I.S.2012

Design By Sara Martin

Interdis-ciplinarySculpture

Artist Directory

2012

Photo Credit: Lucy Hogg

“ To face up to your own potential might be one of the most challenging tasks of your life, if not your responsibility.

Giorgio Agamben speaks about the pleasure and terror of the “I can” in this way. He refers to an account of the Russian poet Anna Akhmatova who describes how it came about that she became a writer. Standing outside a Leningrad prison in 1930 where her son was a political prisoner, another woman whose son was also impris-oned, asked her: Can you write about this? She found that she had to respond that yes, indeed she could and in this moment found herself both empowered and indebt-ed.

Today it seems crucial to really understand this link between the empowerment and the debt at the heart of the experience of creative performance. In what way are we always already indebted to others when we perform? In what way is it precisely this indebtedness to others that enables us to perform in the first place?”

Jan Verwoert

Left: "Conver-sation2", Wax, 2011

Right: "Piece 2" Plaster,

2011

Christina Bailey

Above: “Conversation1”, Cast Iron, 2011

Right: "The Cas-tellan", Plaster,

2011

Revolver Revisited

Handmade and hand-printed skateboards along with the related work of fellow seniors An-

tonina Clarke, Raj Bunnag, and John Fleissner, exhibit collectively in a skate shop influ-enced environment, complete with video foot-

age played on a TV monitor of local skaters, in consideration for the commonality of personal expression, accomplishment and societal defi-

ance amongst artists and skaters. My concept is to create a space for emergence with the hope of establishing an exhibition of manpower and

creativity in the context of skate life.

Business card, Letterpress, 2” x 3.5”vv

KatieBarrett

Left: Hampden Skatepark, Silkscreen, 11” x 14”.

Right: Skate-board press, with collabo-rative prints by Raj Bun-nag and John Fleissner.

DanaBechert

Alesha Burk

I need you to look when I tell you. I want you

to look good with this on.

We can fit. Suck it in. I care

about your mus-cles. Contra-diction is the uniform for our place. We make a difference. I have a pace run-ning in place. You can only start a part.

The whole never finishes, and is all ways whole. If you are lost then trans it.

BryanEdwardCollins

Working Look, Video 2012

The course of our lives do not come pre-packaged, with just the right amount of glue and popsicle sticks and glitter. We have to scavenge and mine and cul tivate our lives to create our situation. From the bits and pieces of the world we are exposed to we develop. Learning, experienes, and reflection are important to my artwork. In the learning process there is a

difference between knowledge and information.

Information is best evaluated as not an absolute truth, but rather the best way we have yet come to understand our world. This is an incredibly motivating concept, that it is our responsibility to further knowledge. There are many complicated issues out there which call for both an under-standing of the past as well as a practiced and developed ability to think creatively and discover.

Stevie Dissinger

Kyle Dunn

Cloak &Dagger

Maura Dwyer

Rae Farine

Above: These hands are never idle, 2011-2012

Morgan Frailey

Above: Facecake, 2011

"We are experiencing a crisis of responsibility between citizens and government - and not only in Western cities and states. Citizens experience their own pow-erlessness walking through their city everyday, and interpret it as powerlessness on the part of the government. In particular, young people are often radically disoriented by the experience, becoming vulnerable to any kind of ideological discipline." Wolfgang Nowak

RyanHammond

creation myth [detail], February 2012, 3 channel video installation

AkiraIshikura

Above: Back/Forth

Right: 50-Minute Hug (with ice block)

ChristinaJoseph

Above: Showtime

It’s more about being somewhere than seeing something.

MichaelKoliner

left: Tunnel Place, 2011; wood, steel

and video projection

ABOVE Left:Ruin, 2012; found steel and wood

Above Right: Going in Cir-cles (Outside View)

Above: 16 prepared DC motors and filler wire, 2010

My work addresses the interrelationship between motions and sounds in coordination with the creation of patterns and repetition in our experiences individually and communally. The works are a compila-tion of different simple mechanisms that, through the use of patterns, create different emotional experiences for different people just as music or dance does. Each mechanism on their own resembles a sort of instrument removed from aesthetic and based solely on simplicity in order to create a feedback loop between the motion and the sound in its most natural state possible.

