Yamini Nayar

 

YAMINI MAYAR

Statement

My photographs of imagined spaces are built on tabletops from found and raw materials. They are documented with a large-format camera an dafterward, are disassembled and discarded.

Built structures – from religious to the mundane – and found imagery are starting points for my installations that explore space as a repository for multiple and hypenated narratives. My practice is process oriented, combining elements of sculpture, assemblage and photography. The materials I work with are common – plaster, branches, wood, Styrofoam, and found imagery culled from online archives. Once I choose a starting image, I research various aspects of the scene – images and texts – and work to re-imagine the scene. The final image emerges over time and through the construction and reworking of the structure and contents in a given scene. I am interested in the space where photography becomes metaphor or illusion – where a fictional document is in dialogue with the construction of meaning. Ultimately, the final photograph is an entry point into an assembled world, in transition and momentarily held together for the lens, as well as document of a destroyed object.

Bio
Yamini Nayar is a visual artist living and working in Brooklyn, and originally from Detroit, MI. She received her BFA from the Rhode Island School of Design and an MFA from the School of Visual Arts in New York, and is a past recipient of the Aaron Siskind Fellowship. Her work has shown nationally and internationally, and has been critically appraised in various publications including, The New Yorker, The New York Times, Art India, Art AsiaPacific, the Guardian, and Philips de Pury’s NOW: Art of the 21st Century. She is also listed by Vogue India as one of “India’s Top Ten Artists to Watch”.

Nayar gave the Lightborne Lecture at the Cincinnati Art Museum, as well as held an artist residency at the Art Academy of Cincinnati in 2010. Her recent exhibitions and published projects include the Sharjah Biennial, Thomas Erben Gallery (NYC), NADA (Miami, FL), Art Basel, Galerie Anne Baurault (Paris, France), Indian Art Summit, and Saatchi Gallery (UK). Her photographs are in private and public collections, including the Saatchi Collection, Queens Museum, Cincinnati Art Museum, and the US Arts in Embassies.

Website
yamininayar.com

Jeanette Rodriguez

 

JEANETTE RODRIGUEZ

Statement
The production and exhibition of my work requires a complex relationship between the integral aspects of alternative printing techniques and the artists’ method. My attraction to historic photographic processes such as Platinum/Palladium lies in the alchemist’s patience it takes to refine. The romantic cachet of precisely mixed precious metals, hand painted emulsion, and exposing with sunlight comes from participating in every vital moment of the process. Central to my intent, the work reveals the role of the artist throughout and demonstrates the assiduous quality of the practice. For me, there is never a line between the merely visual implication of a photograph and a deeper sensorial encounter. A specific smell can conjure a million memories; similarly, my work is meant to do the same and preserve the experience.

I prefer to act as a nomadic explorer, focusing on the tactility of the natural world and the romantic aesthetics of historic photographic processes.

Bio
Jeannette Rodriguez is a photographer and mixed media artist living and working in Queens, NY. She received her BFA from the School of Visual Arts. Her work has been exhibited at Shadow Space Gallery (Philadelphia, PA), Nexus, Visual Arts Gallery, Papa B Studios, and the School of Visual Arts Gallery (all in NYC). Rodriguez has been a teaching assistant in Photography and Design at the Bronx Leadership Academy, Parson’s the New School for Design, and the School of Visual Arts, where she is currently a teaching assistant.

Website
jeannetterodriguezpineda.com

Paul Mpagi Sepuya

 

 

PAUL MPAGI SEPUYA

Statement
I make photographs about the act of portrait making, and the desire to look and understand the connection circuits and relationships between people. I photograph those clsoe to me and I use repetition and simple formal structures to emphasize the shared emotional line that connects these friends, romantic relationships, and family. The most recent works-in-progress investigate the shifting subject-object dynamic present in the site and event of portrait making, when layered on top of these relationships. These works are the result of a collaboration with Matija, a performance artist and special friend who I photographed the morning I left to come upstate. Each day, the digital snapshot portraits were re-photographed and re-contextualized in my new live/work studio, as I also began photographing the shifting light and landscape on the bed where I have been sleeping. The resulting images were printed, and the process of this constant reworking would begin again while new images, contributed by Matija, were added as he sent me snapshots from my home and bedroom in Brooklyn and later his own home and bedroom in Pula, Croatia while I was in Woodstock. The project is grounded in and around these exchanges, and consists of three parts: I. Self-portrait, II. Lav (Matija), and, III. Displacements (the redirection of an emotion from its original object to another, or the distance between an objects initial position and a later position). It is about meetings, and how the practice of art-making seeks to construct and define relationships.

