Archives: Artists

  • Alexandra Slava

    Alexandra Slava

    Alexandra Slava is GlogauAIR resident
    from October, 2019 to December, 2019

    Ukraine

    Meet the Artist

    Coming soon

    Statement

    Alexendra Slava’s main interest lies in using the figure as a vehicle for exploring, discovering, and ultimately conveying the different aspects of human condition. All of her work emerges from a place of constant introspection. However, her eyes often grow restless, and she directs them outward looking for the visual embodiment of all that comes from within.

    Slava has always enjoyed the physical act of sculpture-making. As a sculptor, she is not limited by the boundaries of a frame. It is her unique challenge and opportunity to fill and transform space, constructing a bridge between the world of ideas and reality. Yet, no matter how clear the concept of a given work may be, its true form and meaning can only be revealed by way of deliberate and meticulous manipulation of the material. And so, she is deeply committed to the careful observation required to translate nature into a universal and transcendent artistic form.

    It is believed that what is most personal is also most universal. So, in order to try and achieve an honest portrayal of our existence, Slava finds it necessary to first engage with her own private experiences. In this way, each new piece becomes another chapter in her memoir and an open display of honesty for herself and the viewer. This often-tenuous but remarkably gratifying relationship between conceptual ideas, her work, and those who respond to it, is why she devotes so much of herself to the practice of visual expression.

    Alexandra Slava

    GlogauAIR Project

    The project that I’d like to develop during the residency at GlogauAIR is titled “The Six Faces of Love”.

    However commonplace the subject may seem in modern culture, where love is mainly viewed as the feeling of romance and deep affection, I have long been interested in examining the different aspects of this holistic notion. Such line of thinking was inspired by the various types of love recognized by the ancient Greeks and expressed in six distinct words: éros, philía, agápe, storgē, pragma, and philautia. Each of these terms offers a revitalizing ground for exploring the complex nature of human interactions and challenging the modern construct of all-embracing romantic love. The lack of nuance in such an intricate matter may lead to all sorts of prejudice, frustration and the threatening perversion of what should be the highest expression of humanity. I believe art can help us better understand the full complexity of the issue, and as an artist I recognize my role of a mediator in this often clunky but crucial process.

    Edward Hopper once noted: “If I could say it in words, there would be no reason to paint”. Further elaborating on this idea based on my own experience, I acknowledge that as an artist I always lean towards the kind of subjects that couldn’t be conveyed in any other way, rather than through visual experience. That’s why it is often so difficult for visual artists to clearly articulate the intended meaning of their creative work. For the same reason, an equally challenging task is to choose an appropriate title that would set a framework for the viewer’s perception. “The Six Faces of Love”, however, follows a reverse approach, where the titles are determined at the outset of the project. In my mind, Éros, Philía, Agápe, Storgē, Pragma, and Philautia represent exactly the type of concepts that could hardly have any exhaustive verbal explanations, but instead, they have the potential to be successfully communicated through the artistic form. So, my goal is to reflect on each of these titles, their history and implications, in order to find their expression in six interconnected artworks.

    During my residency I intend to develop the designs for figure compositions and create six sculptures in clay. I will then make molds and cast them in resin applying different colors reflective of the emotional content of each work.

    While I do have a specific plan, the primary objective for the duration of my stay is to keep an open mind, avoid any preconceived notions and grasp the multitude of possibilities offered by the creative environment of the GlogauAIR and the city of Berlin. The position of a resident artist would give me a priceless opportunity to engage in numerous conversations with other participants, organizers and art enthusiasts, thus enriching my vision. I’m also inspired by the excellent idea of The Showcase outside the building where I would love to arrange a temporary installation associated with the main project. Such interaction with the wider public would surely give an additional impetus to my thought process.

    After all, the true significance of art lies in its ability to foster the free flow and exchange of ideas. And it is my biggest aspiration to be part of this vital process. For this reason, I would be most happy and grateful to join the community of GlogauAIR.

    CV Summary

    EDUCATION

    • 2014 – 2017 The Florence Academy of Art, Sculpture Program, Florence, Italy
    • 2010 – 2014 Taras Shevchenko State Art School, Kiev Ukraine

    EXHIBITIONS

    • 2019 Ostrale Biennale Exhibition for Contemporary Art, Dresden, Germany (upcoming)
    • 2019 Modern and Contemporary Sculpture, Desa Unicum, Warsaw, Poland
    • 2019 13th International Art Renewal Center Salon Exhibition, European Museum of Modern Art (MEAM), Barcelona, Spain
    • 2018 Alpine Fellowship Symposium, Cini Foundation, Venice, Italy
    • 2018 FACE2018, Society of Portrait Sculptors Annual Exhibition, London, UK
    • 2018 Forwart Magazine Launch Event and Art Exhibition, Milan, Italy
    • 2017 MArteLive Biennale, Rome, Italy
    • 2017 Context Art Miami, Miami, Fl, USA
    • 2017 Figurativas Painting and Sculpture Competition, European Museum of Modern Art (MEAM), Barcelona, Spain
    • 2016 Le Cinque Anime della Scultura, Studio Tablinum gallery, Como, Italy
    • 2016 Demonstration of the model for a marble statue of St Joseph for the interior design of St John Baptist Church in Williamsburg, VA, USA
    • 2015 The Florence Academy of Art open studio exhibition, Florence, Italy

    AWARDS

    • 2019 Rome Art Residencies, position of resident artist in May 2019, Rome, Italy
    • 2018 Alpine Fellowship Visual Arts Prize, first place award
    • 2018 Society of Portrait Sculptors Annual Exhibition, finalist selection
    • 2018 Art Renewal Center, finalist selection
    • 2018 Aesthetica Art Prize, long-list selection
    • 2017 MArteLive Biennale in Rome, first place award in Sculpture
    • 2016 The Art Renewal Center Scholarship, first place award for 2016/17
    • 2016 The Florence Academy of Art, work-study scholarship for 2016/17
    • 2015 The Art Renewal Center Scholarship, first place award for 2015/16
    • 2015 The Florence Academy of Art, merit-based scholarship for 2015/16

    PUBLICATIONS

    • 2018 Art Renewal Center 13th International Salon Catalog
    • 2018 Catalog of FACE2018, Society of Portrait Sculptors Annual Exhibition
    • 2018 Future Now, 100 Contemporary Artists 2018, The Aesthetica Art Prize Anthology by Aesthetica Magazine
    • 2018 Walkman Magazine, interview
    • 2018 Forwart Magazine, interview
    • 2018 Matador Review, winter issue
    • 2017 Novelty Magazine, issue 10, art essay “The Making of a Self-Portrait”
    • 2017 Art Magazine, November edition
    • 2017 Catalog of Figurativas 2017 Painting and Sculpture Competition

    Gallery

  • Heloisa Pomfret

    Heloisa Pomfret

    Heloisa Pomfret is GlogauAIR resident
    from October, 2019 to December, 2019

    Brazil

    Meet the Artist

    Coming soon

    Statement

    Heloisa Pomfret is inspired by the emotional brain. The physiology of the brain and the charting of mental states are used as inspiration and theoretical support to the imagery and constructs of her work.

