Clean Fossils

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Philip Collins­ Artist Statement 

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As most of us experience our daily lives we identify the objects and people around us one a time, and at a particular distance. Truly as humans we never see more than two dimensions, but instead we see the illusion of depth. 

In traditional (monographic) photography a single viewpoint is captured, and the illusion of depth can be captured through this one viewpoint. Indeed a skilled photographer can capture a varying degree of depth at will. Despite the innumerable possibilities of monographic photography the addition of a second (or third or forth) viewpoint can provide a view of the subject matter that could not otherwise be seen. 

The disparity between observing a scene in person and viewing a still stereo image is significant because of the element of time. A still stereographic image can stop a moment while preserving the illusion of depth, and thusly a new understanding of the scene is born. The most interesting quality of a stereo image is the surreal quality of witnessing life hold still.  In my work I combine those uncanny features of stereo imagery with mysterious subject matter. I want viewers to wonder what’s happening, to analyze the scene and feel as though it could move at any moment. 

For me the most stimulating images are things that I identify as strange or new. The sense that something is not quite right is fundamental to convey the feeling of unease for which I aspire. It is my hope that viewers will experience an uncertain sentiment accompanied by a sense of intrigue and perhaps a moment of inspiration.

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In my artistic work, there is a constant fascination with the human acceptance of certain unpleasant consequences for the sake of our own progress/convenience; the justification of those things that we deem “unavoidable” or simply “necessary” for the sake of the so-called greater good, even if they result in an egregious violation of boundaries.

  I see this breed of justification all around me: in strong parenting styles, rough romantic relationships, the power paradigm of the nuclear family, government action, war, the “needs” of the suburban American lifestyle, etc., etc., etc.

  Exposing these aspects of human behavior is the driving force behind my work. As a result, the human form dominates my choice of subject matter. However, my current endeavors have intentionally gone beyond the confines of traditional portraiture in order to better capture a more specific violation of boundaries, that common horror, “road kill.”

  Even the name is harrowing, yet it is a part of every American’s vernacular. We all understand precisely what it means, even to the point of forgetting how terrible the placement of the words “road” and “kill” right next to one another really is.

  Animal death on the roads is a typical and relatively small matter while simultaneously being a gross violation of boundaries, both visually and spiritually. While this occurrence is largely unavoidable, it is terribly gruesome. One can hardly look at it without grimacing. But because it is inextricably connected to the contemporary American lifestyle, it is deemed to be a small, insignificant sacrifice upon the altar of that which is NOW.

  When considering how to portray this phenomena in painting, I was immediately gripped by the idea of taking road kill animals out of the outdoors and placing them into human spaces, and even into direct contact with people. This displacement draws me because of its innate rudeness and violation of boundaries, which ultimately comes full circle back to the issue of road kill itself.

  Through the integration of the products of road kill in human portraiture, the issue takes on new importance and has the ability to provide commentary not only on the issue of road kill itself, but also issues of humanity. Suddenly, a conversation is created not only about this overlooked issue of the animal, but also the lifestyles, attitudes, and behaviors of contemporary American society at large.

http://aberlynsweetlandmay.blogspot.com/

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Beth Dougherty

Artist Statement

  My designs have always been about issues that have personally affected my life.  These areas of focus were originally a way to inform the viewer of problems/issues in our society and has expanded to provoking strong emotions (guilt, anger, regret) and hopefully influencing action.

  The average, American adolescent spends seven and a half hours, outside of school, using technology.  During this period of time the youth is multi-tasking, squeezing in ten and a half hours worth of technology.

  Today’s youth are plagued with issues; obesity, attention deficits and hyperactivity, lack of socialization skills, sensory overload, and low academic performance due to the overuse of technology.  Citizens should be concerned for the future of our country, as our children are growing up with preventable medical concerns and a lack of coping and communication skills.

  When I was a child video games and household computers were just being offered at a price that a middle-class family could afford.  The computer my family had was for educational purposes and I had a set, daily time limit for such activity.  It was considered rude to listen to your Walkman in the car.  It was much easier to run down the street and ask a friend to play rather than calling them on the phone.  I was outside in all seasons until the street lights came on.  I rode my bicycle, played tag, and caught lightning bugs.  As I aged, there were still restrictions on my technology use.  My parents not only encouraged my outdoor activities, but many times participated with me as well.

