Posts tagged 2023
Meggan Gould: Sorry, No Pictures

Meggan Gould’s Sorry, No Pictures examines photographic tools and technologies and their constant teeter on the edge of obsolescence. Gould takes apart and re-contextualizes the smallest aspects of the medium, including the iconography of camera dials, the design of viewfinder patterns, and the ubiquitous Epson inkjet printer test pattern. Intertwined with personal narrative, the artist uses “playful resistance” in her work to question the role of corporations and manufacturers of photographic technologies — from Kodak to Flickr — in shaping photography, image-making, vision, and the language surrounding the medium.

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Sylvia Thomas: Letters To A Haunted House

Many have experienced grief with the loss of someone close to them, but what if that someone was yourself?

Transgender people have lived and existed in many forms for many centuries. Today, there are many possible (physical, emotional, and mental) changes made by Trans people to feel affirmed in their own body. To “come out” or “transition” has required some Trans people to abandon a self they do not recognize. This act of abandonment and process of grieving one’s self is common for many Queer and Trans people who were not raised in affirming environments.

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GOLDEN MYST: Tarot Art Show by Daniela Martín del Campo & Gloomy Zauros

Arte Mexicano en Indiana and Big Car Collaborative are partnering to present the works by Mexican Daniela Martín del Campo & and Colombian Artist Gloomy Zauros. GOLDEN MYST represents a unique visual and spiritual experience, where chromatic limitation becomes a window to reflection and contemplation: the deep black of the ink, the shimmering gold and the immaculate white of the paper.

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Kaila Austin- Process as Practice: Reimagining the Lost Hardrick Mural

As the United States continues to face its history of enslavement, oppression, and exclusion of Black Americans in museums and other arenas of power and recognition, “Process as Practice: Reimagining the Lost Hardrick Mural” is impactful and unique. The exhibit is part of an ongoing partnership between artist Kaila Austin; the Norwood community on the southeast side of Indianapolis, and the family of Indiana’s Harlem Renaissance painter, John Wesley Hardrick (1891-1968).

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exhibitionJulie Xiao2023
Brian DePauli: Not Sorry We’re Closed

Not Sorry We’re Closed is an exhibition inspired by and questions American society’s live-to-work mentality, and is comprised primarily of hyper-realistic oil paintings. DePauli’s pieces preserve and draw attention to objects and scenes from the lighter side of daily life: a worn bicycle seat, a chimney on the grill in summer, a homemade skate ramp in a fenced-in backyard, a ballcap lying in the garden proclaiming “RETIRED, No Phone! No Fax! No Stress! No Worries!” The surface meaning of these items and scenes are emphasized as a lifestyle to aspire to rather than objects to contemplate.

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Justin Cooper: Archetypes

“In 2015 — after over a decade of painting and art making — I asked myself what brought me to want to create in the first place. Thinking back to my childhood, it was probably directly linked to enjoying playing with plastic blocks and how excited I was to get my hands on a grid-lined sketchbook. I would design my own toys and sketch out the floor plans for houses, cars and symmetrical objects.

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exhibitionJulie Xiao2023
Nasreen Khan: Cic·a·trix

The narrative of femininity is pain.

Cicatrix: the scar of a healed wound. In botany, cicatrix refers to the keloid mark left on a tree after a piece of it has been removed. In this body of work, I am exploring the personal maternal scar of being taken away from the only real parental figure I had until that point in life, the complex scars of colonialism and immigration, and the physical scars of my own body.

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Benji Dorocke:Matters in E-6- Drawings From The Well

Drawings From The Well explores sources of individual creative spirit and drive. Within the well lies all parts of the self; from the surface we draw from daily, to depths seldom acknowledged. At the point of overflow, the depths begin to rise allowing those motives and feelings to become visible. I find these periodic wellings to be helpful in self understanding, and important to growth. Every well contains all of our influences, memories, and perspectives; the fibers of the self held at varying depths. Multifaceted in our nature; humans take on more interests, roles, and traits than we are often aware of. Trips to the depths of the well can feel treacherous, however with exploration comes clarity upon surfacing.

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Selena Ward: Sentida- A visual memoir

Sentida is a collection of Selena Ward’s recent installation pieces that serves as a visual memoir for her surge in personal reflection and self discovery within recent years. Bookmaking, quiltmaking and image making all feature to dissect her feelings of displacement within her own Chicana identity, explore her obscured ancestral history, and question conflicting ideas on beauty, womanhood, love, domesticity, and loss. 

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Yeabsera Tabb: Tezeta

This body of work is an exploration of the physical and figurative aspects of “place.” On one hand, the word “place” refers to our built environment, choices of design, and our interactions with the physical world. On the other hand, it refers to a sense of belonging that is cultural and emotional–still deeply tied to the physical world, but able to exist without it through memory. I invite the viewer to step into the threshold separating “here and now” from”‘then and there.” 

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Jason Gray: Cthutopia

In this body of work, I am exploring the dream that there are still places and things we have not discovered, things we may not even comprehend. Inside of familiar volumes such as instrument cases and terrariums, I am creating spaces that give a glimpse of some other world, somewhere weird and wrong. This is Cthutopia.

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