The Evergreen State College
Cerny’s sculptures begin with the notion that “furniture” and “mother” are figures that secure a value (to others) for their potential to hold, display, or be absent-mindedly left with things. Putting form and color to work and entrusting no small part to contingency, these works behave as something like gestural understudies for a play about the day-to-day grinding weariness and joyful slapstick absurdity of human relationship—about trying to Work It Out…or not.
https://www.dawncerny.com/
Christopher Paul Jordan is a painter and public artist from Tacoma, Washington. Lacing salvaged textiles such as window screens and debris netting with acrylic paint, Jordan simulates cycles of removal to surface questions about human relationships. Through parallel practices in performance, installation, and sculpture, his investigations are often staged or permanently embedded in public space. Jordan’s first museum exhibition: In The Interim – Ritual Ground for a Future Black Archive, buries African American predictions of the end of the world on the grounds of the Frye Art Museum until the year 2123. His 20ft bronze, aluminum, and steel sculpture andimgonnamisseverybody (2021) is the centerpiece for The AIDS Memorial Pathway in Seattle. Jordan holds an MFA in Painting and Printmaking from the Yale School of Art (2023).
https://chrispauljordan.com/
Satpreet Kahlon is a Panjabi-born artist, organizer, and educator based on Coast Salish territories. She received a full-fellowship to pursue her MFA in Sculpture from the Rhode Island School of Design, graduating in 2019. She co-founded and -ran an Indigenous arts organization that supported 400 artists with over $2m of opportunities and rematriated 1.5 acres of greenspace that was slated for development during her tenure from 2017-2023. For this work, she was named one of the Most Influential People in Seattle by Seattle Magazine in 2019.
Regarding her artistic practice, she has written in a statement: “My practice is concerned with illegibility, inscrutability, and collapse. Beginning with the understanding that most Indigenous cultures are existing in a post-apocalyptic reality, I approach the act of building sculpture as a kind of prayer: a futile attempt to communicate with and better know generations of lost, unknowable histories. An endlessly looping signal without reply.”
https://www.satpreetkahlon.com/
When: 11:30 a.m.- 1 p.m. Wednesday, November 6th
Where: Live streamed via Zoom in the Comm Building Recital Hall
Zoom Webinar Link: https://evergreen.zoom.us/j/86447124526
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.
CANCELLED
Pamela Lins refers to her work primarily as sculpture, although she uses the term expansively. She teaches sculpture at the Cooper Union for the Advancement of Science and Art and painting at Princeton University. Through her work, Lins contemplates the social, the political, and the historical by constructing situations inquisitive and equivocal to sculpture and the making of it. Lins’ work explores the space and connections between painting and sculpture, sometimes with a focus on ceramics, leading her to found Ceramics Club with Trisha Baga. Previously, Lins’ work was included in the 2014 Whitney Biennial, in a collaboration with Amy Sillman, and has been exhibited at the Tang Museum of Art, The Suburban, the CCS Bard Hessel Museum of Art, and the Brooklyn Museum of Art. She is represented by Rachel Uffner Gallery in New York. A New York Times review of her 2015 show ‘model, model, model’ describes her exploration of the links between painting and photography. In 2008 Lins received a fellowship from the John Simon Guggenheim Memorial Foundation, and in 2007 she was awarded a fellowship in the visual arts from the George A. and Eliza Gardner Howard Foundation. In 2013-14, she held the David and Roberta Logie Fellowship at the Radcliffe Institute for Advanced Study at Harvard University.
Udondian’s work is driven by her interest in textiles and the potential for clothing to shape identity, informed by the histories and tacit meanings embedded in everyday materials. She creates work that questions notions of cultural identity and post-colonial positions in relation to her experiences growing up in Nigeria. In 2020, Udondian was named a Guggenheim fellow. Her works have been exhibited internationally, this includes; The Bronx Museum, New York; The Inaugural Nigerian Pavilion at the 56th Venice Biennial-An Excerpt, Fisher Landau Centre for the Arts, New York; National Museum, Lagos; Spring Break Art Fair, New York; The Children Museum of Manhattan, New York; Whitworth Gallery in Manchester, UK; National Gallery of Arts, Uyo, Nigeria etc. Some of her Artist Residencies include, Instituto Sacatar, Bahia, Brazil; Mass Moca, Massachusetts, USA; Fine Arts Work Centre (FAWC), Provincetown; USA; Villa Straulli, Winterthur, Switzerland; Fondazione di Venezia, Venice, Italy and Bag Factory Studios, Johannesburg, South Africa.
Udondian received an MFA in Sculpture and New Genres from Columbia University, New York; attended Skowhegan School of Painting and Sculpture and a BA in painting from the University of Uyo, Nigeria.
She is currently a Visiting Associate professor of Art at the University at Buffalo, SUNY, Buffalo, New York.
https://victoriaudondian.com/
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.
Her practice began exclusively with conceptually based figurative painting and the work morphed over time into an experimental practice that utilizes painting, drawing, video, installation, and performance. Her early work involved re-creating masterworks with an eye towards feminist re-interpretation. Deeply rooted in painting’s discourse, her current practice uses painterly logic to create three dimensional structures that evoke landscape and still life and link mid century formalism, architectural theory and utopian idealism. Recent exhibitions have considered the ethics of architecture, the relationship between social justice and climate change, sustainable energy technology, and intersectionality in Arab and Western identity.
She has shown her work in numerous solo and group exhibitions nationally and internationally, including the Drawing Center (New York, NY), the Mattress Factory (Pittsburgh, PA), the Children’s Museum of Manhattan (New York, NY), the Bronx Museum (Bronx, NY), the Licini Museum (Ascoli Piceno, Italy), LMCC’s Art Center on Governors Island (New York, NY), the Clay Center for the Arts and Sciences (Charleston, WV), the PalaentologicalMuseum (Cortina, Italy), the Tacoma Art Museum (Tacoma, WA), Suyama Space (Seattle, WA), and the Zuckerman Museum (Atlanta, GA). Her work has been reviewed in the Italian edition of Flash Art, Artnet, Time Out, Chicago, and the Boston Globe, and is in the collections of the Rene diRosa Foundation, the Microsoft Corporation, and the Hirshhorn Museum.
She has participated in residency fellowships at Yaddo, the Millay Colony, Constance Saltonstall Foundation for the Arts, Virginia Center for the Creative Arts, and Lower Manhattan Cultural Council’s Swing Space, and was a participant in the Drawing Center’s Open Sessions Program 2014-2016. She is currently a member artist of the Elizabeth Foundation for the Arts Studio Program.
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