  This series of designs is intended to inform, provoke, and call you, the viewer, to action.  Consider the negative aspects and positive aspects of technology and teach our youth to create and maintain a balance.  Set limits for not only our youth, but also ourselves.  We need to encourage the outdoors as much as we encourage technology.  A balance between these two seeming opposite activities of fulfillment will serve our future much better, giving us all hope along the way.

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Abbey Houghlin – Artist Statement

I am a minimalist. I like clean, fresh concepts. My designs are uncomplicated, playful, and bold. My intent as a graphic designer is to make a specific statement or communicate a message in a clear and visually pleasing way.

I enjoy solving visual problems. I find myself constantly re-thinking other artist’s designs and various layouts, whether it’s a magazine article or a company’s logo. To me, it’s as if I’m putting together a puzzle; I enjoy the challenge.

I explore typography, color and pattern in its two-dimensional form. My portfolio includes freelance projects ranging from brochure, poster and book design to promotional and personal material such as business cards and letterheads for a business, or wedding invitations for my friends.

I welcome the challenges of every design. I use my sense of balance and order while also expending my creative energy to focus on color, texture, and shape. I have found graphic design to be fulfilling and limitless, both in its approach and execution.

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Ashley Stewart

Artist Statement

A few times a week I clean at a funeral home, so I am used to seeing dead bodies. I never have a problem seeing elderly people lying in a casket, but to see a young person in this situation is very unsettling. I am always plagued with the questions, Why are they here? and What happened? It is always nice to think that the situation was just out of our/their hands, but what if it’s not?

  My art is about the different ways that we destroy ourselves. Murder, drugs, and ingesting bad foods are just a few ways that our lives are taken, not only from us, but by us. My work brings the subject of human-destruction to the attention of the viewer, but I use beautiful finishes and witty puns to make the unsettling subject matter more accessible.

  Death is something that is going to happen to every one of us. It is the biggest moment of our lives, and for most of us it is the biggest mystery as well. I make work based on that moment of death and that mystery of what happened. 

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Artist Statement

Sue Bartle

  My love for nature has inspired me to in cooperate an earthy, organic influence in my artistic work. The feel of texture, the growth patterns, colors and fragrances of plant-life have always had an impact on my life. The desire to preserve the beauty of these elements in my work is a driving force for my ideas.  Having the advantage of living in many parts of the United States has given me exposure to many different natural environments. Whether it is desert, forest, seascapes or container grown plants each has its own beauty to be enjoyed.  The abstract, stylistic, complex approach to interpreting these natural horticultural objects is an important element in my creations.

Just as the love of nature influences me, the love of old quilts and hand-made fabric objects have also had a profound effect on my work. To me there is nothing more comforting than curling up with an old quilt made by someone special. The remembrance of the quilt being created whit loving hands and the feel and color of the fabrics provide a soothing warm sensation to my mind and body. Memories of my childhood such as my grandmother and her friends sitting around the quilting frame, or at the sewing machine piecing the quilts are still strong. Preserving the well-loved quilts that have long since reached their usefulness as a quilt keeps those memories alive and preserved not only in my mind but in a physical sense as well.

Combining the elements of the preserved quilts and doilies with horticultural elements combines two of my most driving desires. The two blend well together and support each other. Through my art work my desire is to continue to explore the horticultural and nostalgic elements of my world.

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I remember wanting to be a physicist before wanting to be a painter and have no idea how I came to be an artist. I do know that I have always had a dichotomy within myself, between the artist and the scientist. Portraying my wonder in science within my art and delving into disciplines such as astronomy and physics allows me to appease that dichotomy. I get caught up in the contrasts between extreme light and deep darkness or the subtleties within transparent shadows. The works tend to feature waves and organic forms but I am not opposed to the geometric. The geometric is the math and the logic, while the organism of life is the romance. I love exploring the void and the juxtapositions of order and chaos. It is my desire that viewers are left with an impression of growth and discovery. 

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Daniel Frank 

My artwork captures the beauty of body in motion.  As humans, movement is important to all of us on a very basic level.  It stimulates our sense of sight and witnessing motion allows us to imagine sensations of moving.  Our body’s movement as an infant is crucial in stimulating brain patterns, playing a major role in the way we understand and perceive the world.