Bio
Paul Mpagi Sepuya received his BFA in Photography and Imaging at New York University’s Tisch School of the Arts. He has exhibited in New York, Los Angeles, Basel, Sydney, Toronto, Paris, Berlin and Hamburg. His work has appeared in The New Yorker, The New York Times, Interview, Capricious, V, Paper, and BUTT, among others. Recent exhibitions include 30 Seconds Off an Inch at The Studio Museum in Harlem and 50 Artists Photograph the Future at Higher Pictures (both in NYC) and recent awards include the Lower Manhattan Cultural Council’s Workspace Residency (2009-2010) and Artist-in-Residence at the Studio Museum in Harlem (2010). A monograph of his work was published in April 2007. The Accidental Egyptian and Occidental Arrangements, a publication of his collaboration with fellow artist Timothy Hull, was published in the summer of 2010.

Website
paulmpagisepuya.com

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Sofia Silva

 

SOFIA SILVA

Statement
I have been working with images from the media, specifically pictures from publicity shots, magazines, and movies. In this work I portray the bodies, selves, dreams, and desires that dwell in a society of consumerism. The bodies are fractured, their parts could be anybody’s; the Hollywood love stories display a standardized package of emotions. Because these bodies, faces, emotions, and dreams are so fractured, they can be appropriated by just anyone. The work thus turns into a mirror, presenting the spectator with their own processes of self-formation.

Bio
An Argentinean photographer currently based in Baltimore, Maryland, Sofia Silva works with subjects related to consumerism in society. She studied Sociology and Art History at the National University of La Plata and subsequently studied photography at the University of Buenos Aires, the International Center of Photography and with photographers Eduardo Gil and Lutz Matszche. Her photographs have been exhibited throughout the United States and Argentina, at venues including the Art Museum of the Americas (Washington, D.C.), apexart (NYC), Galeria Arte X Arte, VVVgallery (both in Buenos Aires, Argentina), the Baltimore Museum of Art, Open Society Institute, and C. Grimaldis Gallery (all in Baltimore, MD), among others. Silva was an artist in residence at Maryland Art place and received an Individual Artist Award from the Maryland State Arts Council. She is represented by Ricco Maresco Gallery in New York City and C. Grimaldis Gallery in Baltimore.

Website
sofiasilvafoto.com

 

Gina Osterloh

 

GINA OSTERLOH

Statement 1
For several years, my practice has focused on photographing the most minimal delineation of identity and space. In this investigation, the perception of space, both physical and psychological, begins with the body, a way of seeing that is based upon a person’s scale, outline, and pre-verbal patterns/responses. My interest in creating these set constructions, began with a frustration with portraiture’s innate ability to capture summarize, and fix its subjects. within portraiture I wanted to insert a body that was at first mis-recognized, that compressed and folded both itself and photographic space. With this said, each set construction, or room, is an extension of the body. Each construction is a stand-in or prop, for ways of seeing, a study of the most pared down elements of perception and with the body, identity – delineation and difference. With my A-I-R work of September 2011, I removed the body altogether and investigated the three most basic ways of mark making, of delineating space: dots, connecting the dots (line) and connecting the lines (web). The web shape was unexpected, but as soon as it was visible, made sense at a totalizing yet minimal way to define space, to locate identity. It was an unexpected way to (re)see Yayoi Kusama’s Infinity Nets.

Statement 2
Through restrained serial performances with anonymous women, paper mache models, and cardboard cutouts in room size paper environments, my photographs present an inherent focus problem in the structure of seeing. The thin paper room acts as a stand-in for normative ways of seeing, perception, and language. In some photographs, the body acts as a point of rupture in the picture plane, puncturing holes in walls or mimicking the color of the room. In other works, such as the body of photographs titled Copy Flat, an applied pattern confuses perception, and offers a code for an unstable viewing ground. This repeated gray dot pattern – loose in some areas and concentrated in others – collapses foreground, background, and the subject, as well as boundaries between the individual and groups of bodies.

