Chelsea Clarke
"My work deals with the effects of mental and physical illness on my personality and relationships. Though I suspect this theme has always been present in some way, I consciously decided to develop it after beginning treatment for a chronic condition. This process has forced me to peel away at my personality in order to discover who I am going to be as I continue to move forward (or maybe sideways). A multidisciplinary approach allows me to fully express my ideas while also being mindful and compassionate towards my body, which continues to amaze me with its resilience."
Chelsea Clarke, Homes Askew, screen print, 2020.
Chelsea Clarke, I DON'T WANT ANYTHING/i miss you, screen print and laser cut, 2020.
Chelsea Clarke, Doors, screen print, 2020.
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Chelsea Clarke, Ticket, handmade paper with inclusions, 2019.
Chelsea Clarke, Spaces, risograph print, 2021.
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Jonathan Forrence
"These works stand as a testament to the divide between rural and industrial practices. They represent the intersection of material that builds our cities and supports an urban population with a gentle and quiet craft of a rural achievement. One cannot exist without the other just as these compositions are not complete without each material."
Jonathan Forrence, Falle, steel, elm weaving, rope, and hardware, 2020.
Jonathan Forrence, Falle, steel, elm weaving, rope, and hardware, 2020.
Jonathan Forrence, Fronse øyeblikk, steel and elm weaving, 2020.
Jonathan Forrence, Fronse øyeblikk, steel and elm weaving, 2020.
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Jonathan Forrence, Falle, steel, elm weaving, rope, and hardware, 2020.
Jonathan Forrence, Fronse øyeblikk, steel and elm weaving, 2020.
Jonathan Forrence, Intersection, steel and elm weaving, 2020.
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Amalia Galdona Broche
"The cultural rift between created by growing up in Cuba has heightened my memory of a world of scarcity and the socialist education of my childhood, contrasted by the consumer-driven lifestyle and the expansive opportunities of my adulthood. This duality exists in tension and opposition, feeding my sculptural practice and materializing a psychological landscape of nostalgia, accumulation, and memories that fester."
Amalia Galdona Broche, Sisters, Our Lady of Regla and My Lady of Charity, fibers and pins on carved foam, 2018.
Amalia Galdona Broche, The Knots We Leave Behind, natural fibers on wire amateur, 2020.
Amalia Galdona Broche, Sisters, Our Lady of Regla, (installation view with Gestating Creatures), mixed media fibers on carved foam, 2018.
Amalia Galdona Broche, From the Masqueraders in this Never-Ending March Series, gesso, burlap, textiles, and wire, 2019.
Amalia Galdona Broche, Landscape Tapestries, woven and knotted natural fibers, 2019.
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Amalia Galdona-Broche, Mother of Horns, woven, knotted and braided fibersand resin on wire and carved foam armature, 2020.
Galdona-Broche_Amalia_Knotty Landscape installation, 2019, wire, textiles andmixed media fibers
Amalia Galdona Broche, Sister of the Horned Knots, pins and fibers on carved foam, 2020.
Amalia Galdona Broche, Flowers for the Saints, woven, braided and wrapped fibers on wire, 2021.
Amalia Galdona Broche, Masqueraders in this Never-ending March, fibers, discarded textiles and wire, 2019.
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Frank Geiser
"My work attempts to call its viewers into quiet contemplation through a focus on time and memory. I am interested in exploring how timelines can exist together in a non-linear fashion."
Frank Geiser, Eigengrau, digital video, 2021.
Sophia Louise Goodpasture
"Through a practice of precise and studied mark making I investigate the quilted form as a metaphor for maternal structures and lineage. Presenting the quilt as an object in use, rippling with transitory folds, I reject associations of the quilt as a neatly tucked object preferring to investigate the quilt as a sculptural artifact. In doing so, I situate the quilt in an amorphous zone, whereby what remains lies enveloped in what is absent."
Sophia Louise Goodpasture, Folded Over, pen on paper, 2020.
Sophia Louise Goodpasture, Deteriorating, pen on paper, 2019.
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Sophia Louise Goodpasture, Hold, graphite on paper, 2020.
Sophia Louise Goodpasture, Wounds, pen on paper, 2020.
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Hannah Smith
"My work engages the perspective of my lived experience, a neurodivergent, gimme punk, within unevenly weighted relationship dynamics. An aesthetic or perspective of the oppressed, based on those relegated to the margins by all-too-narrow societal constructs. In this way, I am interested in understanding and contributing to the discourse on the powers that perpetuate the status quo."
Hannah Smith, Divine Composure, paper pulp, diorama grasses, polymer clay miniatures, animated neon with 8mm tube pumped with argon and neon, programmed Arduino Nano, LEDs, 3D modeled, and printed miniatures, 2020.
Hannah Smith, Divine Composure (detail), paper pulp, diorama grasses, polymer clay miniatures, animated neon with 8mm tube pumped with argon and neon, programmed Arduino Nano, LEDs, 3D modeledand printed miniatures, 2020.
Hannah Smith, Shadow Work Dinner Theater, polymer clay, plotagraph animation, uncooked dinner, 2020.
Hannah Smith, Play With the Unruly Woman, 10mm and 8mm tube pumped with argon and neon, transformer, animated timing circuit, 2020.
Hannah Smith, Blotted-out Time, Looping GIF from installation, cast iron Pedialyte bottle and bronze cast teeth, carpet, polymer clay miniature shoes, and makeup, 2019.
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Hannah Smith, Deficere, screen printed glue flocked with static grasses and polymer clay miniatures, projected motion graphic animation, 2020.
Hannah Smith, Night Sweats, papier mache, screen print on Tyvek, programmed Arduino Uno circuit, LEDs, polymer clay, projected claymation GIF, 2020.
Hannah Smith, Unsatisfied, Only Fed (Golden Boys in Bad Shape), cast resin with Pez candy, hand-dyed carpet, polymer clay miniature, slime. Latestiteration features a “slime pump” sculpture installed with video projection, 2020.
Hannah Smith, Unsatisfied, Only Fed (Golden Boys in Bad Shape), detail of slime pump, 2020.
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