Jan-Feb 2014


Jan 25–Feb 22, 2014

Opening Reception February 1st, 6-10pm

This roup show consists of installation work around the concepts of time and memory. The work presents the viewer with spaces constructed with paper, wood, metal, and other materials, as well as sculptures made with found materials, metal, wood, resin, paper, sound, light, and video technologies.



Beatriz Cortez, Kristen Dikio, Jenny Donaire, Danny Escalante, Ashley Hagen, Kate Parsons, Garrett Pointer, Erika Ostrander, Farnaz Sabet


Beatriz Cortez, "Armor for Rufina Amaya"

Beatriz Cortez
“My work explores the human condition at the intersection of issues such as war and immigration, where race, class, ethnicity, and culture contribute to the complex portrayal of human experience. I construct spaces that speak about loss, persecution, fear, hiding, and censorship.”



Kristen Dikio
“My work is activated by the viewer and completed by the interaction with the object. I create interactive systems to give unwanted materials a function and bring them to the surface. The viewer is put in a position to be a productive part of the creative process and the outcome of the piece is unique to a specific time and place. The remains are left behind from specific moments and the work becomes a relic from a community of people looking at and experiencing art.”



Jenny Donaire, "Objects, Guilt, Regret, Hope, Numb"

Jenny Donaire
“Words about objects I make: Past, present, histories, objects, worlds inside objects, longing, loss, violence, regret, hope, dreams, failure.”



Danny Escalante
“I am interested in craft, labor, and the conflation of high and low culture. My work is driven by its materiality, which functions as metaphor for desire, social mobility and spiritual aspirations.”



Ashley Hagen
“My work delves into the underlying resonance of childhood: limitlessness, inventiveness, mystery, imagination, adventure, and possibility. Play is an important process in uncovering metaphors of home and self, fantasy and reality.”



Erika Ostrander, "Performance Failures"

Erika Ostrander
“Through sculpture, installation, performance, and other mixed media practices, my work investigates the body by physically exploring the polarity between interior and exterior, as well as other personal binaries. Repetition through performance and personal ritual creates an ambiguous sense of permanence, a process that attempts to reify transformation. This is metaphorically understood as a membrane, a skin-like structure established through layering and peeling, at once permeable and impenetrable.”



Kate Parsons, "Gone from My Sight"

Kate Parsons
“In today’s media saturated world, we often live in a constant state of mental anxiety and chaos, a cacophony of stimuli and expectations. My work deals with this discomfort, which is not limited to a mere moment but is instead ever-present.
I use a mix of analog video and audio to create a feeling of discord as each signal fights for airtime. This process, results in the breakdown of the image, which ironically can produce formally pleasing results. Ultimately, my current work is about failure and the struggle for power and control as realized through the use of technology.”



Garrett Pointer, "Carrot"

Garrett Pointer
“My work represents a busted Americana. I develop commentary in sculptural works by utilizing sun beaten relics I pull from desert landscapes. The great assemblage works of Ed Kienholz, George Herms, and Jimmie Durham inspire my work, while the abject nature of Paul McCarthy’s work spurs my intent. I aim to create in the way that George “The Animal” Steele bludgeons his opponents and with the cunning grace of a bunt lay off the bat of former Los Angeles Dodger Center Fielder Brett Butler. Themes of defeat, masculinity, and glory intertwined with tragedy are of interest.”



Farnaz Sabet
“The art making process embodies the human spirit and becomes a metaphor for the self. The human spirit moves through transitions that are similar to the ceramic process. We shift and twist to accommodate our daily struggles. We have tenuous fragile moments much like the bone-dry state of the clay before firing. We have moments of unbreakable confidence similar to when clay turns to stoneware after a firing. I keep these various stages in mind as I approach my most current body of work I draw connections between my own states of being in relation to my work with clay.”




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