    Pomfret’s creative processes involves first the translation of the idea of emotional impulses to measurable representation, and then the subsequent translation of this scientific representation back to formal and abstract imagery.

    The surfaces of her work are generated with a palimpsest process of erasure through scratches, where layers of paint are removed or erased, to expose the surface beneath.

    The processes of erasure through scratches and mending with stitches are fundamental to her art, as these serve as an analogy to the body and memory, where experiences occur and are transformed. The irregular shapes and stitches of the paintings help create works that join painting, drawing and sculpture.

    Heloisa Pomfret

    GlogauAIR Project

    I am an interdisciplinary visual artist exploring the emotional brain through abstract painting/drawing, collage and ceramics.

    The physiology of the brain and the charting of mental states are used as inspiration and theoretical support to the imagery and the constructs of my work.

    My creative processes involve first the translation from the idea of emotional impulses to scientific representation, and then the subsequent translation of this representation back to formal and abstract imagery. My interdisciplinary approach to art making includes using traditional and non-traditional materials.

    I would look forward to having the time and resources at GlogauAIR to research and create a new body of work.

    For my project at GlogauAIR, I will focus on an interdisciplinary installation work consisting of collages and drawings done in parallel to further integrate and inform my work. My plan will be to further explore how these materials work together.

    As part of this plan, I would also like to abstract iconographic scientific images and create narratives regarding scientific research and popular culture. These resulting images would support the development of a new body of work.

    CV Summary

    EDUCATION

    • 2002 M.F.A. Painting/Drawing Wayne State University, Detroit, Michigan
    • 1996 M.A. Painting/Drawing Wayne State University, Detroit, Michigan

    SELECTED SOLO / GROUP EXHIBITIONS

    • 2018 Group Exhibition, Known: Unknown, New York Studio School, New York City; Solo Exhibition, Threshold, N’Namdi Center for Contemporary Art, Detroit MI
    • 2017 Group Exhibition, Art & Science, Museum of Contemporary Art Detroit (MOCAD), Detroit MI; Group Exhibition, Art Palm Beach, N’Namdi Contemporary Gallery, Palm Beach FL
    • 2016 Group Exhibition, Three Women in Abstract, Frederick Holmes and Company Gallery, Seattle WA; Group Exhibition, Four/Three, Frederick Holmes and Company Gallery, Seattle WA; Group Exhibition, Art Palm Beach, N’Namdi Contemporary Gallery, Palm Beach FL
    • 2015 Group Exhibition, N’Namdi Contemporary Gallery, Miami FL (in connection with Art Basel–Miami Beach); Body and Mind, Group Exhibition, Sulfur Studios Gallery, Savannah GA; Group Exhibition, Conversations, Associazione Culturale Civilta’del Mediteraneo, Pallazo Bacile di Castiglione, Spongano Italy; Solo Exhibition, The Body as a Reliquary, Port Washington Public Library, Port Washington NY
    • 2014 Group Exhibition, N’Namdi Contemporary Gallery, Miami FL (in connection with Art Basel–Miami Beach); Solo Exhibition, N’Namdi Contemporary Gallery, Miami FL; BAU Institute Group Show at the Castle, Otranto, Italy; Exhibition at the Crooked Tree Arts Center, Petoskey MI
    • 2013 Constructions: Textural Collages by Nanette Carter, Addie Langford and Heloisa Pomfret, at the N’Namdi Center for Contemporary Art, Detroit MI; Exhibition, A.I.R VALLAURIS, Galerie Le Cabanon, Vallauris, France
    • 2012 Inaugural Exhibition at the N’Namdi Contemporary Gallery, Miami FL; CAMAC Group Exhibition, Marney-sur-Seine, France
    • 2011 Gallery of the Arts, Madonna University, Livonia MI
    • 2010 Kulturdag Schaftelokken Art Festival, Oslo, Norway
    • 2009 ART Chicago Art Fair, G.R. N’Namdi Gallery, Chicago; Visual Stimulus Exhibition, Technology Innovation Center, East Lansing MI
    • 2008 Witness Group Exhibition, G.R. N’Namdi Gallery, New York City; G.R. N’Namdi Gallery, Summer Art Series Group Exhibition, The Hamptons NY; The Last Book Exhibition curated by Luis Camnitzer, Madrid, Spain; Zurich, Switzerland; Buenos Aires, Argentina; New York, NY; ArtsModerne Exhibition, Le Petit Museum, Housatonic MA; Violence Transformed, Massachusetts State Exhibit, Boston MA; Gender Politics, WGS Biennial, Loranger Gallery, University of Detroit Mercy, Detroit MI
    • 2007 More than 450 Women Have Been Murdered in Ciudad Juarez, SAC Gallery Group Exhibition, Stony Brook University, New York; Affordable Art Fair, New York City; Solo Exhibition, Witness of the Unconscious, APM Gallery, Sao Paulo, Brazil; Seven Voices, Seven Views, Group Exhibition, G. R. N’Namdi Gallery, New York City; Seven Voices, Seven Views, Group Exhibition, G. R. N’Namdi Gallery, Chicago
    • 2006 Affordable Art Fair, New York City; Whitney Biennial, collaborative work at the Peace Tower, New York City
    • 2005 SOFA Show, G.R. N’Namdi Gallery, Chicago; Chelsea Pier Show, G.R. N’Namdi Gallery, New York City; Sculp’t Something, Group Exhibition, G.R. N’Namdi Gallery, Detroit MI

    ARTIST LECTURES AND TALKS

    • 2018 Threshold, N’Namdi Center for Contemporary Art, Detroit MI
    • 2016 Vermont Studio Center, Johnson Vermont
    • 2015 Group Exhibition, Conversations, Spongano Italy; The Body as a Reliquary, Port Washington NY
    • 2014 BAU Institute Talk at the Castle, Otranto, Italy
    • 2013 Constructions, Textural Collages at the N’Namdi Center for Contemporary Art, Detroit MI

    RESIDENCIES

    • 2018 Cortex Frontal, Arraiolos Portugal
    • 2017 Draw International, Caylus France
    • 2016 Vermont Studio Center, Johnson Vermont
    • 2015 American Academy of Rome, Rome Italy; Associazione Culturale Civilta’del Mediteraneo, Spongano Italy
    • 2014 BAU Institute, Otranto, Italy
    • 2013 A.I.R. VALLAURIS, Vallauris, France
    • 2012 CAMAC Residency Program, Marney-sur-Seine, France

    PUBLICATIONS AND CATALOGUES

    • 2015 Pinacoteca of the Sao Paulo Association of Medicine; Port Washington News article on “The Body as a Reliquary”
    • 2012 Pinacoteca of the Sao Paulo Association of Medicine
    • 2007 The Brasilians
    • 2005 The Detroiter.com

    COLLECTIONS

    • 2013 A.I.R. VALLAURIS Collection, Vallauris, France
    • 2012 CAMAC Collection, Marney-sur-Seine, France
    • 2007 APM Gallery Collection, Sao Paulo, Brazil

    COMMUNITY ENGAGEMENT

    • 2018 The Body as a Reliquary, Experimental Printmaking Workshop with Clay, Arraiolos Portugal

    Gallery

  • Kyle Giacomo

    Kyle Giacomo

    Kyle Giacomo is GlogauAIR resident
    from October, 2019 to December, 2019

    United States

    Meet the Artist

    Coming soon

    Statement

    Kyle Giacomo has two primary artistic practices, working in both paint and photography. His paintings extend from broken, expressionistic, cartoon-like doodles. The sketches that make up the final work are a compendium of imagery, a fusion of images and non-images. He views them as a type of organic pop art as if the forest grew images instead of fungus. Each portrait tells an indeterminate but felt story. Giacomo uses an indeterminate method to arrive at images that are both free-form and recognizable, excessive and restrained, complex and naive. He tends to use bright, limited palette colors that form a kind of quilt. Giacomo hopes that the art communicates an energy that emerges out of a fractured image saturated landscape.

