Joshua Veasey, through a dialogue between medium and object, seeks to understand both the tangible and immaterial, evoking the natural, within and with the man-made. His sculptures function as props, reality in replicas, staged in an attempt to relive the firsthand experience of an encounter, a place, and a time. Personal photographic references are reinterpreted to produce models, maquettes, miniatures, or relics of fleeting intimacy. These objects are extractions of memories, reassembled to create plastic versions of themselves; byproducts of geographical, social, and cultural language.
Elizabeth Newberry currently works with themes of reality, and relationship to everyday objects. She describes her process: “by depicting typical domestic objects juxtaposed within natural environments, the work explores how action becomes ritual and dictates relations between people and environments. This specific body of work alludes to tableau vivant, meaning living picture. It also draws visual reference from dioramas in museums and impressionist landscape painting. I am interested in an atmosphere that conveys the bizarre within the mundane.”
Working through various mediums, Richard Sanchez utilizes a process of systemization and chance—in some cases to mitigate mistakes, and in others to invite the unexpected as a way of creating abstraction. Through composition, moments of control rely on calculated predictions that rarely unfold as expected, accepting error as a ripe process for investigation. By exploring the gaps that chance can provide, his works offer lessons for the shifts between intuition and regiment, system and chance.
Merging states of dimensionality and flatness, Jessica Martin’s paintings convey both layering and compression of time, with a notation of movement. Drawn from recognizable imagery in a combination of figures and landscapes, they become disorienting and unrecognizable from their source. Built up through layers of paint and overlaid with mark-making, the paintings become highly worked, creating new narratives of their source of imagery. Shifting between swiftness and bursting, softness and aggression, frenetic mark-making becomes a gesture of visual tempo that phases and echoes rhythmic compositions.
A multidisciplinary artist, German Caceres (Richard Spit ) produces personalized ideas of culture, resulting in stern, humorous, and mixed manifestations. Image and sculpture combine to attempt inner-communication rooted in spirituality, tendency, and radiation. Through examination of belief, identity, direction, history, and solidarity, Caceres aims to digest our current place in time with works that seek to become effigies of human belief and social practice.