Jessica Jackson Hutchins (b. 1971) lives and works in Portland, Oregon. Hutchins’ expressive and intuitive studio practice produces dynamic sculptural installations, collages, paintings, and large-scale ceramics, all hybrid juxtapositions of the handmade. As evidence of the artist’s dialogue with items in her studio, these works are a means by which the artist explores the intimacy of the mutual existence between art and life. Her transformations of everyday household objects, from furniture to clothing, are infused with human emotion and rawness, and also show a playfulness of material and language that is both subtle and ambitious. Based upon a willingly unmediated discourse between artist, artwork and viewer, Hutchins’ works ultimately serve to refigure an intimate engagement with materiality and form.
Tag: installation (Page 1 of 2)
Hanako O’Leary is a craft based sculptor and installation artist. She was born and raised by her Japanese mother and American father in the American Midwest. She grew up speaking Japanese at home, but English in school and everywhere else. Until Hanako turned 18, every year, for 2 months during the summer, her mother Sumiko brought her and her siblings back to their maternal home in the Seto Inlet Sea of Japan. This deeply influenced her spiritual beliefs, artistic voice, and feminine ideals.
Building off this personal history, Hanako looks to Japanese folk traditions of the Setonaikai Islands as a basis for her artwork. Through hand made objects, installations, and storytelling, Hanako explores this relationship with her matriarchal lineage and the complexities of feminine love, sexuality, and power.
Her major artistic accomplishments include solo shows in galleries such as Method, Edmonds Community College, King Street Station, and most recently Frye art Museum and Gallery 4Culture. Major awards include the Seattle Office of Arts and Culture City Artist Grant, Bernie Funk Fellowship, Robert B. McMillen Grant, Neddy Award Finalist and Artist Trust Fellowship to name a few.
“The Brazil-born artist has built a collaborative research-focused practice from her base in Los Angeles that addresses connective tissue that links place, history, and aesthetics. Employing moving images, installation, and sculpture, she explores their alternative narratives in both built and natural environments of extractive economies. Whether reinserting figurative traditions and ritual practices of Mayan motifs in early twentieth-century Los Angeles architecture, as in her 2017 video Ch’u Mayaa, or more broadly examining a grotesque, postlapsarian world, the artist employs the future perfect language of speculative science to propose ways of seeing our devastated present.” Tossin’s work has been exhibited widely, including in the exhibition Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art at the Whitney Museum of American Art in New York (2018), and in the Twelfth Gwangju Biennale in Gwangju, South Korea (2018).As a Radcliffe Institute Fellow at Harvard University (2017-18), Tossin worked towards the installation Encontro das Águas (Meeting of Waters) (2018), which became the subject of a solo exhibition at the Blanton Museum of Art in Austin, TX. The project unfolded into a new exhibition, Future Fossil (2019), commissioned by the Radcliffe Institute of Advanced Study at Harvard University. Tossin holds an MFA from the California Institute of Arts. She has an upcoming solo exhibition at theFrye Art Museum in Seattle, take roots among the stars OCT. 7, 2023–JAN.7, 2024
Zoom link: https://evergreen.zoom.us/j/89462123483
Park McArthur is an artist who experiments with personal and social meanings of debility, delay and dependency under the guidance and instruction of disability. Her work has been described as questioning care alongside questions of autonomy and dependency. Her sculptures and conceptually driven installations are often composed of utilitarian materials such as blocks of foam or a Wikipedia entry. “Although the social and practical dimension of making art varies from piece to piece, I am consistently interested in finding ways of understanding debility and dependency as a generative space. As such, my work often comes from personal experience but seeks to arrive (or join) a space that exceeds the individual person.
Recent solo exhibitions include Kunsthalle Bern, Switzerland; Maxwell Graham / Essex Street, New York; and The Museum of Modern Art, New York. In 2019 McArthur joined The Department of Art & Design at Rutgers University The State University of New Jersey as Tepper Family Endowed Chair.
Anne de Marcken, former Greener! is a writer and interdisciplinary artist. Her credits include durational writing projects, hybrid narratives, short and feature-length films and site-specific installations. She approaches creative work as a process of critical inquiry, centering questions of impermanence, invisibility and the abject. She is author of the lyric novella The Accident: An Account (Spuyten Duyvil, 2020), and her writing has appeared in Best New American Voices, Ploughshares, Narrative, Entropy, on NPR’s Selected Shorts and elsewhere. Recent process-based installations include Hinterlands of Paris (2020), Paris Chopped & Screwed (2019), Invisible Ink: Homeless (2018), Invisible Ink: Reparations (2017) and The Redaction Project (2016). She is also known for the gender-queer experimental feature Group (2002). Anne is editor and publisher of The 3rd Thing, an independent press dedicated to intersectional, interdisciplinary work. You can see more about The 3rd Thing at https://the3rdthing.press.
Note: Anna Joy Springer will be rescheduled TBA
Anna Joy Springer is the author of “The Vicious Red Relic, Love” (Jaded Ibis, 2011), an illustrated fabulist memoir with soundscape by Rachel Carns and Tara Jane O’neil “Your Metaforest Guidebook”, as well as “The Birdwisher, A Murder Mystery for Very Old Young Adults” (Birds of Lace, 2009). Her work appears in zines, journals, anthologies, and recordings. An Associate Professor of Literature at UC San Diego, Springer teaches experimental writing, feminist literature & graphic texts and also leads public meditation groups focusing on sensation, emotion, and imagination. She’s performed in punk and queercore bands Blatz, The Gr’ups, and Cypher in the Snow and toured the U.S. with the writers of Sister Spit.