Right: 10 prepared DC motors and springs,

2011

Andrew Largent

RobertLittle

time she stopped

sitting at her window

quiet at her window

only window

facing other windows

all eyes

all sides

high and low

time she stopped.

-Samuel Beckett, from Rockaby

Hannah Mandel

AlishaMann

Sara Martin

Kristen McWharter

Then you will see small similarities before vast difference. You will have trouble telling yourself apart from your grapefruit breakfast, the nibbling wind, a crushed beer

can, and your least favorite person. You won’t say anything bad about anyone else; there will be plenty of bad things to say, but you won’t say them because you will know

that you need those rifts to know your own bones.

Brittany Mendez

Leave everything that speaks, for just a handful of minutes, and all else that was quiet will open up before you: you will open up before you. The notch on the wooden floor will talk in

sun, roots, and splinters and you will see how many things can fit inside the minutes of your hands. You will molt. Your skin will fall to piles on the floor. The

pinholes near your hair follicles will connect in one great landscape. The universe will chip away to some underlying starlight and later you will find that many people run in hor-

ror from this truth.

CamilleMerrit

Left: ceram-ic sculpture on bench at the Balti-more Museum

of Art

“With each step, with each breathe, we start anew. This is the ineffable

heart of Zen. It can be pointed at but not grasped. It can be practiced but

not held. It is about the resolution of opponent paradoxes and contradictions. It is about the way the creative act

expresses our inherent perfection and enlarges the universe by making visible

the invisible. “John daori

mu-nothing

floater7@gmail.com

Right: Draw-ing, ball

point pen on paper

Above: Graves for Waspsceramic 2”x3”x1/8”

Above: El origen del pueblo muisca

MarioMutis

Left: Ventana del Sol

During the Equinox, the rays of light coming through the window

will cause the four spirals in the panel to glow. The four spirals represent the solar year and the cycles of life. The spiral repre-sents the sun and the snake repre-sents Bachue acending towards the

sky

LaurenNikolaus

Tom O’Brien

In my work, I use objects taken from the every day, and through subtle transformations, I personify these objects and create a discreet narrative. The objects I use are so heavily loaded with cultural connotations that they escape the ephemeral and remain heavily grounded in reality, cre-ating a self-reflexive dialogue within the work about how art can mimic life, whether or not it can, or if it even needs to. I use objects from stores such as Home Depot and Walmart, places that are seen as sometimes exploitive and simultaneously cliché within the contemporary world of sculpture. However, my work is not a call to escape these practices, but rather a subtle embrace of the less attrac-tive aspects of being an American in a consumer society.

While walking around a garbage dump:“To recreate if not beauty, then aesthetic dimension, in tzzzhings like this, in trash itself, that’s the true love of the world. Because what is love? Love is not idealiza-tion. Every true lover knows that if you really love a woman or a man, that you don’t idealize him or her. Love means that you accept a person with all it’s failures, stupiditz-ies, ugly points, and nonetheless the person is absolute for you - everything that makes life worth living. But you see perfection in imperfection itself, and that’s how we should learn to love the world. A true ecologist loves all this.”-Slavoj Zizek

I am in love with the world, and my art is accepting of my lover’s imperfections.

Lauren Richardson

Betty Roytburd

BeckyVaughan-Geib

ColinVan

Winkle

Language and image delimit expression, con-fine thought and determine the boundaries of related experience. Symbolic communication therefore exerts domination over social life and inner thought. The objects at hand ne-gate the flattening tendencies of technolog-

ical progression, exploring these forces in their deep collusion. Thankfully, real-ity remains multi-dimensional, and in the wake of civilization’s attempt to jettison the Earth’s material nature, I work towards a more complete and direct experience.

Nick Vyssotsky

Right: UntitledSmoke machine, black light, white sheet, charcoal, white string 2010

Stills from Untitled R/T 2:29 B&W 2011

Omer Wasim