges conventions of perception through an emphasis on physical site.
Focusing on fluctuating relationships within ordinary spaces, my aim is to up the ante on
sensitivity. How aware are we of the "dull" spots, the differences, the subtle changes
that make up our environment? When thinking about environment, do we include
ourselves in the field of this word?
With material interventions, I pose and hold open questions to destabilize normalized expectations for a reevaluation of humans' relationship to the physical world.
Brendan Hughes is a Baltimore-based artist and a current MFA Candidate at Maryland Institute College of Art. He received his BFA in Sculpture and BFA in Art Education from East Carolina University. He has been awarded several public art commissions in the Baltimore region. Along with 3 other Baltimore artists and School 33 Art Center, Brendan recently received a Robert Rauschenberg Foundation Artistic Innovation and Collaboration grant.
I am intrigued by how the "things" that surround us and that we choose to surround ourselves with are
constructed. I am continually trying to figure out how things work and why a particular material or construction
method was chosen over another.
We are increasingly surrounded by mass-produced objects and our world is becoming ever more digitized and
fast paced. The relatively slow, methodical creation of a hand-made object is seemingly less attainable. I am not
opposed to mass-produced objects and recognize the various needs and positive attributes of their existence.
While I am intrigued and excited by the innovation and inventiveness used to produce these objects often times
the product itself is something that I find to be less than desirable.
I hold a deep regard for the amount of time and labor involved in the acquiring and honing of the skills used to
create a finely crafted object. The tactile experience of working with my hands is an integral part of how I
comprehend the world. Much of my knowledge and understanding I achieve is through the problem solving and
the seeking of a solutions to a problem I encounter when creating an object.
In this body work I am examining the idea of making, in particular the making of hand-made objects in reaction
to mass-produced objects. I am interested in transforming mass-produced building materials into hand-made
identical modules that can be configured to create forms that have no fixed composition.
Construction with Clamps
Wood, Stone, Steel, C-clamps
Mold Cube Construction I
Sarah studied at The School of the Art Institute of Chicago and at Carnegie Mellon University, where she received her BFA in Painting, Drawing and Printmaking. Her recent work has been exhibited at the Fleisher Ollman Gallery in Philadelphia, Delaware Center for the Contemporary Arts, and The Hong Kong Arts Centre. In 2009, Sarah created the Printmakers in Residence Scheme in Hong Kong to promote the discipline of printmaking. Her interest in cultural production also led her to Bolivia in 2011 with a travel fellowship, to collaboratively develop an arts-based curriculum and micro-school system for children in La Paz. She curated her first exhibition at the San Francisco Museum in La Paz.
My work combines text, video, spoken words, and crowd-sourced knowledge for different sensory effects, often complemented or juxtaposed to create a third meaning. My process involves identifying a space that allows for a representation to surface, and finding a way that it can be played out through the lenses of performer and spectator. Using words instead of a pencil to “draw” a nude figure, the artist’s gaze is capture through her words, only to be returned to her in a video performance of her own inner dialogue. In another attempt to explore value, authority and appearance, different people from various communities are invited to exchange tacit knowledge with the artist. By situating knowledge outside of its formal structures, the spirit of education is demonstrated not as the acquisition of information, but as true understanding that requires a temporary suspension of assumptions from both teacher and learner.
I enjoy how multimedia tools allow me to examine questions on appearance and reality. But I am also intrigued by how these tools are shaping people in a media saturated world. When the effort to truly relate to others is overshadowed by the fascination with ourselves, it is a sign that meaningful content is drowned by the way we consume communication. I see immense value in identifying aesthetic strategies that can broaden our margins of awareness and inspire an examined life.
Dan Lovallo is a professor at the University of Sydney and a
senior research fellow at UC Berkeley where he received his Ph.D. in Behavioral
Sciences. He has published widely in decision theory, psychology and economics.
His research examines how individuals and groups interpret uncertainty. His
artistic work uses algorithms to investigate issues tied to uncertainty and
natural processes such as branching and evolution.
Combinatorics. Randomness. Algorithms. They are my father, son and
holy ghost. From 118 elements (and counting), we get all that we can
The recipe? Take four nucleotides, combine them randomly and subject
them to selection pressures (the ultimate algorithm!) Get everything
that lives. But don’t forget to add time, lots of time, so much time that
you run out of time…
Considerations about natural processes, technology and uncertainty
drive my work. I use algorithms (recipes) to create the work and try to take my
aesthetic judgments out of the process as much as possible, which is, of course,
AAR Basin Pine
17 x 24"
50" x 50", 3-D Media
3-d Media, 30" x 30"
Tobin Rothlein’s body of work explores the intersections of video, live
performance and the visual arts with an emphasis on movement and a critical eye on human relationships to
technology. For the past decade his work in dance and performance has redefined the use of video art in
conjunction with the body. A Pew Fellow in Performance Art (2006), his work has been presented internationally at
venues including the Clore at London’s Royal Opera House, Holland’s Noorderzon festival, Jazz at Lincoln Center,
Battersea Arts Center (UK), Sa Sa Bassac, and Metahouse Phnom Penh Galleries (Cambodia) and The Whitney
Museum of American Art. Rothlein has been awarded an Independence Foundation Fellowship and two Dance
Advance awards for his exploration into interdisciplinary performance work. He is co-founder and producing artistic director of Miller Rothlein since
There is a palpable and finite tension within the skewed balance of humans and our surroundings; the structures and systems that shape, define, and encase us - economic, political, cultural, social. My impulse is to instigate this tension, to quietly give it a nudge.