Austen Brown is an artist living in Chicago, IL, holding his Master of Fine Arts from the School at the Art Institute of Chicago, where he is a Lecturer in the Sound Department. Using a site-based practice, he works with sound, video, and installation to draw conceptual lines between sites, using buildings as evidence to investigate histories of urban planning.
His work has been shown internationally at Super-Sensor, Madrid, Spain; The Chicago Artists Coalition, Chicago, IL; The Mission, Chicago, IL; EXPO Chicago, IL; Switched on Garden with funding from the Pew Charitable Trust, Philadelphia, PA; Delaware Center for the Contemporary Arts, Wilmington, DE; Rebekah Templeton Contemporary Art, Philadelphia, PA, among others.
Markel Uriu is an interdisciplinary artist based in Seattle, WA. Her work explores impermanence, maintenance, and the unseen. Drawing from her Japanese and Irish-American heritage, she is particularly interested in liminal spaces, and explores these concepts through ephemeral botanical narratives and two-dimensional work. Her subjects of time, cycles, and cultural interchange have culminated in a fascination with invasive species. Her current work explores the nature of invasive species, their environmental impacts, and their links to humanity, colonialism, and globalization.
Markel received her BA from Whitman College in 2011. She is the recipient of various awards and residencies, most recently the 2018 Amazon Artist in Residence, and the 2016-2017 Artbridge Fellow at Pratt Fine Arts Center. She is a member of the Lion’s Main Art Collective for Queer and Trans Artists, Seattle and SOIL Gallery, Seattle, and has shown throughout the United States.
from Christopher…
As an artist and community organizer, I construct immersive, interactive installations to connect diaspora communities. I’m interested in media infrastructure and its role in shaping what is knowable. I create portals for displaced peoples to reintegrate our stories across dimensions, devising passageways for us to connect, hear from, and care for one another. I generate art objects as time-capsules to vault these experiences, questions, and memories in the future. My practice deals with continuance, analog internets, rites of passage, the production of history, and the construction of satellites. Painting and sculpture are my prayer language; laced with vestiges of mediation and hearsay; embedded with questions for another time and place.
BIO
(b. 1990) Christopher Paul Jordan integrates virtual and physical public space to form infrastructures for dialogue and self-determination among dislocated people. Jordan’s paintings and sculptures are time-capsules from his work in community. His 7000 sqft panoramic mural from #COLORED2017 is now buried into the walls of the Carpenter’s Union Building in Tacoma where it can only be rediscovered through demolition.
Jordan’s installations and public projects have been implemented internationally including Trinidad and Tobago, Taiwan, and Mexico. His work has been recognized by the Neddy Artist Award in painting, the James W Ray Venture Project Award, the Jon Imber Fellowship, the GTCF Foundation of Art Award, and the Artist Trust Fellowship.
Based in Tacoma, WA, USA
MARY ANN PETERS is an artist whose combined studio work, installations, public art projects and arts activism have made noted contributions to the Northwest and nationally for over 30 years. Most recently her work has focused on the overlap of contemporary events with splintered histories in the Middle East.
Her awards include the 2016 ArtMatters/Jerome Foundation fellowship at the Camargo Foundation, Cassis, France; 2015 Stranger Genius Award in Visual Art; a 2013 Art Matters Foundation research grant; the MacDowell Colony Pollock Krasner Fellowship (2011); the Civita Institute Fellowship (2004) and the Behnke Foundation Neddy Award in Painting (2000).
She is a founder of COCA (Center on Contemporary Art), a recipient of the Artist Trust Leadership and Arts Award, and former board member and board president of NCFE (National Campaign for Freedom of Expression), the seminal group who defended artist rights and the First Amendment during the Helms era.
She lives and works in Seattle, Washington.
From Molly Dilworth…For me, creative practice is a tool for investigation and problem solving. Using data from a specific site as a structure, I give form to the things that invisibly motivate our actions. I have partnered with green building organizations, climate change activists, arts organizations and government agencies to make public art that addresses our relationship to history, nature and technology. Currently, I am investigating the relationship of domestic space, global trade, feminism, labor and craft.
From the rooftops of Brooklyn to the Pedestrian plazas of Times Square, I have created outdoor site-specific paintings in New York City and exhibited across the United States. I have been a resident artist at the Salina Art Center in Kansas and in the Art & Law Program with the Volunteer Lawyers for the Arts in NYC. My work was part of Spontaneous Interventions: design actions for the common good in the U.S. Pavilion at the 13th International Venice Architecture Biennale.
I have been an artist in residence at Recess Activities/Pioneer Works (2012), in the Lower Manhattan Cultural Council Workspace Program (2013) and Smack-Mellon (2014). In the spring of 2013 I installed a permanent exterior painting for the Garden at The James Hotel in Lower Manhattan. Recent commissions include a 6,000 sq. ft. mural for Toledo, a temporary garden for a city block in Seattle, and a sculpture for a light rail station in Denver.