EXPO 36 will feature several works by each of the 18 winning artists selected by Juror, Jennifer Harris, Curatorial Assistant, Museum of Modern Art. EXPO is b.j. spoke gallery’s annual, national, juried competition, now in its 36th year. Visit our blog to learn more about each artist.
Join us for the Opening Reception, Saturday, March 4th from 6:00-9:00pm.
The paintings I am currently making reflect time spent in meditation and stillness. A slow approach to color and surface bring attention to subtleties in relationships of the hand and the implied perfection of a shape. I am most interested in creating a space of calmness and contemplation as colors and line unify and diversify through subtle variations.
For me, art making is a deeply personal activity, and often the process of making the objects takes over before any meaning is revealed. Things come together. I select images and elements for my sculptures and collages that are for me, symbolic and multifaceted. Putting elements together, I strive for the same sort of compactness and clarity that poetry often delivers. The meaning becomes an allegory or metaphor, or even a pun, which satisfies my compulsion of simply making stuff. I’m not a fan of explaining things, and ultimately I’m just as content with presenting an art object that is a riddle or paradox that I leave to the viewer to unravel.
It’s odd; a flat surface can embody some sort of viewpoint. It’s all really just fluid marks. I’m so mesmerized. Painting can be so thrilling. Also confused. Guess I am more aware of the fabrication these days: the bias. Images are illusion and marketable and aesthetics and art school and classical and colonial and…conflicted… but…color though. The backyard is so nice. Silence is so nice: just the birds and the bees. I honestly even love the winter. It seems unnatural. Everything seems to be unnatural. Why the fences? Guess they’re for the privacy. It’s such a privilege to have privacy. That’d be a great title. Saw the news earlier; the world is a crazy place. It would be a shame if that happene
My work is about memory, splendor and decay. With my images, I try to capture a timeless quality, with everyday subject matter, and the quality of light much like the work of Eugene Atget, and Edward Hopper, who are strong artistic influences on my work. What motivates me to take a photograph is color, or the absence of it, and how light illuminates an object whether it is a mannequin in a store window, or a shadowy sign on a lonely country road. Although splendor and decay are thought to be exact opposites, they can exist together in an image to create a dynamic juxtaposition of the present with the past.
My work stems from my desire to communicate a deep seated spirituality. So I make art in an attempt to capture the essence of what it’s like to live in the presence of a Higher Power Who is all around us. A Presence that actually saturates the air we breathe. That is more real than the air we breathe. My figures and other subject matter tend to be plain and nondescript. I find myself decorating more of the air around them than anything else. My art seeks this simple way to communicate more complex ideas. It is an attempt to bring the viewer more in focus with the spiritual world. It is an attempt to be a reminder of this truth and to promote a renewed focus. To contemplate this presence in order to help bring peace. So that peace amongst all of us may be achieved.
Because the closer we get to this truth, the better we are as a people.
My latest body of work focuses on parts of human anatomy created from sewn together recycled sari silks. The vibrant silk sari ribbon is made from silk remnants found on the floors of sari factories in India. I sew the silks to a stabilizer using a sewing machine. I allow the silks to bend, fold, bleed, and fray, as they want. I leave the threads loose, hanging, and free to move to represent the fluidity and linear quality of veins and capillaries in the human body. I am interested in visually depicting the internal workings of the human body. At the same time, I am deeply committed to exploring the connection and dichotomy between craft, sewing, and fine art, as well as women and their role in society. By using recycled sari ribbons sourced from women’s collectives and sewing them by machine into rudimentary and at times crude facsimiles of human anatomy I am playing with the juxtaposition of traditional women’s role and modern technologies.
Chloe Feldman Emison has shown her drawings and animations widely in the United States and Europe, while working also as an illustrator. She works in pen and ink, sometimes with wash, or watercolor and inks (sometimes metallic), or art marker or watercolor pencil, sometimes with gold leaf, sometimes with coffee or glue or glass glitter. Her work depends on close observation of nature, although in most cases it shows that which could never have actually been observed.