Movement became specifically important to me through my interests of film and skateboarding.  In film, the two most basic ways to create visual interest are for the subject to move through the camera’s vantage point or for the camera to move around the subject.  Skateboarding is a performance art. Its unique positions and movements are what make it attractive to watch and perform.

I aim to convey my love for this beauty through the unique position and intense energy found in the motions of skateboarding.  I capture the dance of skateboarding, showing the movement of a body through space.  Photography has the power to pull an image from time for deeper observation.  This medium gives viewers an opportunity to see the entire motion of a body in one complete image.  My photos are designed to stop motion for a better look into its elegance. They gradually morph into fossils of one complete glimpse into a tiny portion of time.

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Kirstin Shields: Artist Statement

  Throughout my life I’ve had to deal with the troubles of insomnia. While insomnia could be viewed as a curse, ironically, it bares a silver lining: my condition has strongly influenced and inspired my work. The trauma from my disorder has created an underlying metaphor for most of my paintings. I have come to a place in my life where I can accept beauty even when I’m feeling my worst. Painting nature allows me to relax and forget about the troubles in my everyday life and frees my mind to connect with the scenes I have captured. I find that I am constantly looking at my surroundings trying to find a place of peace and color. Most of this comes to me when I’m looking at the sky. For instance, when observing the clouds, every part of me is pulled in to the scene. I look at how the sun peeps through broken areas, or how the colors react with one another as the sun is rising or falling. I’ve even allowed myself to appreciate when a storm is coming through, much like how I’ve had to learn to appreciate or accept my insomnia. My work causes me to take the time to stop from my busy schedule and appreciate the natural wonders that the world has to offer.

  I’m interested in creating landscapes that mainly consist of low and high horizons in order to form a different perspective and a non-traditional scene. A lot of my paintings have either expansive skies where the colors reflect the setting sun, or a vast openness as found in countrysides, lakes, and rivers. My work has a realistic quality to it, but also has an abstract element, specifically in the way the picture plane is broken up.  

  I want the viewer to have the same feelings that I experience when looking at my nature scenes. We live in a society where we are trained to be constantly on the go. With this learned behavior we tend to forget or don’t take the time to stop and appreciate the little things in life. Through my work I hope to encourage my viewers to take the time to look at their surroundings, let everything else in their hectic life go, and simply appreciate the beauty that nature has to offer. 

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Miranda Becht

Artist Statement

I remember sitting on the floral patterned couch in my living room, my feet not yet able to touch the avocado green shag carpet.  My grandma showed me different objects from the curio cabinet.  I took the small animal figurines and miniature oil lamp shades in my hands.  “But, be careful!”  I tenderly investigated the artifacts as she told me stories about them and how she came to have them.  These objects are to be revered.  These objects are old.  These relics have stories to tell!

            Looking back through my life, I realize that the objects I was surrounded by as a child have had a huge impact on my current sensibilities and aesthetic.  I feel instinctively drawn to gaudy antiques, vintage items, and kitsch figurines as an adult.  I am fascinated with collections and objects that come alive with meaning, history, and sentiment. These mementoes carry strong emotive connotations and associations with past spirits.  Antiques have the authority to tell the stories of their past and of the people who owned them.  These artifacts have residual fingerprints of thoughts, memories, and experience.   I am interested in this visual narrative. 

             I value the objects in my curio cabinet.  It is filled with cute porcelain kitty figurines, tiny glass animals, and antique salt and pepper shakers.  I desire to flaunt my acquisitions, accumulation, and display.  These objects are my reliquaries.  They are sacred.  They are precious artifacts.

            My work captures the precious and nostalgia of the antique artifacts of which I pay homage.  There is an autobiographical presence in my work, but I also hope to create pieces of sentiment and craft expressions of nostalgia for the viewer.  Remaking and recontextualizing objects from my past is an extremely intimate experience for me.  There is a sense of preservation in the work… a desire to preserve a memory.  Perhaps an idealization of the past. 

            I am in need to collect, remember, remake, and recontextualize.  There is a satisfaction achieved, as I am able to relive these moments and put myself back into my grandmother’s house just for a little while as I recreate and reminisce.  My hope is to give the viewer a little glimmer and invite them along with me to experience the feelings, reverence, and intrigue I have for these artifacts as I recontextualize them.  Perhaps the viewer will be able to create a narrative of their own.