Throughout all of my works, camouflage and mimicry play an important role in questioning the formation of identity, where the delineation of an individual or group of individuals begins in relationship to the physical and psychological surrounding environment. paper has become an important material in my photographs, as a tangible and familiar material that the viewer comes in physical contact with daily. Within each photograph – the figure is often in vulnerable positions – animal-like at times, on all fours, disembodied and anonymous in others. I choose these specific metaphors, materials, and postures to create new ground between a body politic, identity, and abstraction.

Bio
A recipient of a MFA in Studio Art from the University of California, Irvine, Los Angeles-based artist Gina Osterloh has exhibited extensively throughout the U.S. as well as in the Philippines, Australia, and Austria. Exhibitions in the U.S. include shows at LACMA, Pepin Moore Gallery in Los Angeles, California Museum of Photography at UC Riverside, Kate Werble Gallery in NYC, and the Yerba Buena Center for the Arts in San Francisco. Reviews of her work have appeared in The Los Angeles Times, Village Voice, Artforum, Art Asia, Asian Art News, Art in America, Art on Paper, and others. She is the recipient of numerous awards including a 2007-2008 Fulbright Research Fellowship and a Durfee ARC Foundation Grant in 2010. She is a part time lecturer of Photography at California State University, Fullerton and the exhibition organizer at Luckman Gallery at California State University, Los Angeles.

Website
ginaosterloh.com

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Jacolby Satterwhite

 

JACOLBY SATTERWHITE

Statement
I use video, performance, 3d animation, fibers, and drawing to explore themes of memory, desire, ritual, and heroism. A primary resource I am currently examining and utilizing are my mother’s drawings and music recordings. My mother’s battle with schizophrenia has influenced her to create songs of desire and thousands of schematic drawings/inventions influenced by consumer culture, medicine, fashion, surrealism, math, sex, astrology, philosophy, and matrilineal concerns. The drawings are mostly common objects and luxury products found in the domestic sphere. I am synthesizing her drawings with 3D animation, video, painting, performance and my drawing practice. My body and art facility as an extension/interpretation of my mothers voice and drawings is an attempt to examine queer phenomenology and push the tensions created during translation and inheritance of studio practice.

The Reifying Desire series is a surrealist narrative and creation myth. The title stems from my ongoing creative collaboration with my mother’s drawings and how they demonstrate desire. Reifying Desire 1 – 6 will use 230 3D modeled renderings of my mothers’ drawings, my body, and animated figures to map out a queer creation myth that begins as a virtual phallic tower and gradually ends up in real space. The narration is loose, and almost acts as an exquisite corpse between CG technology, video, drawing, and performance.

Bio
Following earning a MFA from the University of Pennsylvania in 2010, Jacolby Satterwhite relocated to New York City where he lives and works. His multi-media works have been exhibited throughout the country, at such venues as The Kitchen, Dash Gallery, White Box Gallery, Exit Art, and the New Museum, all in New York; Plexus Art Gallery in Louisville, Kentucky; Aljira Center for Contemporary Art in Newark, NJ; and others. He has been awarded residencies at the Skowhegan School for Painting and Sculpture in 2009, a Harvest Work Residency from 2010-2011, and a Van Lier Grant from the Jamaica Center for Arts and Learning, Studio LLC program.

Website
jacolby.com

 

Nikita Gale

 

NIKITA GALE

Statement
I created this body of work out of a desire to re-imagine the year 1961 in the American South. In considering the relationship of past and present, I wanted to apply the omniscience that the present has over the past — in the sense that the present always knows the “future” of the past and will always be responsible for applying meaning to the past. I created a body of diptychs that synthesize ideas of racial, sexual and social tensions present during the Civil Rights Movement. By using found color slides and text from two pro-segregation texts (a letter addressed to Malcolm X from the grand wizard of the KKK and a transcript of a speech by the Lt. Governor of Georgia) and combining them with rephotographed and re-contextualized mugshots of the Freedom Riders (a civil rights group that rode through the South to promote the desegregation of buses), I created what can be viewed as a romantic or suggestive narrative wherein the white masculine addresses the black feminine.

Through the use of found and original imagery, I generate tableaux where the symbol and the symbolized exist simultaneously within one space. I am interested in the narrative that emerges in such situations – the viewer is confronted with the absurdity of the spatial, physical relationship presented which subsequently brings attention to his or her passive consumption of such relationships. As a part of my works exploration of the relationships between symbols and materials, I often examine the ways in which materials and symbols operate as functions of time. Rephotographed images are an integral part of this examination as they are both symbols and material objects, which are widely accepted as the most unambiguous representations of reality.