    His work in photography has focused primarily on nature themed conceptual works, such as a (re)staging of Duchamp’s Unhappy Readymade. Unhappy Readymade is a multi-year documentation of a geometry book hanging in a tree as weather and wind orchestrate it’s transformation and return to the forest floor. Another project, The Chair, is a series of photographs of a chair in various states of wilderness. Giacomo has also collaborated with another artist on a photographic performance/study of Roland Barthes’ A Lover’s Discourse.

    In all of his artistic practices, he draws on my experiences with wilderness and our seemingly incongruous place within it. How a wilderness both moves through nervous systems and visual terrains.

    Kyle Giacomo

    GlogauAIR Project

    While I have been devoted to an artistic practice for many years, I have not had the ability to focus intently on my art. I’d like to step away from my work as a non-profit community-based educator/manager to pursue a focused artistic practice. The residency program at GlogauAIR will give me the opportunity to continue to build a focused body of work and continue a year of artistic inquiry. I’m looking forward to also using the time to develop new project ideas.

    I’m very interested in a time to work and focus on my art. I also would love the opportunity to work alongside and with fellow artists. I believe that GlogauAIR would offer both of these opportunities. I like that the residency stresses the community happenings, events, and exhibitions. I believe this experience will have a lifelong positive impact. I also love the opportunity to experience the inspirational atmosphere of Berlin.

    CV Summary

    EDUCATION

    • 2009 Master of Arts, English with Concentration in Teaching English to Speakers of Other Languages, SAN FRANCISCO STATE UNIVERSITY, San Francisco, CA
    • 2001 Bachelor of Arts, English, HUMBOLDT STATE UNIVERSITY, Arcata, CA

    EXHIBITIONS

    • 2018 50/50 – Sanchez Art Center – Pacifica, California
    • Lovers Discourse – 50 Fragments
    • 2017 Connected – Public Works – San Francisco, California
    • 2012-2017 Art Explosion Open Studios – San Francisco, California

    RESIDENCIES

    • 2019 Arts, Letters, Numbers – Averill Park, New York

    Gallery

  • Ismael Iglesias

    Ismael Iglesias

    Ismael Iglesias is GlogauAIR resident
    from October, 2019 to December, 2019

    Spain

    Meet the Artist

    Coming soon

    Statement

    Ismael Iglesias. 1974. Durango (Bizkaia). Lives and Works in Bilbao (Basque Country).

    Iglesias participated in the Espacio Abisal project and resided in the Delfina Foundation in London. He is a multidisciplinary artist who is able to build his work with his own style. His proposals, halfway between painting and installation have been shown in several group and solo exhibitions in Bilbao, Barcelona, Madrid, London, Basel, Los Angeles, Tijuana or Beijing.

    His artwork, highly effective on a visual level, derives from the systematic search within the newest technology. The intention is not so much to capture images in order to canvas them, but to comprehend and accept their articulation speed. This paradigmatic search for the essentials and for the memento in its various stages, allows the artist to blend the achievements of traditional pictorial avant-gardism with the computer screens opaque luminescence by means of systematic fragmentation.

    Annalist and composer Ismael Iglesias shows his own ideas of logic and existence with a code that transcends and detaches from time and space. He advances an aesthetic language with high doses of idiosyncrasy and describes the natural spirit of simplicity. A world full of experiences and visual information to which the artist seeks to achieve by producing a wide range of images and signs. The graphic medium, new technologies, music and audiovisual media reinforces his particular concept of contemporary art. Faced with a strong artistic commitment, Iglesias has established himself as a complex creator who presents a formal maze searching for an intimate essence. He develops original readings in his perspectives and innovate conclusions through the plurality of languages, styles and media giving more independence to the elements. From the restructuring of the conventional approaches to painting, its combinations are endless. His compositions are projected as illusions suggested by the impetuous imagination armed with the power of colour and overlapping with mixed impressions. The basque painter exhibits an imaginative and changing practice which facilitates hybrid systems that allow him to play with several pieces at once, without leaving the synthesis of previous work.

    Ismael Iglesias

    GlogauAIR Project

    Error (Controlled accidents)

    As Keith Moxey points out, the images – as vivid, visual objects that escape history and are not confined to the context of their specific original cultural situation – retain the power to affect the present irrespective of the moment of its creation. The gaze – necessarily conditioned by concrete visual compositions – on new images implies constant connections that transcend the intentions of its authors, continually creating new semantic dimensions and rereading them on our visual-and narrative-global interpretation.

    Fabrics and plastics, and specifically the wrinkled surfaces, are the starting point and the leitmotif of the series trashpaintings, the result of the incessant research on the development and construction of the pictorial image. Immersed in the tradition of Western painting, the concept of folding and its plastic embodiment allows me to give more attention to the discipline and question the limits between representation and reality by putting the focus on the realistic reproduction of a surface – tissue, plastic, metal – which in turn envelops the ultimate reality, which acts as a metaphor for the metaphysical search – mystical or rational – of the archetype hidden behind sensory perception – not by chance from an etymological point of view the truth – Alétheia – means unhiding, in relation to the action of undressing or revealing.

    Fascinated by the plastic values of the cloths of the dresses, curtains or curtains, fundamental elements both by the shape and by the color of the compositions of numerous paintings and ancient sculptures – from the folds and minimize bendings bathed by a light Spectral of the monumental colorful robes of El Greco to the meticulous pleats, folds and retracts of the garments of the saints of Zurbarán through the furrows, nooks and marble roughness of the Roman or baroque sculptures, such as the Holy Teresa in Bernini’s ecstasy –, I try to transmit, through the practice of zoom, a self-autonomy giving rise to complex volumetric surfaces of multiple evocations where the classic and the futuristic coexist – the cybernetic, the theatrical, or the enigmatic micro and Macro Worlds – At the same time.

    “The artist does not represent, redraws reality.” Starting from the controlled accident approach of David Alfaro Siqueiros, through a process based on the random gesture of bending or creasing with its consequent shadows and light degradation, the focus of attention is placed on the random transformation of the moldable and tactile qualities of the plane and materials. When approaching tradition from the contemporary – and vice versa – in a visual and conceptual hermeneutic circle, cartographies arise from the irregularity of impeccable technical invoice and photographic character in a sort of hyper-realistic abstraction – nothing is more unreal than Realism – which responds to the philosophical question about knowledge and the representation of reality, approaching the divine, from the Poetics of the wrinkle.