Within this superstructure I find it fascinating that a minimal alteration, from the most infinitesimal and un-empowered of places, can become a destabilizing force. It can reorder space or shift action and thought, leaving the observer simply wondering how it happened. I seek out this poetry of the very small. These simple gestures, movements and estrangements that immediately alter not only how we perceive a thing, but at times the very thing itself. I most often explore this through the human body as primary medium: the trace of the body within a space; the imprint of body upon other objects; the individual body in anatomical finite detail, and the body en masse as community.
I draw upon elements of sculpture, performance, dance, and video. I believe these disciplines exist in a constant state of change and redefinition. They hold no responsibility to mimic the past, uphold tradition, follow old rules, or succumb to contemporary ones. They do not HAVE to be anything.
It is important to me that there be an element of unpredictability. For this reason I work with materials that are living, thinking, impermanent and breathing. This is the form of collaboration within my process, a balance of two opposing forces; Control and Chance. I sculpt and choreograph the Object, the Viewer and the Performer, each becoming integral partners: to rearrange, subvert, rethink and re-see.
Jonathan Taylor understands and interacts with the world through art, literature, and teaching. Each one of these disciplines informs and enriches his life and work. While he has some highly specialized skills in the medium of photography, he considers himself a visual artist above all. He is interested in fundamental questions and problems of everyday life and our relationship to the broader environment. Jonathan earned a BA in Art and Literature from Marlboro College in 1998, completing an Honors Thesis solo show installation of photographs and architectural sculpture.
Everyday domestic life is filled with darkness. I do not so much mean the usual nightmares and petty anxieties (though those do undeniably lurk here and there), but rather more simply, dark, like a room with the curtains drawn. Strange creatures and precious jealous objects hide in these spaces, sometimes glanced by the small lights that filter in. Because the darkness of domestic life is not an absolute, unpierced pool of black, but rather the opposite. It is the stage, or better yet, the substrate for lights that flicker, gather, and illuminate a wavering, but ever present path of human connection.
Our workplaces on the other hand are filled with light, dull and constant, in variously dehumanized spaces. We wear these spaces down and re-humanize them by use and dinginess. Politics, petty power struggles, insecurities, recriminations, and bitter exhaustion echo and reverberate in these places during the empty vacant hours, which are filled with a completely different kind of darkness, a sucking absence. Yet in these work spaces many small kindnesses accumulate and form a weak-seeming, but quietly pervasive and surprisingly reliable social net, a net ultimately that is the real binder that holds asphalt roof and cinder block together.
And between these two poles of human interaction stretch lines of headlong, petrol-fueled movement. Hurtling down a perpetually unwinding line of black top at machine speeds, there is yet another kind of darkness, cold and vicious, a line drawn with an infinite series of innocent mistakes. These lines of automotive transit are pulled, and pulled again so taut, a rapid-fire sling shot of mutual destruction. Each trip is a race, a competition, winners and losers unwittingly eroding the bases that sustain them. The myriad innocent mistakes, foot pressing pedal in uncounted repetition, have inevitably brought the storms, further accelerating the cycle of erosion and destruction. We are paying the toll of machine accelerated movement, yet I suspect that our best chance for survival lies in honing another kind of speed and agility, that of our minds and bodies. We have made for ourselves a world of turbulence and contingency and find ourselves in a race that cannot be won, but only perhaps survived— together.
Home. Work. Driving. Storms. Everyday life in America 2013.
Davin Watne is an artist based in Kansas City with an established record of professional achievement. He received his BFA from the Kansas City Art Institute and his MFA at Maryland Institute College of Art. He has been awarded the Charlotte Street Foundation Award, ArtsKC Inspiration Grant, Avenue of Arts Municipal Arts Grant, Art in the Loop Public Arts Grant and a former resident of the Studios Inc. Residency Program. Davin holds a fulltime lecturer position at University of Missouri Kansas City, where he teaches Painting and Drawing.
Your desire is not your own. Individual taste is subject to societal conditioning. Pleasure becomes managed. In my practice I absorb and dissolve the visual economy of our consumer culture and use the strategies of painting toward material investigations that manifest sculpture, installation and public intervention. These disciplines are interwoven to create ritualistic experiences that meditate on the complexities of desire.