ArtFields Extended: Columbia SC -Artists’ photos & statements under “find out more”
June 20, 2019 @ 10:00 am - July 18, 2019 @ 5:00 pm
Columbia area artists exhibit their ArtFields exhibition pieces.
June 20 – July 18, 2019
Opening Reception: June 20 – 5-8pm
If you weren’t able to make it to Artfields this year, you have another opportunity to see some of the work from the show! Stormwater Studios will host an exhibition featuring the artists from the Columbia area who were accepted into ArtFields 2019, the largest art competition in the Southeast, held annually in Lake City, SC.The artists, who were juried into the show, will display their ArtFields entry. The opening reception will be on Thursday, June 20th from 5-9pm.
The participating artists are: Dylan Fouste, Ron Hagell, Jennifer Kelly Hoskins, Flavia Lovatelli, Cait Maloney, Ginny Merett, Maggie O’Hara, Janet Orselli, Patrick Parise, Teresa Pietras, Carol Pittman, Lee Sipe, Janet Swigler, K Wayne Thornley, Kathryn Van Aernum, Wendyth Wells, Andrew White, Beth Woodall, and Olga Yukhno. For images and information about the artists’ work, please visit https://www.stormwaterstudios.org/event/artfields-extended-columbia-sc. The gallery is open Wednesday-Saturday, 10am-5pm, and Sunday from 1-4pm. StormwaterStudios is located at 413 Pendleton Street.
For more information and hi-res images please contact Kirkland Smith at [email protected] or 803-622-7838.
Artfields Extended: Columbia – Participating Artists
Nothing you confess could make me love you less.
The power of letting go, the power of forgiveness.
This small confessional is meant to hold on to secrets, and once filled, will be sealed forever.
February 14, 2018, a gunman opens fire at Marjory Stoneman Douglas High School in Parkland, Florida, killing 17 students and staff members. The shooting was the deadliest of 2018 and came at a period of heightened support for gun control following the attack in Las Vegas. I created this work a few weeks later.
Public anger towards inaction on the issue of mass shootings and gun violence led to demands for action on guns. Some have said, “… an AR-15 is not for hunting. It’s for killing lots of people quickly.” Following the shooting, a boycott emerged against the NRA and its business affiliates. However, these calls for actions have now subsided even as more shooting occur.
Jasper Johns explored this familiar object with his “White Flag” (1955), with its complex symbolic meaning, leaving a ghostly embalmed remnant. My version of Johns’ adds stars and stripes formed by the very same bullets used by the Florida shooter and others. Are we truly “America the Beautiful”?
Jennifer Kelly Hoskins
Growing up, I spent much of my time being introspective. I would often watch people and events from the periphery, curious about the connections of people to one another and the environment around them. My work examines introspective relationships by looking at people’s pasts through personal symbols of nostalgia. The drawings replicate the vividness of the memories that return to us from our former selves. When the past is unresolved, it problematically creates an impediment to establishing connections in our present. BrenÃ© Brown explains, “We are hardwired to connect with others, it’s what gives purpose and meaning to our lives, and without it there is suffering” (8). I aim to offer a chance for others to share and reflect, potentially reconciling the past with their present. The vulnerability shown by those represented in the work allows for connections to be made between viewers and the figures.
BrenÃ© Brown. Daring Greatly. Gotham Books, 2012. (287 pages)
I find beauty in the ordinary.
“We risk missing out when we get too busy chasing down the extraordinary.”
Through history the iconic Madonna and Child has been representative of feminism, purity, and virginity. Madonna is the Queen of heaven and the Mother of the Christ child. In my work and in celebration of all women, Paisley Robe encapsulates the love, tenderness, humility, and divine that all women possess. It shows the personal devotion and compassion to a child expressed as the imperfect human race. Her face molts symbolizing the stages in life as she regenerates and continually adapts to new life every day. Her hands are large, aged representing her grit and diligence in how she works. Her blue clothing serves as a means of protection from contaminates but also represents purity, royalty, and virginities in her own right. Her jewels are her family. The rays of light in the halo are her rays of hope for the future.
This piece is intended to remind women of their power and beauty, and to express gratitude to those Madonna women who came before me.
This Is My Truth investigates and challenges the very nature and core of our country’s cultural climate, specifically in relation to gender dichotomy in consideration of abuse of power and, ultimately, sexual harassment, misconduct and assault. It looks directly in the face of these tragic experiences that far too many of us can say we have endured and it re-presents them to us for what they are. It further explores the question of when do we, as women, run out of space to hold sadness for both each other and for ourselves? Further, it proposes the potentiality of positivity as a result of our bodies and minds brimming with trauma; both shared and individual. This Is My Truth looks outward and inward simultaneously: at the crudeness of the standpoint of our culture and world in which we live, and the tender magic that comes from the togetherness and intimacy; the desire to rise and lift each other up as women from shared experience.
Step Up is about moving forward no matter what. As an artist, my work guides me toward the new within myself by reconfiguring the old. Remembering what moved me forward as a child and choosing humor and play are important aspects of this installation. For me the objects I choose possess great beauty and playfulness. I find them, carry them home and ask them questions like, “What do you want to be? What do you want to say?” Through trial and error I create constructions with objects in order to build a meaning all their own. For the artwork to come to life, each object refers to what it once was, yet becomes something totally new and surprising.
Through my work I want to stimulate the imagination. Through this installation I am rediscovering the play I was and had as a child, I hope the viewer does as well!
Art is a leap of faith and a leap of courage. It isn’t logical or obvious and not solved by linear thinking.
It is instinctual and guided by the heart and spirit and not the brain. Failure is always an option. But I will still jump.
K Wayne Thornley
This piece is part of an ongoing exploration into the ways our lives are shaped by the memory of personal experiences and how those memories, both the accurate and embellished ones, create the layers, stains, and scars the form the foundation our being. We document these experiences physically by making notes, taking photos and gathering keepsakes. Psychologically, we summon imagery, replay conversations and guard secrets. The objects in this piece, found and fabricated, are glued, wired, painted, stained and wrapped together to tell a story. Some of the story within this work stems from my personal experiences, but it is my hope that the imagery is ambiguous enough to allow the viewer to see a page from their own personal history, to hear the echoes of ancestors or to reawaken a forgotten dream.
Kathryn Van Aernum
Invented in Atlanta in 1886, CokeÂ® has become an ubiquitous presence around the globe. According to the company’s website 19,400 beverages are consumed every second. It also claims, “In fact, it is documented that ‘Coca?Cola’ is the second?most widely understood term in the world, after ‘okay’.” I find humor in the way the brand continually inserts itself into the scenes of my world. I also think there is a kind of irony that we equate this behemoth brand with “mom-and-pop” places, many of which have gone by the wayside, unable to sustain the economic impact of chain restaurants; restaurants which are often decorated with Coke memorabilia to evoke the nostalgia of a mom-and-pop place. The images included in Ubiquity span a decade and are from the Carolinas, Georgia, Florida, Virginia, New Mexico, Paris, and Greece. Enjoy Ubiquity.
This painting reflects my series of the past few years viewing segments of our society. I use imaginative ways to look at challenges and solutions. Colors are usually reflective of underlying remembrances and vision.
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