    CV Summary

    WORKSHOPS

    • 2011 Pilar Valdivieso/Cristian Walter Serigrafía expandida. Fundación Bilbao Arte.
    • 2005 Soledad Sevilla, “Plastic and graphics of paper”. Bilbao Arte Foundation, Bilbao.
    • 2004 Juan Uslé, “Painting workshop”. Marcelino Botín Foundation, Santander.
    • 1999 José Ramón Alcalá, “Electronic Art” and Markus Lüpertz, “Reflections on Sculpture Dimension”. Bilbao Arte Foundation, Bilbao.

    GRANTS AND PRIZES

    • 2018 Prize IDEALISTA. Grant Propuestas VEGAP.
    • 2017 Basque Country Government Grant for a personal project for book publication
    • 2016 Basque Country Government Grant for a personal project. Artist in Residence Arropaineko Arragua. Lekeitio.
    • 2015 Basque Country Government Grant for a personal project
    • 2014 Artist in Residence Studio TJINCHINA, Tijuana México / Grant Juan y Pablo Otaola de Basauri/ Basque Country Government Grant for a personal project / Basque Country Government Grant for México.
    • 2013 Artist in Residence Studio BilbaoArte Foundation
    • 2012 Artist in Residence Studio, Bejing,(China) / Basque Country Government Grant for CHINA
    • 2011 Artist in Residence CCAndratx(Mallorca) /Basque Country Government Grant for a personal project /Grant Instituto Etxepare / 2º premio Certamen Artístico “Villa de Amurrio” 2011
    • 2010 Adquisition 71 Exposición Nacional de Artes Plásticas de Valdepeñas.1st Accésit VI Bienal de Salou Recerca Pictorica. Basque Country Government Grant for a personal project.
    • 2009 Accésit V Carsa National Painting, Art andTechnology Prize. Accésit Honda Painting Prize. La Garriga. Acquisition 2nd Young Painting Prize Ibercaja. Acquisition 70 Exposición Nacional de Artes Plásticas de Valdepeñas. Acquisition Diputación Provincial de Alicante. Basque Country Government Grant for a catalogue.
    • 2008 Residency Grant Delfina Foundation, Londres. Basque Country Government Grant for a personal project. 2nd Prize Painting and Scuplture COAATR. Logroño, La Rioja.
    • 2007 Residency Grant Spain College in Paris, MCE. Fine Arts Grant Durango Council. Acquisition Cajamadrid.

    SOLO

    • 2018 STREETFIGHTER. SC Gallery . Bilbao SC Gallery
    • 2016 SAN JUAN LA NOCHE DE LAS HOGUERAS. Aldama Fabre Gallery Aldama Fabre Gallery
    • 2015 AMÉN ZU HOR TA NI HEMEN. Museo Arte e Historia de Durango. *
    • 2015 LA FIN ABSOLUE DU MONDE. Practicas Bastardas. Torre de Ariz de Basauri. Bilbao *

    Gallery

  • Nicole Dyer

    Nicole Dyer

    Nicole Dyer is GlogauAIR resident
    from October, 2019 to December, 2019

    United States

    Meet the Artist

    Coming soon

    Statement

    In Berlin we make pancakes. Or “crepes” as Pearl calls them — although I don’t believe our batter was thin enough. I’ve just arrived off the long flight to Germany to the home of Lucy and Pearl. An artist mother and an artist child. Their apartment is an eclectic hodgepodge of half finished projects, pastels, cushions, and creations. Lucy is running late, as usual, and Pearl and I are in charge of breakfast. We decide the pancakes would be better with the addition of blue sprinkles. The sugar crystals creating an indigo watercolor within the batter.

    The three of us crowd around the tiny enamel table in the narrow kitchenette. Shoving aside a box of this week’s produce — carrots, onions, browning clementines, and eggs surrender to our bounty. The thick stack of fresh hotcakes waft a lovers tune; simple ingredients of egg, flour, and water fib promises of full bellies, full hearts, sustained energy, and success. Pearl shows me how the children in Europe enjoy the thin patisserie – sprinkled with a mix of brown sugar, cinnamon, and a squeeze of lemon. I sip a cup of coffee while they eat; the sugary, carb-loaded, and palatable meal intimidating me. How can a plate of food be both nourishing and dangerous? My cheeks grow red and hot as I watch the syrupy, blue bites pass happy, moist lips.

    My paintings are a visual recording of the primal, sensual, and sometimes violent need to be with others. I draw inspiration from moments of intimacy and sociability, moments where I yearn for time to last forever, moments that make me nostalgic for the present. My inspirations include the crowded, cluttered bedroom of a friend’s NYC apartment—a memory that stands in for the crush I would instantaneously form; bowls of fruit in various locations I’ve inhabited; moments spent alone or moments spent with others; touches, sounds, hardnesses, and softnesses; birthdays, breakfasts, and bacon—consumption that is both enjoyed and laden with anxiety.

    Nicole Dyer

    GlogauAIR Project

    While At GlogauAIR I will utilize the time, space, and immersive experience to further explore ideas of intimacy and isolation; material and mark-making; indulgence and constraint surrounding sociability and food. While abroad, babysitting a 9 year old girl named Pearl, I was introduced to an enchanting and tantalizing world of candy shops and toy stores around Europe — and in response, my own fears and tribulations involving the food that aesthetically begs to be enjoyed. Visually, I collected the colors, logos, textures, consistencies, characters, and chaos that now voluminously fill the paintings and sculptures I create.

    I am interested in the dichotomy within a plate of food, how a meal can be both nourishing and dangerous, or how an object can appear good enough to eat yet forbidden to be touched. I am experimenting with materials, mediums, and techniques that recreate iconic snack-food brands in consistency and character, utilizing the cakes, candies, and confectioneries I desire and deny myself as an art making material.

    With a residency at GlogauAIR I will continue utilizing new materials such as clay, glue, mache, and resin to expand the dimensionality of my work. I am interested in the result of altering the environment of which my work is viewed. What if an exhibition smelled of blueberry scented markers? Or the distinct smell of a waffle cone? Imagine a gallery floor covered in confetti and faux peppermint candies wrapped in cellophane that crunched under a viewer’s shoe. Consider an exhibition setup with tables of maple, bacon donuts slathered in sweet, sticky frosting, bowls of soured candies, fountains of chocolate and Diet Cherry Cola accompanied with a DO NOT TOUCH sign.

    CV Summary

    EDUCATION

    • 2013 BFA in Drawing, Summa Cum Laude, Maryland Institute College of Art
    • 2012 Burren College of Art, Ballyvaughan, Ireland.

