Drawing in Space
May 2-30, 2015
Artwork by Echo Lew
OPENING RECEPTION: Saturday, May 2nd 6-10pm
Special opening night performances by
EDT-Embark Dance Theatre
WE ARE EXCITED TO ANNOUNCE:
A unique collaboration with artist and photographer, Echo Lew. His installation at Orange County Center for Contemporary Art will feature his famous light drawings.
Embark Dance Theatre will be performing live as he demonstrates how he creates these beautiful works of art.
Music Play, 2012
Artist Statement, "The Light Drawings"
After several hours of preparation, I use just a single shot to complete each image. During an exposure time of approximately one minute, I manipulate lights in front of the camera to create “Light Drawings.” Sometimes I invert the positive image to a negative one on a computer but otherwise the “Light Drawings” are not manipulated. Sometimes I put the same positive and negative images side-by-side in the finished piece.
I have been drawing with traditional mediums for twenty-eight years. I used oil painting to explore the effects of light in a 2006 solo exhibition, “See the Light,” at the Little Tokyo Cultural Center, partnered with Helen Keller International. I became curious about the effects of lights in motion. Could this become the basis of a new kind of drawing? I experimented with cameras and lights until I was able to spontaneously tap into decades of drawing experience while the camera’s shutter was open, bringing life to a series of “Light Drawings.”
The technique originated in 1914 when scientists Frank and Lillian Gilbreth used small lights and an open shutter to track the motions of factory workers. My light drawings are inspired by Jackson Pollock and Cy Twombly whose paintings are composed with spontaneous actions, performances traced in time.
In my Zen Buddhist meditation practice, the lights bend like a reed in the breeze, or soar freely as a bird above a cliff, thousands of lights dancing in my mind. The inner world is clean, clear and full of fresh air. Thousands of lights move as a wave. The secrets of the universe are revealed.
Music, especially classical symphony, also shapes these visions. I draw the feelings the music brings forth, the expansive sense of flying over mountains, rivers, and oceans.
I have been an abstract painter for many years, concerned with line, shape, composition and concept. Digital photography allows me to expand creatively while using an ultra-contemporary medium with limitless potential.
Art for me is an experimental adventure, a profound form of play.
June 6- July 11, 2015
Moist casts a long, slow look at sensuality,
sexuality and eroticism in today’s art, giving free reign to desire.
Curated by Ginger Shulick Porcella,
Executive Director, San Diego Art Institute
OPENING RECEPTION: June 6th, 6-10pm
Experience the sensual opening night performance exploit, "Obsession". 8:00pm
Details to be revealed.
Click for spreadsheet, SHIPPING info and dates:
AGREEMENT FORM PDF: form please fill out and attach to artwork
Hadieh Afshani, Evalynn J. Alu, Allison Baker, Christie Blizard, Ellen Burgin, Elisabeth Condon, Therese Conte, Matthew Conway, Adrian Cox, Deb Douglas, Michelle Lynn Dyrness, J Frias, Steven Fujimoto, Ashley Gibbons, James Gilbert, Courtney Gordon, Carlos Grasso, Jenalee Harmon, Richard Helmick, Bill HIll, Ericka Hoffman, Cindy Jackson, Beverly Jacobs, Marc Kelly, Kate MacDonald & Les Sears (K8L35), Toby MacLennan, Kerry Mitchell, Hung Viet Nguyen, Changyeob Ok, Constance Rawlins, Maria Rendon, Robin Repp, Aiden Simon, Mariel Swann, Tim Talbert, Daena Title, Marie Tomanova, Erika Wain, Shannon Willis, Jennifer Yorke, Michael Ziobrowski
Adrian Cox, Whistler with Flowers, Oil on canvas
Christie Blizard,Portraits and Plastic #2, Photographic documentation
Juror’s Statement – Moist
When I select work for a juried show, I try to be as diverse as possible in my selections—both in medium and content. It is perhaps more difficult to select work for a “themed” juried show as opposed to a general juried show, the latter of which tends to serve more as an overview to trends in contemporary art. Thus, I wanted my selections to be as cohesive as possible in adhering to the “Moist” theme. When I curate shows, I always start with a project in mind and select work that explores that project in great detail. However, this was the exact opposite—working backwards with the given work to try to present a curated and deliberate-looking exhibition.
However, I did not want to make the “obvious” choices; I was actually surprised at how heavy-handed and literal some artists took the theme of “Moist”. It’s not that I’m prudish but I wanted to ensure that the exhibition was accessible to audiences of all ages and backgrounds, and was sophisticated without being vulgar and offensive. For example, it was interesting how many artworks were submitted of female forms, bereft of a head, completely objectifying women into an anonymous sex object. I was particularly surprised at the number of submissions falling into this category, as the interview that I did with the Orange County Center for Contemporary Art to publicize the exhibition was largely about my being a feminist. As such, all the figurative works I chose depicted complete figures with faces, to humanize and normalize our sexuality.
It was also important for me to select work that was representative of all media—craft, video, installation, painting, sculpture. I wanted the exhibition to have a mix of both technically-skilled and content-driven work. However, art is completely subjective and as such, there were many fantastic pieces that did not get in, while I’m sure there were some pieces I chose that will leave people questioning. It’s sometimes a good thing to leave people with more questions than answers.