Bio
Originally from Anchorage, Alaska, Nikita Gale is a self-taught conceptual artist and photographer based in Atlanta, Georgia. A recipient of a BA in Anthropology from Yale University in 2006, Gale’s work has been featured in exhibitions throughout the Atlanta, GA region including a solo exhibition entitled BOOLESH1T at Mint Gallery in 2010. She currently serves on the executive board of a non-profit Atlanta arts publication, BurnAway. Gales work has been featured in such publications as Art & Seek, 944 Magazine, Paste Magazine, Okay Player, Creative Loafing, SashaFrereJones.com, and URB Magazine, among others.

Website
nikitagale.com

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Alma Leiva

 

ALMA LEIVA

Statement
In “Celdas” (Prison Cells), I use the absurdity intrinsic in magical realism to address the consequences of violence on the Central American people and the perpetuation of those consequences on the Central American immigrant in post 9/11 U.S.

The economic and social situation in El Salvador, Guatemala and Honduras along with the fallout left behind by civil wars in Central America have contributed to the gravity of this problem. In an effort to escape the situation, marginalized youngsters immigrate to the U.S. where they end up joining gangs, eventually getting deported and bringing “Gangster” culture back to their homeland. Gang related crimes, drug cartels and political instability are the major sources of violence in the area today.For illegal immigrants, most leaving their countries in a desperate attempt to escape poverty and violence, the pervading anti-immigrant sentiment encouraged by extreme immigration laws in states such as Arizona has forced them to live in a state of constant fear and alienation.

The sense of alienation and isolation present in Celdas, recalls the paranoia experienced by these individuals as they search for respite from the threats of the outside world. The spaces represent imposed limits, restrictions, while cultural elements such as catholic iconography guard against adversity. Mayan iconography is presented as mere decorations, relegated to a long forgotten past. The juxtaposition of catholic and Mayan iconography, recall Spanish colonialism and the history of violence in Central America. The play-scapes or scenes allude to actual violent crimes and even memorialize some of the victims caught up in the endless cycle. Home aesthetics recall the need for sanctuary, while frail building materials such as fabric and cardboard recall the necessity of making do or coping with the situation.The imaginary transposed environments, which I create in my studio and then photograph, are metaphors for the constant state of isolation and seclusion these individuals experience in their homeland and in their quest for the “American dream”.

Bio

Originally from the Honduras, Alma Leiva is currently based between Miami, Florida and Brooklyn, New York. She received her MFA from Virginia Commonwealth University and her work has been presented internationally in numerous group exhibitions at venues including Humble Arts Foundation (NYC), Arteles (Haukijarvi, Finland), Daniel Azoulay Gallery and Art Basel (both in Miami, FL). A solo exhibition of her series “En La Celda” (Inside the Cell) was on view at 6th Street Container (Miami, FL) in 2011. She was a resident of the Vermont Studio Center in 2011 and her work been published in Artpulse, Fader, and the Miami New Times, among others.

Website
almaleiva.net

 

Sherwin Rivera Tibayan

 

SHERWIN RIVERA TIBAYAN

Statement
I’ve begun using an out of service iPhone 3GS as a modern day Claude Glass.  The darkened reflective surface of the iPhone – or any smart phone – is extremely suggestive of this 18th and 19th century tool for the composition of landscapes.  [In this project I walked around] the grounds of the residence in order to experiment, compose, and record the landscapes reflected off the Claude glass’ contemporary counterpart.

Bio

Born in the Philippines and based in Austin, TX, Sherwin Rivera Tibayan is a former Fulbright English Language Teaching Assistant in Austria and is a PhD student in American Studies at the University of Texas, Austin.

Exhibitions include Color Shift curated by Jordan Tate at Mixed Greens, Notes on a New Nature at 319 Scholes (both NYC) and Switch at XL Art Space (Helsinki, Finland). His work has earned him recognition as a finalist for Critical Mass (2011) and Fotovisura’s Student Spotlight Award (2010), and Honorable Mentions for the In Focus Photography Award (2010) and Flash Forward (2011). His project, The Histograms, received the 2012 Society for Photographic Education Award for Innovations in Imaging.

Website
sherwinriveratibayan.com