    SOLO AND TWO PERSON EXHIBITIONS

    • 2018 It’s Kind of Pretty…, Stevenson University, Owings Mills, MD
    • 2018 Regular Goods, with Saffronia Downing, Terrault Gallery, Baltimore, MD
    • 2016 Pregame with Juansebastian Serrano, Bookish Baltimore & K-Town Studios, Baltimore, MD
    • 2016 “WIDE EYED” with Dave Eassa, Savery Gallery, Philadelphia, PA
    • 2015 IM SO HAPPY Casa Corval, Van Nuys, CA
    • 2015 “ Nicole Dyer and Philip Hinge” The Parking Lot, Baltimore, MD
    • 2014 Butt-Hurt Annex 2E, Baltimore, MD

    GROUP EXHIBITIONS

    • 2018 Implicit Dimensions, The Anderson Gallery at VCU, Richmond, Virginia
    • 2018 artBangall, pop-up group show, Hudson, NY
    • 2018 Past Tense, SPACEGallery, Portland, ME
    • 2017 Phantom Limb, Guest Spot @ THE REINSTITUTE, Baltimore, MD
    • 2017 Sad Intention, LVL3, Chicago, IL
    • 2017 Sanctuary, Olivet Covenant Presbyterian Church, Philadelphia, PA
    • 2016 Summer Bummer House Gallery, Washington, DC
    • 2015 Blushing Ballroom Gallery, Baltimore, MD
    • 2015 Yes Please Thank You, Platform Gallery, Baltimore, MD
    • 2015 Show #25: DEAR YOU, Field Projects, New York, NY
    • 2015 To The Max Auction, Creative Alliance, Baltimore, MD
    • 2014 Open Mic Night, South of the Tracks, Chicago, IL
    • 2014 Get Small 2014, SessionSpace, Oakland, CA
    • 2014 Baltimore Array, Carspecken-Scott Gallery, Wilmington, DE
    • 2013 Making It Out Alive, Maryland Institute College of Art, Baltimore, MD
    • 2013 Odd Logic,Current Space, Baltimore, MD
    • 2012 Interval: Undergraduate Exhibition, Burren College of Art, Ballyvaughan, Ireland

    PRESS

    • 2018 ‘The Feel of Things’, written by Ryan Syrell, Bmoreart
    • 2016 ‘Wide Eyed at Savery Gallery’, written by Julie Chu Cheong, Title Magazine
    • 2016 ‘Interviews and Wide Eyed Exhibition’ at Savery Gallery, Fresh Paint Magazine
    • 2016 ‘Wide Eyed: Nicole Dyer and Dave Eassa at Savery Gallery’, written by Michael Lieberman, The Art Blog
    • 2014 ‘Alloverstreet: East Oliver Street Art Walk’, Bmoreart
    • 2014 ‘Baltimore’s Art Scene: Young, Transient and on the Rise’, written by Annie Jackson, C#14
    • 2013 ‘MICA Artwalk Part II’, CityPaper
    • 2013 ‘Sloppy, Inexplicable, and Refreshingly Candid: Oddlogic at Current’, written by Mac Falby, Bmoreart
    • 2013 ‘We went to Baltimore: Jumbo Mumbo, Part Two’, written by Paddy Johnson, Whitney Kimball and Micheal Farley, ArtFCity
    • 2013 ‘Baltimore and the so-called death of the gallery’, written by Baynard Woods, CityPaper

    AWARDS AND RESIDENCIES

    • 2018-19 Wassaic Artist in Residence, Wassaic, NY
    • 2017-18 Wassaic Artist in Residence, Wassaic, NY
    • 2017 Elizabeth Greenshields Grant
    • 2016 ACRE Artist in Residence, Steuben, WI

    PUBLICATIONS

    • 2019 Illustration for Fake Like Me, novel by Barbara Bourland
    • 2018 Work In Progress Publication, May 2018 Issue
    • 2017 LVL 3 Media, Artist of the Week
    • 2016 Alt Esc, Volume 3
    • 2016 Leste Magazine, Issue 2

    Gallery

  • Charmaine Poh

    Charmaine Poh

    Charmaine Poh is GlogauAIR resident
    from October, 2019 to December, 2019

    Singapore

    Meet the Artist

    Coming soon

    Statement

    Charmaine Poh (b.1990) is a Chinese-Singaporean artist, photographer, and writer based between Singapore and Berlin. Her practice combines photography with research, text, video, and installation, focusing on issues of memory, gender, youth, and solitude in the Asian context. Often working with the form of narrative portraiture, she considers the performance of self and the layers of identity we build. She works with communities in a collaborative process that holds space for introspection, intimacy, and sharing. She is interested in the stories that make us who we are. She has showcased her work through platforms such as M1 Singapore Fringe Festival, the Singapore International Photography Festival, Objectifs Centre for Photography and Filmmaking, The Taipei Arts Festival, The International Center of Photography, Photoville, WeTransfer, Channel News Asia, and The New York Times. Her work has been supported by institutions such as the National Arts Council (Singapore), Exactly Foundation, and the Global Gender Parity Initiative. She graduated from Tufts University with an B.A. in International Relations, and is currently pursuing an M.A. in Visual and Media Anthropology at the Freie Universität Berlin

    Charmaine Poh

    GlogauAIR Project

    I wish to work on a new media project looking at the manifestations and consequences of inter-generational trauma. Consisting of photographs, collage, text, and installation, the project takes its line of inquiry from the intergenerational transfer of trauma phenomenon, first recognized in the 1960s in the children of Holocaust survivors. Since then, it has been identified in several groups around the world, including children of refugees in Cambodia and Vietnam. The lack of treatment and resolution among adults can alter the genes in their children, causing trauma to literally be passed down from generation to generation. More broadly, mental health and self-care has risen in visibility in recent years, along with the recognition that our childhoods play a significant role in perceiving and reacting to the world around us. Considering the socio-political circumstances in Berlin, particularly in reference to the wave of migration since 2015 and the traumas that migrants have undergone, the project speaks to the multiple, complex ways in which individual healing needs to take place in order to shape society for the better. My practice lies in ethnography and the observation and analysis of lived experiences. Throughout my time in Berlin, I will be calling for participants to be interviewed, to contribute text that has shaped their childhood, as well as to make collaborative portraits of themselves and their families. Through collage, I will be adding layers of time onto their portraits, compressing history and the present. The final project will be an interactive installation piece that will travel throughout different contexts, creating a collection of shared humanity.

    CV Summary

    EDUCATION

    • 2019 M.A. Visual and Media Anthropology, Freie Universitat, Berlin (expected)
    • 2013 B.A. International Relations, Tufts University, Boston

    EXHIBITIONS AND SHOWCASES

    • 2019 How She Loves, &PROUD Film Festival, Yangon, Myanmar; Home(work), National Design Centre, Singapore Art Week, Singapore; How She Loves, Projected, International Center of Photography, New York, USA
    • 2018 Room, Women in Photography, Objectifs Centre for Photography and Filmmaking, Singapore; Room, Singapore International Photography Festival, Singapore; Ma Jie, College of Alice and Peter Student Symposium, National University of Singapore, Singapore; Learning to Leave, No Place Like Home, Gulf Photo Plus, Dubai; Pretty Butch, Taipei Arts Festival, Taiwan; Room, International Photo Festival Leiden, The Netherlands; All In Her Day’s Work, M1 Singapore Fringe Festival, ION Art Gallery, Singapore
    • 2017 Room, Laatikkomo, Finland; Room, Photoville, New York, USA
    • 2016 Pop-up Noise: Soul-Searching, Kreta Ayer Square, Singapore; Girl Gang, Artistry, Singapore; A Good Woman, Human Rights Human Dignity Film Festival, Yangon, Myanmar; Room, If Home was a Word for Illusion, The Substation, Singapore; This is Home, Brack x Matt3r, Queenstown, Singapore
    • 2015 Learning to Leave, Pop-Up Noise, Raffles City, Singapore; Prologue, No Other City, Shooting Home Reunion Show, Artistry, Singapore
    • 2014 Noise Singapore TAP Exhibition, SAM at 8Q, Singapore
    • 2013 Wealthy in Bangladesh, Tufts University Slater Gallery, Boston, USA
    • 2012 Life Along Yangon River, Burma in Transition, Tufts University Slater Gallery, Boston, USA; Undocumented Immigrants, WY Gallery, Boston, USA

