Gallery Room A
Welcome to Amethyst, a pop up virtual exhibition featuring artwork inspired by the color purple. This exhibition examines the color’s global similarities, its impact on society, and unique meanings across cultures. The color purple is often associated with high society as well as popular culture. Deep purple conjures thoughts of royalty. Lilac is connected to springtime and youth. While ultraviolet reminds us of psychedelia. Did you know purple is considered to have beneficial healing qualities? In fact, Leonardo da Vinci preferred to meditate in a lavender or purple-colored light.
This exhibition is part of a series of curated experiences with a mission to push artists in their practice with the challenge to create works in one color. See past color exhibitions, Yell Oh and Blueish.
Exhibiting Artists: Kat Chudy, Ash Hagerstrand, David Isakson, Cheryl Kinderknecht, Loraine Klaiber, Aleatha Lindsay
Open till March 31. 2024
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KAT CHUDY – Tallahassee, Florida
I make work, write, and run a podcast called DIY Access that focuses on novel solutions to longstanding issues of inaccessibility. My art practice finds beautiful and dignified ways to show the invisible parts of being disabled. The work spans many mediums including printmaking, photography, painting, and fiber art – most of the pieces end up in conversation with one another when installed. Each medium is just as important as the idea being put into it, the form being another facet of communication that holds its own meaning.
My work uses repetition, accumulation, and embellishment to elevate the rituals and history of disability. The acts of stitching, beading, sewing, sculpting, printing, and collecting mirror the daily acts of disability without being literal documentation or social performance. These different processes can directly reference a type of medical care, such as sewing running parallel with suturing. It can also connect to an act of care through the rhythms created in the repetition of formal elements such as color, texture, line, contrast. The visual presence of a repeated act becomes an artiface of history, a physical representation of effort, focus, and resources. Both the materials used and how they are manipulated become the vehicle through which I make the invisible visible. My symbolic lexicon evolved naturally by creating several key pieces, through the collection of material manipulation techniques. Leaving certain threads of the fiber pieces untrimmed, decoration with masses of beads or notions, faux materials, and the repetition of forms dictate how I engage with any found object, image, or experience. The transformation of the materials into the correctly balanced embodiment of my experience, becomes an experience in and of itself. The meditative state that emerges from these repetitive acts recontextualizes my disability.
ASH HAGERSTRAND – Brooklyn, New York
Contrary to the pandemic boom of wellness and fitspo media found online, I craft altars to unwellness and disability. As a sick teenager, I coped with my illness by obsessively searching the internet for self-help content. I tried to morph myself into the digital skin of athleisure models, followed fad diets promising to purge the ailments from my body.
Using digital animation, collage, and 3D-printing, I meld the disabled body with the digital glitch to expose the false promises made by tech companies and influencers selling endless personal optimization. I appropriate and decompose images and videos of health and beauty routines, augmented by self-portraiture, 3D animation, and screen shots into baroque, maximalist compositions. I make use of the stock models used for advertising to deconstruct and, consequently, destroy ad content. No longer in service to commerce, the recontextualized images become uncanny and unsettling. I also insert myself, particularly through the use of 3D scans, which always have incomplete data that renders my body as though it were deteriorating. All of these elements are then composed like religious art. I particularly draw inspiration from Catholic reliquaries and Vietnamese home altars, which I was exposed to as part of my upbringing. The work is framed by 3D printed hands and other distorted body parts, desaturated to be bone white.
The work is rife with binary contradictions: the cyborg as a healed whole and repulsive combination of the organic and artificial, the doctor as patient, and the fetishized and fetishizer. The vaporwave-colored works have a veneer of beauty, but their beauty is undermined by the abject practices of so-called self-improvement. Ultimately, we only value the cyborg body when it masks our mortality.
DAVID ISAKSON – Twentynine Palms, California
“I was born in 1969 to an art history professor and his wife a psychology major. I live and work in Twentynine Palms, CA in the Hi Desert. I am a small-time operator. I find meaning in the contrast between opposite poles. My work is an effort to balance the difference of my schizophrenic mind and aging human body. I am a product of a changing environment. I use technology against itself. I come from a world before nanoplastics. I bring into question modern technology, as a point of reference. I bring antiquated technology; adding machines, typewriters, cameras, shoes, telephone parts, stereoscope viewers, drills, bicycles, boxing gloves and animal bones, ad infinitum into a flux where the combination of materials begins to create, ex machina, a personal meaning, an idea. I have done over 130 group shows. I weld and join materials to make humorous deconstructions out of everyday objects. My art is a self taught outsider deconstruction that blurs the classical distinctions between inside and outside. Portrait and self.”
CHERYL H. KINDERKNECHT – Bradenton, Florida
Kinderknecht is a mixed media artist currently residing on Florida’s west coast. Originally from Kansas, her formal art training includes an art degree from Fort Hays (KS) State University. Her work is exhibited in local galleries, juried regional and national shows and private collections in the U.S. and abroad.
“As an artist with a visual impairment, my actual vision is a secondary process used in my artwork – – – I rely more upon my “mind’s eye” with its panoramic visual memories and emotional context to drive my work. Dreams, metaphors, ancestral ties, and memories are conjured up from my inner landscape, while the shapes, textures and colors of nature further anchor and inform my work. I am most at home when I create from an intuitive perspective, letting my subconscious serve as the catalyst and guide for my artistic expression. I like to believe that my limited, fragmented and flickering vision brings an unexpected perspective and intuitive freedom to my creative process.”
LORAINE KLAIBER – Rotterdam, Netherlands
ALEATHA LINDSAY – Atlanta, Georgia
Lindsay is an Atlanta based award-winning multi-disciplinary artist, independent curator, disability advocate, and published author. Her paintings are juxtapositions of shapes, fluid gestures, simplistic movement, and bold colorful explorations. Much of her work explores the physical and psych/emotional qualities of interactions; with humanity and within environments. Her creative process often begins with sketches that delve into these themes before finalizing compositions for new works. The final products present fluid explorations of the intended themes working in harmony. In her mixed media work, she collects items, decontextualizes, reimagines and reconstructs them into figurative representations to pay homage to women of the global diaspora. These carefully placed items present unpredictable shapes and patterns that allude to the complexity of character, strength, and culture. The resulting sculptural figures pull us into their fictional realities with a high degree of naturalism and beauty.
Her work represents a balm of honor, dignity, protection and spiritual uplifting. It is acting as a ribbon that binds our souls into one of conquering grace, beauty, and compassion. As the artist, she examines the different forms this balm takes, the thinking and history that lies behind it. Lindsay uses found objects as the common denominators of a contemporary environment. Altering them is an embodiment of questioning and raising awareness of the current state of the long overdue homage to women of the global diaspora.