916 Springdale Road Bldg 3
Austin, TX 78702
Adorjan, Eranah L.
These three pieces are representative of my mixed media process. Smaller compositions are made along side of larger installations. They are considered vignettes that allow access into a larger, ongoing dialogue between material, gesture, collection and association in response to internal and external processing. I loosely play with repeated forms that call to mind the complexities or personal growth, relationships and subjective thought processes. Free association and chance are welcomed into my aeltoric process, the action and rhythm of which, allows limited access to my subconscious mind. This process could be considered shadow work according to Jungian psychology. Repetitive form, symbols, text and colors become an illogical lexicon that can offer some understanding of the self. This understanding strengthens the boundaries between self and other and emboldens and nourishes my artistic process. So, my intention in allowing myself to dive deeply into the personal is that I hope to resurface with artifacts that will speak on a universal level. This essentially, is the way an introvert processes the information and stimuli from external sources. All subject matter is fair game and embedded within a matrix of abstraction. The nonsensical coding of information follows my own formal rules and is left open ended for viewers to decode.
Strong work is birthed from intimate familiarity. Where I live and work inherently influences my imagery acting as a sub-narrative. Themes echo my interest in understanding 'what it means to be human' whereby I often explore making invisible concepts visible: people in the act of thinking, narratives wherein something is hidden or revealed, and daily cycles of life against longer cycles of geologic or celestial time. By infusing the making of the art into the art, I capture a specific ‘moment in time’ that contrasts deep rhythms and underlying forces. My desire, conceptually parallel to different tempos of time outlined by historian Fernand Braudel, is to capture these human moments within the larger context of universal humanity.
Andrea Fiore seeks repetition in her work and she explores this desire through the hand pulled methods of screen printing and stamping.
Her first introduction to printmaking was at the Museum School in Boston MA. She was captivated and attracted to the techniques used in screen printing, block stamping and mixing the two togther. Since then, Andrea Fiore has lived her life as a creative professional.
Her work in garment printing began in 1991. In an industrial print shop, Andrea explored the practices of designing, color separating, out putting screens and film, and printing shirts for the local tourist market in Boston MA.
Between the years 2000 – 2004, she sold art screen prints on wood to local boutiques in San Francisco catering to the children’s market.
In 2005 Fiore started Black Sheep Prints and continued this line for 5 years. The designs utilized repurposed materials which were used to hand stamp and create unique designs on fabric which were sold at craft shows and Bazaars in Austin TX.
In 2009 Fiore returned to art on paper utilizing repurposed packing materials which were used to stamp and print. She had a showing of these pieces in the Spider House Ballroom in Austin, TX.
Fiore’s passion for bold, innovative graphics and her seasoned skills as a screen printer and printmaker combine for forward motion in beautiful, modern textiles and fine art designs on
BETH HUGHES WORKS AS A PAINTER AND PRINTMAKER USING LINE AND COLOR TO EXPRESS HER VIEWS OF THE WORLD BOTH INTERIOR AND EXTERIOR. SHE HAS A BACHELOR OF FINE ARTS DEGREE FROM UNIVERSITY OF TEXAS AT ARLINGTON. SHE IS A MEMBER OF THE JOHNSON CREEK PRESS AND VISIONS 10. BETH'S WORK IS SHOWN AT KAIROS GALLERY AND THE FREDERICKSBURG ART GUILD.
Current culture deems indecision and confusion as negative notions, embracing the assertive, immediate, and understood. My work intends to subvert that thinking, arguing the essential place for the unformed and obscure, presenting unnamable, elusive, and unobtrusive visuals.
In order to achieve both an indefinite and understated visual and mental state for my viewer, I present work that encompasses suspended or opposing states. The artwork hovers between paradoxes (form and space, dissolve and formation, density and void, focal point and dispersion, accident and intention) preventing the viewer from conclusion. Furthermore, by using printmaking and the incorporation of surface, the pieces question whether they are found surface or art, seemingly to exist in an ever-shifting space between the two. This intermediary and inconclusive space is coupled with restrained aesthetic that urges the viewer to adjust their mode of attention, like leaning in to hear a whisper or squinting to see in a dark room.
Ultimately my art attempts to recalibrate and resensitize our practiced eyes that search for purposeful and readable sights, overlooking the stained concrete walls while scanning the next five billboards. There is profound character and beauty in what sits quietly without intended meaning and I aim to emulate that vitality through a composition of marks and printed surface.
My primary mediums are drawing and printmaking. Monotype methods afford me the pleasure of not only drawing, but also the spontaneity of image-making that I enjoy. When I am printing, the process defines my steps - one thing flows into another as I manipulate the ink and make runs through the press. The laying down of ink and then printing or drawing directly on the plate is something that never gets old for me. My work can be compilations of prints that have been cut and re-assembled to become part of something new. Often they are created by drawing directly onto paper placed on an inked plate.
I compare the collage aspect of my work to the push/pull of the painter's brush across a canvas by introducing, removing and re-introducing elements as the work progresses. Printed textures and found objects serve to unify the surface.
My inspiration is rooted in images I find in old family photographs. I use what is often an unknown story and insert a story of my own.
Miller, MaryAnn L
My work is about the rudiments of human existence, our biological identities, who we are genetically and culturally. I imagine the soundless language of chromosomes within the body at subatomic levels. Genetic material is passed on, it mutates. It creates life and lifestyles. I have been especially interested in genetic conditions and the medical experiences of women. These are recurrent themes in my prints, artist books, and poetry. I am often moved by literature to create, as I am moved by visual art to write poetry. The visual arts and the language arts stimulate each other.
Drawing from personal experiences and memories, I create works in print and metal that are representative of my life, interests, and aesthetic. I find that I have an acute awareness of nostalgia (or maybe I’m just sensitive), and that most things I come in contact with trigger a memory of some sort, and I try to harness that feeling that tugs at my heartstrings in my work.
In the studio, I take these memories and fracture them to create compositions that have a sense of movement and challenge the viewer to create a narrative for the piece by reminiscing on their own lives. Using printmaking as a base, I incorporate mixed media techniques like collaging with found materials, drawing and painting with watercolor and ink washes to embellish and give the prints a sense of completion. I use digital art-making programs like
Adobe Illustrator and Photoshop to alter my work in ways that I cannot do by hand, using them to corrupt and glitch files to create more interest. Using many different techniques in the same works has allowed me to experiment with abstraction and color.
In my most recent body of work, I took images of the exterior and interior of one of the four houses I grew up in and broke them apart as a visual representation of growing up and moving on. I view these works as self-portraiture, though none of it features my physical likeness.
Mike Sonnichsen spent the first seven years of his life in Puerto Rico, snorkeling, collecting ocean glass, and exploring rain forests. The qualities of tropical light and color snuck into his consciousness yet laid somewhat dormant until he began architecture school. It was there he discovered printmaking as an outlet for his process and color sensibilities.
After studying lithography at the Tamarind Institute, he pursued his MFA at the University of New Mexico. There he began experimental color photogram work in earnest (which necessitated the accumulation of substantial quantities of plastic objects) and continued to refine his systematic yet playful approach to printmaking.
He has taught at UNC Chapel Hill and is currently an assistant professor of art at the University of Idaho.
The prints seen here (utilizing moiré patterns) are meant to contain many meanings, among them, ideas reflecting subtle cosmic conditions, as well as the interrelatedness of all things vibrational.
3/17/2016 - 4/30/2016
Chair: Veronica J Ceci
The deadline for this event (2/28/2016) has passed.