    FEATURES

    RECOGNITION

    TEACHING AND SPEAKING

    • 2018 Lens of the Past, My Community @ Queenstown; Panel speaker, Women in Photography Slideshow Q&A, Objectifs Centre for Photography and Filmmaking; Guest speaker, Nanyang Technological University, School of Art, Design, and Media, BFA Photography students; Speaker, How She Loves artist talks, Exactly Foundation; Speaker, All in Her Day’s Work artist talks, NAFA and LASALLE students
    • 2017 Instructor, Junior Youth Shooting Home, Objectifs, Singapore
    • 2013-2017 Instructor, Clicking Together, India

    Gallery

  • Dani Toral

    Dani Toral

    Dani Toral is GlogauAIR resident
    from October, 2019 to December, 2019

    Mexico

    Meet the Artist

    Coming soon

    Statement

    Growing up half of her life in Mexico City, Mexico and the other half in San Antonio, Texas, Dani Toral became very aware of her misplacement in both society’s standards. Toral rejected her body and was constantly challenged about her ethnic identity as she struggled to exist in a society so rigid in its expectations. It is through her work and her process in painting and sculpture that she is beginning to understand and explore the experiences she has had in her body as a Mexican-American woman. Through bold mark-making and vibrant color palettes that reflect her rich Hispanic culture, she takes ownership of her ethnicity by titling her work in Spanish, thus conquering the doubt she felt in her physical body and racial identity. Toral seeks to balance her appreciation and desire to reconnect with Mesoamerican History, Mexican Folk Art, and Mexican architecture, while dismantling the visage of whiteness that society expects of her.

    Toral’s work ranges from small scale to large scale paintings, as well as sculptural objects and ceramic vessels that she creates with the intention to invoke a sense of warmth when experiencing the work. Toral is attracted to her most uncomfortable memories as a way to bring pleasure to that discomfort through subtle humor. She is also interested in the feeling of comfort, externally and internally, literal and emotional- a sense of fulfillment, like a bowl of soup or the embrace of a mother. Toral finds these moments of fulfillment through painting symbols and objects that stem from her mother culture, such as a traditional dish or a memorable landscape. Working sculpturally has been an integral evolution of her painting process. Through creating spaces of comfort and physical embrace – a home or an inviting atmosphere, she seeks to evoke an all-encompassing sense of familiarity and warmth in the viewer.

    Dani Toral

    GlogauAIR Project

    I became lost in terms of what to create, particularly after graduating from art college and losing the community and creative environment that nurtured my creativity. A recent trip back to my home country of Mexico initiated my realization that I yearned for connection with my culture and the rich history of my heritage that inspired my work. This residency would be an incredible opportunity for my career as an artist to flourish by allowing me to have the facilities to create my work, connect with peers to think critically with, and expand my creative practice. I seek to learn from the world around me and confront the doubts that obstruct my self-development.

    Through this residency, I aim to create a project specifically connected with Mexican Folk Art, and the traditional techniques I have yet to explore such as paper mache, cut paper, and fresco painting. With this new exploration of my culture’s art history and techniques, I also seek to contextualize a cultural narrative that I believe is lost in the contemporary fine art setting. If given the opportunity, I would like to begin my time at GlogauAIR’s program by honoring my grandfather, Tito, through a decorative altar displayed during the traditional holiday of Dia de Los Muertos (Day of the Dead). Tito was someone who taught me how to appreciate beauty in all aspects of life. He cultivated a rose garden and formed a relationship with this beautiful object and, with his care, it spoke back. He believed that the buds and vibrant colors of the petals expressed promise, new beginnings, and hope while its thorns represent defense, loss, and protection. When Tito passed, his love of roses lived on in the way I approached traditional ideas of loss. In Mexico, everything is celebrated- even death. Prior to Spanish colonization in the 16th century,Dia de Los Muertostook place at the beginning of summer, before it gradually became associated with Halloween, and celebrated on November 1st and 2nd to coincide with Western Christianity. Coincidentally, Tito passed on October 31st and, while Halloween is a dark night of terror and mischief, Dia de Los Muertos festivities unfold over two days in an explosion of color and life-affirming joy.

    Fortunately, the holiday falls on November 2nd, which is one-third of the way through GlogauAIR’s program. I would love to make this event a communal interaction between my fellow artists in the residency and invite them to participate by also honoring their deceased loved ones in this celebration of life. Traditions connected with the holiday include building private altars (calledofrendas), honoring the deceased usingcalaveras (elaborately decorated sugar skulls), Aztec marigolds, and the favorite foods and beverages of the departed. For the main installation of the project, I want to create a monumental altar flooded with flowers made from paper mache, papel picado (cut paper) and paint – like a cascade of ornamentation.

    In the second part of the residency, I plan to continue delving into Mexican folklore, in particular, El Árbol de la Vida (The Tree of Life), and explore the clay sculptures created in central Mexico, especially in the municipality of Metepec, State of México. Traditionally, these sculptures consist of biblical symbols, however, I am interested in the way that historical symbology tells a story, depict a scene, or forms a theme through the use of maximum ornamentation. Although I am interested in ceramics, I would like to explore the idea of these Trees of Life through other mediums such as painting as well as installation. With the same concept of the altar, I will create a space of narrative through these trees of life.

    I believe that in an environment that preserves history while embracing contemporary perspectives such as Berlin, I can cultivate my vision as an artist. Though thinking critically is an incredibly important skill to exercise for my own work, I have always cherished the valuable and unexpected feedback I have received from viewers and art critics alike. The continually evolving nature of Berlin is an environment I wish to be a part of and grow in. My multidisciplinary background also gives me the skills to explore new materials and techniques that I may not have encountered in the U.S. Though living in an unfamiliar environment will have its challenges at first, I believe my determination and perseverance in new situations will aid me in overcoming any adversity and allow me to serve my purpose and flourish as an artist.

