In spite of the recent, generally shell-shocked feeling of “what’s next”, everything does continue in a certain way, including the making and the exhibiting of art and the search for artists whose work incorporates layers of evocative thought. To read the full press release, click here.
"As an expression of integrated languages, the series Transitors operates at the intersection of data, photography and language to explore the fragmentation and disintegration of the human psyche and bodily awareness through the effects of digital technology and contemporary social dissociation. Shifting from the personal to hints of a technological sublime, the work exemplifies the predicament of the individual in relation to systems of all sorts."
– Sarah Crofts
Francks Deceus was born in Haiti and moved to Brooklyn (NY) at nine years old. His work resonates with political and sociological content, incorporating the influence and aesthetic forms of the 40’s and 50’s visual artists such as William Johnson and Jacob Lawrence.
Deceus’ work has been shown at the Brooklyn Museum, and commissioned by the Brooklyn Academy of Music and Medgar Evers College of CUNY. It is also included in the permanent collection of Schomburg Center for Research in Black Culture and Xavier University.
"The work shown is part of a body of work called Collateral Damage. Each sculpture asks the audience to reflect on the nature of the contemporary nation-state and acknowledge the violence it continues to commit against civilian populations in different parts of the world: killing, maiming and disabling. Each piece of glass represents a human life. Each piece is just as strong, fragile, beautiful and charged with light and energy as a strong, fragile, beautiful human being.”
- Susan Hackett
"Many native groups in Mexico practice readings of fortune using corn kernels. The healer throws the seeds on a surface and deciphers the future by looking at the particular arrangements of the kernels. In this series of work there is a constant conversation between chance and control. These elements play out in the preparation of the surface, where I hug and fold the paper, slicing it and pigmenting it. Then come the "dice": these are obsidian figurines found around touristic pre-columbian sites purchased on my recent trips to Mexico. I then toss these objects onto the paper laid on the floor. The obsidians fall on the paper and right there are glued to the surface; once dried I may reject the outcome and forcibly remove the objects, tearing the paper. I start the process once again."
- Monica Palma
Fransix Tenda Lomba is a visual artist residing in Kinshasa. He is interested in using recycled industrial material to enhance his paintings. He recently was an artist in residence art Art Omi.
"Re-examination of reality immersed within the digital may trigger our subconscious to assert itself, breaking through to the other side. Postmodern culture is, in many ways, artificial, and the distinction between the original and simulacrum has become so blurred there is little distinction between either. There is only simulacra. We are immersed in a precession of simulacra; which precedes and determines what is real. Through visual art and poetry revealing not truth, but a way of viewing and understanding that we can alter ourselves."
– Kerwin Williamson