Artist Spotlights
Katie Vota
Katie Vota was awarded the Summer 2024 Artist Grant.
Katie Vota seeks to (re)evaluate our relationships to materiality, community, and environment through the medium of tapestry re-imagined in the digital age. Her current work utilizes pattern-based tapestry as a drawing medium to map the multitude of connections surrounding water as a shifting, living entity.
Ryker Woodward
"We all trek the virtual domain alone in some way today. Of course painting can demand the same solo queue as well. The paradox however, lies in the mythos. Artist in the studio, peacefully laying down brushstrokes vs the isolated gamer who is locked in the grind, leveling a battle pass. One serene, the other insane. To me, no hierarchy exists between the two and these are parallel practices. The mastered gameplay annihilates the gallery. No canvas ever hit like a trickshot or frag montage."
Adrienne Greenblatt
Adrienne Greenblatt was awarded the April 2024 Artist Grant.
Adrienne’s practice is characterized by its multisensory nature and draws strong inspirations from the environment, alchemy, the body, wrought iron gates, medieval weaponry and esotericism. Using lampworking techniques, they craft experimental glass forms that appear aqueous and fluid.
Chaeri Kim: Love, Light, Gravity
Love, Light, Gravity is a solo exhibition highlighting nineteen works from an artist with a forceful style that permeates her work regardless of the employed medium. Chaeri Kim’s work in this show ranges from crisp graphite drawings to billowing chalk compositions on paper and tufted figures on cotton. The variety in this collection of works, deemed “dream journal” by the artist, show us the many ways she records her own tract of memory as it integrates into her psyche or disintegrates into the background of her practice.
Grace Nkem
“I think of my collage-like, painted images as browser pop-ups and I draw upon compositional clichés and visual conventions we encounter when interacting with screens: icons, endless interfaces, a compacted depth of field, cut-paste image-overlay, and so on. It seems impossible to produce a twenty-first century painting that is not informed by digital images, given that our contemporary understanding thereof is inexorably shaped by and tied to their existence in cyberspace, though we only spend fractions of a second with some of the images we see on screens.”