    CV Summary

    EDUCATION

    • Graduated with a BFA from the Maryland Institute College of Art

    SOLO AND TWO-PERSON EXHIBITIONS

    • 2015 NOVA,RSpace, San Antonio, TX

    GROUP EXHIBITIONS

    • 2018 Touchy Feely,MICA ArtWalk Commencement Exhibition, Baltimore, MD
    • XL Catlin Art Prize Finalists, San Francisco Art Institute, San Francisco, CA
    • XL Catlin Art Prize Finalists, Linda Warren Projects, Chicago, IL
    • XL Catlin Art Prize Finalists, New York Art Academy, New York City, NY
    • The Femme Abstract, 1300 E. 5th St. , East Austin Studio Tour, Austin, TX
    • Inspire’s 2018 Juried Art Show,Brick at Blue Star, San Antonio, TX
    • 2017 Art Auction at GMP Collective, Baltimore, MD
    • The Annual Keisho Art Exhibition, Wakaimi art school, Tokyo, Japan
    • 2016 Launch Pad, Gateway Gallery at the Maryland Institute College of Art, Baltimore, MD
    • Bromide Free, Terrault Contemporary, Baltimore, MD
    • We Make It All To Have It All, La Bodega Gallery, Baltimore, MD
    • FRESH,Fox 2 Gallery at the Maryland Institute College of Art, Baltimore, MD
    • 2015 Untitled,San Antonio City Hall, San Antonio, TX
    • 25th Annual Red Dot, Blue Star Contemporary Art Museum, San Antonio, TX
    • Undergraduate Juried Exhibition, Meyerhoff Gallery, Maryland Institute College of Art, Baltimore, MD

    AWARDS

    • 2018 Finalist for XL Catlin Art Prize
    • 2017 Ellen Battell Stoeckel Fellowship
    • Morris Louis Scholarship

    RESIDENCIES

    • 2019 L.A. Summer Residency, Otis College of Art and Design
    • 2017 Yale Summer School of Art, Norfolk, CT

    PUBLICATIONS

    • 2018 XL Catlin Art Prize Catalogue
    • 2016 Featured in Bmore Art

    Gallery

  • Daniela Schwabe

    Daniela Schwabe

    Daniela Schwabe is GlogauAIR resident
    from July, 2019 to September, 2019

    Netherlands

    Meet the Artist

    Coming soon

    Statement

    In my painting practice I investigate the impact of history and remembrance on an individual level. I use the medium of painting to build a new structure for the reflection of memory and the impact of images on the way memory is conceived. I look at how major historic events, such as the Second World War or nuclear bombing, affect society on the level of imagery; certain images stick with us through time and become icons in the collective memory.

    In my paintings, human figures are cut out brutally from their surroundings. Portraits are formed of collected images and the surface of a painting becomes a façade. Working with these different layers, I question the complexity of the real in an age of manufactured copies. I draw parallels and create juxtapositions between historical facts about war and the notion of (my own) family history, historical traumas and contemporary problems of the trustworthiness and value of images.

    Daniela Schwabe

    GlogauAIR Project

    FUTURE MEMORY

    FUTURE MEMORY is the name of the project I would like to realise during the residency.

    The project started in 2018 and is based on one image: a nuclear reactor container from 1950 in the USA. Dividing this one image into smaller parts reflects the way in which the process of nuclear fission, a heavy unstable atomic nucleus, divides or splits into two or more lighter nuclei. This releases radioactive radiation that can have a lethal effect on organisms. The project is an illustration of the way in which the trauma of nuclear, and other, wars in the post-war era are still felt all over the world.

    Because the paintings split up and live in parts, the work itself functions in a similar way. The smaller works, each with a painting of a detail of the photo, have been separated from the large painting and exist independently of it, and independently of each other. Other paintings are created by using the residue of cut outs to reflect on the aftereffect of the radioactivity. Like nuclear fission, their information spreads like energy, unrecognisable as separate parts, but with the story of their origin as a reminder for those who choose to tell the story. The information is distorted in this way, and its reliability is called into question. A tension arises between the factual information of the cropped photograph and the information that is transmitted via memory and stories, where neither the factual information nor the memory leads to a reliable image.

    The residency at GlogauAIR provides an environment in which I can deepen my research into the historic background of the Cold War and specific themes like manufactured copies, repetition, fragmentation and the representation of the image as a proof of truth. My aim with the project would be to question the value of the image as remembrance within the field of painting and specifically within the project FUTURE MEMORY.

    CV Summary

    EXHIBITIONS

    • 2018
    • Acquired Works, De Nederlandsche Bank, Amsterdam NL (group) (upcoming)
    • Golden Series by O-68, Art The Hague, The Hague NL (group)
    • Souvenir, Galerie Dudok De Groot, Amsterdam NL (solo)
    • 2017
    • Painting Performance, ADE, Amsterdam NL (duo)
    • Patty Morgan, Art Rotterdam, Rotterdam NL (group)
    • 2016
    • Acquired Works, De Nederlandsche Bank, Amsterdam NL (group)
    • After the death of James Lee Byars, De Nederlandsche Bank, Amsterdam NL
    • Daniela Schwabe & Rens Krikhaar, Galerie Bart, Amsterdam NL (duo)
    • 2015
    • This Art Fair, Beurs van Berlage, Amsterdam NL (solo)
    • Anonyme Zeichner, Berlin, Braunschweig, Rüsselsheim DE, Rome IT (group)
    • 2014
    • Art in Redlight, Beurs van Berlage, Amsterdam NL (solo)
    • Biënnale Gelderland, Valkhof Museum, Nijmegen NL (group)
    • The Eye of The Storm within, Circa.. Dit, Arnhem NL (solo)
    • 2011
    • Annelien Kers, Open Art Fair, Utrecht NL (group)
    • Art of Bath, Villeroy & Boch, Brussel BE (group)
    • Reshape, Retort Artspace, Amsterdam NL (group)
    • 2010
    • Ongekend, Art Rotterdam, Rotterdam NL (group)

    AWARDS / RESIDENCIES

    • 2015
    • Artist in Residence Popps Packing, Detroit US
    • 2011
    • Artist in Residence at Villeroy & Boch, Mettlach DE

    Gallery

  • Yang Shen

    Yang Shen

    Yang Shen is GlogauAIR resident
    from April, 2018 to June, 2018

    Taiwan

    Meet the Artist

    Coming soon

    Statement

    Originally from Taiwan, Yang Shen began exploring space installation and film after she graduated from Parsons The New School of Design. She transited from her major in Fashion Textile Design and started exploring the emotions in electronic music through visual art.

    Yang Shen

    GlogauAIR Project

    I would like to further explore the topic, lost of communication with modern technology and ways that I can further enhance audiences experience with strings and nails installation. For this residency, I would like to explore the possibility of combining live performance (utilizing lights and shadows) with filmed video art projection on the physical strings installation.

    The tender emotions I find in electronic music plays a big part in my creative endeavors. Therefore, my work were all strongly influenced by the tracks that I love. The city of Berlin provides me a chance to further explore that freedom of expression in both art and music.

    I have attended the previous opening this year during 48 hours Neukoelln, and I feel that the space and curation at GLOGAUAIR would be a perfect chance for me to express myself as an artist.

    CV Summary

    I feel that the issues that our society are facing – political, religious, or racism all developed because we fail to communicate with compassion. The world we live in now connects us on a very surface level. Information is bombarding us every day and nothing is being filtered nor processed before it goes back out again.

    As humans, we should connect by being empathetic to each other. Yet often times we are too soon to judge and to draw conclusions. By utilizing space installation and video art, I am able to make people feel the power of being emotionally connected again. Art and music are the only two languages that have no boundaries.