--Ginger Shulick Porcella
Aiden Simon, untitled, 4 x 6 inches, pencil on paper
Changyeob Ok, Falling Tears Cannot Feel Sorrow.12 x 24 inch/Loop, Video, Steel sheet
Deb Douglas,Hi! Let's Eat, Mixed media on paper
Jennifer Yorke,Mother of Pearl, Collage, Silkscreen & Acrylic on Paper
Ginger Shulick Porcella is an arts administrator and curator who recently relocated from New York City to San Diego to join the San Diego Art Institute as its Executive Director. Porcella is the founder of Big Deal Arts, and previously served as the Executive Director of Art Connects New York, the Managing Director of Flux Factory, and the Director of Grants and Community Development at Staten Island Arts.
As an independent curator, Porcella largely focuses on new media projects that expand the dialogue around the intersection of art, architecture, and anthropology. Porcella is an Associate Curator with Artist Pension Trust (APT Global) and has curated exhibitions for galleries and museums across the U.S. including; “LUMEN”, an international video and performance art festival (Founder and Head Curator 2010 and 2011); “Ivory Tower”, a video exhibition concurrent with Art Basel Miami Beach 2011; “The Typhoon Continues and So Do You” at Flux Factory; “The Sixth Sense and Other Myths” at NYC Industries for the Blind; the critically-acclaimed “Future/Past” at REVERSE Gallery in NYC; and most recently “Beyond Limits: Postglobal Mediations” at SDAI. Porcella’s exhibitions have been positively reviewed in The New York Times and USA Today, and her work has been featured in Hyperallergic, creem magazine, and Modern Painters. Porcella holds an M.A. in Socio-Cultural Anthropology from Columbia University and a B.A. in Art History from DePaul University.
Matthew Conway, Chris, 22 x 30 in, color pencil on toned paper
Toby MacLennan,Pygmalion, Collage, Archival Pigment Print
This May All Be A Lie
August 1-29. 2015
Alternative Universe: OCCCA at 35
35th Anniversary Show
September 5 - October 10 , 2015
Special Dance Performance Series
through December by: EMBARK Dance Theater
The Orange County Center for Contemporary Art (OCCCA) invites all past members to participate in a dramatic re-contextualization of OCCCA’s history by exhibiting a piece of their current art work. The story of OCCCA’s thirty-five year presence as the premiere alternative space in the OC is nearly equivalent to famous alternative spaces in LA, New York and Chicago. OCCCA is something we can all be proud of. To tell this tale, OCCCA needs your art. Alternative Universe: OCCCA at 35 will be a re-union exhibition of gloriously eclectic art and artists, with a beguiling variety of mediums and styles expressing the varied interests of OCCCA’s artist-members through the years. The exhibition catalog will include vintage ephemera from past shows, artist statements, exhibited art work, biographies, and reminiscences about the highs and lows of life in an artists’ co-op, the agony and the ecstasy – so to speak.
The exhibition opens Saturday night, September 5, 2015, the night of the Santa Ana Artwalk and runs through Saturday, September 25, 2015.
To submit your art piece, please send a high resolution JPG and a brief statement about the work, along with your artist’s bio to Info.firstname.lastname@example.org . OCCCA also needs the title, the dimensions, the medium and the price, or NFS if not for sale. Let us know if you will ship the work to OCCCA or deliver it. We are also interested in a brief paragraph about your OCCCA experience for the catalog. When did you exhibit? What was on your mind then? Was there a memorable incident, or some drama you remember?
There is growing interest among contemporary art historians in “alternative spaces” and the important role they have played in the art world. Judson Memorial Church, 98 Greene Street, PS 1, White Columns, Franklin Furnace, as well as LACE and The Woman’s Building in L.A. just to name a few, are all now legendary. This is an opportunity for the past members of OCCCA to insure that when the future history of art in the OC is written, their contribution to it will be included.
Since the beginning of the alternative space movement in the 1960s, small, community-based galleries have taken up the cause of art and artists previously excluded by the museums. The movement owes a great deal to the first men and women artists who ventured into questionably safe neighborhoods to take advantage of very low rent to create small-scale, nonprofit, fiercely independent institutions by and for artists.
Group Material’s manifesto “Caution! Alternative Space!” (1982) with its passionate idealism and fiery rhetoric, reminds us of the charged political climate in the art world when the founders of OCCCA, graduate students from Cal State Fullerton, decided to create a flexible, multifaceted venue with just enough structure to prevent it from imploding. Most artist-run galleries, are ultimately absorbed back into the space-time continuum. OCCCA’s great distinction is to have survived splendidly intact for 35 years --- thanks to the ingeniously resilient and rhizomatic organizational structure devised by OCCCA’s young founders.
Alternative Universe: OCCCA at 35, is a month long examination of a rambunctious history --- and a celebration of the artists who made it possible.
To participate simply send OCCCA a high resolution JPG of your art piece and the requested information to Info.email@example.com . by May 31.
Drop off dates will be specified in a future email.
Alternative Universe: OCCCA at 35
September 5 to October 10, 2015
OCCCA (Orange County Center for Contemporary Art)
117 North Sycamore, Santa Ana, CA. 92701
There will be no entry or processing fee for this exhibition, the customary $35.00 will be waived. However, donations are appreciated and can be sent directly to OCCCA.
December 5-19, 2015
40 Hues Between Black & White
collaboration exhibition, call for art with (VAALA) Vietnamese Arts and Letters Association