    EXHIBITIONS

    • Through The Glancing Window
    • Installation + Visual Projection
    • 17/03/2016 – 19/03/2016
    • Brooklyn, New York
    • Music Curators: SmallBroadcasts (Alex Hamadey) , Ryan Casey from Kodacrome
    • Event Coordinator: _Surface Production
    • Projection Mapping: Integrated Visisons
    • Photography & Films: Brad Triffitt, Steven Chychota, Rocky Ramniceanu
    • Kommunikation
    • Installation Art
    • Solo Studio Exhibition
    • 03/2017 – 04/2017
    • Brooklyn, New York
    • Elektronishce Emotionen: Part I & II
    • Installation & Video Art
    • Group Exhibition: LET GO with TAKT Artist Residency
    • 01/05/2017 – 01/08/2017
    • Berlin, Germany

    Gallery

  • Anastasiya Gutnik

    Anastasiya Gutnik

    Anastasiya Gutnik is GlogauAIR resident
    from January, 2018 to March, 2018     and from April, 2018 to June, 2018

    Russia and United States

    Meet the Artist

    Coming soon

    Statement

    My art is based on the confluence of natural materials and found relics. Materiality is critical to my work and often the starting place for inspiration; newspaper clippings from letter exchanges with my grandmother, cheesecloth reminiscent of the curdling milk hanging from my mother’s bathroom sinks, snips of hair from poorly planned haircutting experiments. These become the foundation for intimately curated microcosms. From an early age, I spent a great deal of time in nature. Growing up in Rural Russia and then upstate New York, I was always rescuing creatures; birds with broken wings, squirrels that needed weaning, and bugs of every shape and size. Summers were punctuated with time outside, collecting plants and pods. These shapes instill nostalgia in me like old photographs do for others. By capturing these objects and transforming them through drawing or painting, they are given an opportunity to live on in a different form. Artist Ana Mendieta once said of her work: My art is grounded in the belief of one universal energy which runs through everything: from insect to man, from man to spectre, from spectre to plant from plant to galaxy… Similarly, the process of returning to an original state, the cycle of life, which connects us all, is of great inspiration to me. Working within drawing, painting, and sculpture I choose what medium feels most appropriate for any given project, often times combining multiple. I rarely set out with a concrete plan, and am interested in the places in my art that evolve through the process of working; where elements crack, drip, ooze, expose. The sense of interior and exterior is often present, both in the physical sense of elements that can be explored and illustrations of interiors such as the underlying biomechanics in living beings. I strive for a type of viewing experience that provides more than a unilateral exchange. By challenging the notion of size, by blurring the lines of what is real and what is drawn, I ask the viewer to be a participant in my world.

    Title

    GlogauAIR Project

    Berlin holds conflicting significance for my family. I grew up looking at a photograph of my grandfather triumphantly cheering in front of the Brandenburg gates after the liberation of the city during WWII. Both sets of my grandparents were in Germany for a time as part of the Soviet army following the war, their recollections some of the most troubling and rewarding of their lives. On my first opportunity to visit this past September, it felt like a strange homecoming to a place I had never been. I was struck by how much of the city had been destroyed, the care with which history is preserved and part of the everyday dialogue. No other city I have been is there such a present sense of overcoming adversity. My inspiration lays at the intersection of life cycles; processes of decay and renewal and the interconnectivity of these processes between humans and our natural world. Grounded in the confluence of nature and found relics, materials collected become transformed as the basis for intimately curated worlds. In this new work, root systems have dual meaning in their manifestation. Anthropomorphic in form, they symbolize a connection to the body. The term rooted speaks to becoming grounded, anchoring, and deeply taking hold in the world. Our individual paths are interwoven with the experiences of others. The delicate suspended skin imprints capture a moment in time, an intersection of lives, becoming part of our stories.

    CV Summary

    Education

    • 2009 Maryland Institute College of Art, Painting, B.F.A. cum laude, Baltimore, MD

    Selected Exhibitions

    • 2018 small/MIGHTY, La Bodega Gallery, Brooklyn, NY
    • Fall Salon, The Factory, Long Island City, NY
    • The Dark Arts, SquidInk Gallery, Online Exhibition
    • Unnatural Selection, Plaxall Gallery, Long Island City, NY
    • Wish You Were Here, A.I.R. Gallery, DUMBO, NY
    • Uprooted (Rubble Flora), GlogauAIR, Berlin, Germany
    • ArtSci, Installation at Humboldt-Universität zu Berlin’s Campus Nord Branch Library’s Reading Room Galleries, Berlin, Germany
    • Sketch the Moment, Galerie ZeitZone, Berlin, Germany
    • 2017 LIC Fear, Plaxall Gallery, Long Island City, NY
    • Flora and Fauna, Arc Gallery, San Francisco, CA
    • Animalia, Local Project, Long Island City, NY
    • The Dark Arts, SquidInk Gallery, Online Exhibition
    • 2016 Fall Salon Show, LIC Arts Open, Long Island City, NY
    • Social Culture Lab, Alewife NYC, Long Island City, NY
    • Anamorphic, Port Exhibitions, Staten Island, NY
    • Art in Action, Gallery 151, Chelsea, NY
    • 2015 Staff Exhibition, The Metropolitan Museum of Art, New York, NY
    • 2014 Biomorphs, Governor’s Island, NY
    • 2012 Que Sera, Sera, Governor’s Island, NY
    • 2011 Land, Sea, Sky, Governor’s Island, NY
    • 2010 Reflecting on History, ICO gallery, Chelsea, NY
    • Generations 7, A.I.R. Gallery, DUMBO, NY
    • Members Show, Rochester Contemporary Gallery, Rochester, NY
    • 2009 Thesis Exhibition, Maryland Institute College of Art, Baltimore, MD
    • Out of Order, Maryland Art Place, Baltimore, MD
    • 2008 Animal Party, New York Studio Residency Program, DUMBO, NY
    • Abstractions, Main Gallery, Maryland Institute College of Art, Baltimore, MD
    • Juried Undergraduate Exhibition, Bunting Gallery, Baltimore, MD
    • Painting Department show, Fox Gallery, Baltimore, MD
    • 2007 Junior Independent Exhibition, Maryland Institute College of Art, Baltimore, MD
    • Color Abstraction, Maryland Institute College of Art, Baltimore, MD
    • 2006 Members Exhibition, Rochester Contemporary Gallery, Rochester, NY
    • Scholastic Award Exhibition, Bevier Gallery, Rochester Institute of Technology, Rochester, NY

    Awards, Grants, Recognition

    • 2014 Figment Project Grant for Biomorphs installation, Governor’s Island, NY
    • 2012 Figment Grant for Que Sera, Sera installation, Governor’s Island, NY
    • 2009 Allen Ginsberg Prize, Maryland Institute College of Art, Baltimore, MD
    • 2005-9 Talent Grant, Maryland Institute College of Art, Baltimore, MD
    • 2005-7 Trustee Award for Artwork, Maryland Institute College of Art, Baltimore, MD
    • 2008 Student Art leader nomination, Maryland Institute College of Art, Baltimore, MD
    • 2006 Gold Key, Scholastic Art & Writing Awards, International
    • Silver Key, Scholastic Art & Writing Awards, International

    Gallery