February 15 - April 7
Artist Talk - April 7
February 15 - April 7
Artist Talk - April 7
Deadline 11:59 on May 21st, 2018
Radical Gestures is a year-long exhibition endeavor to showcase works that feature performance and will take place throughout the city of Raleigh.Read More
February 2 - March 24, 2018Read More
December 20 - February 2
There are instances when the environment reminds us of our lives, such as the point at the beginning of a rainstorm when you’re not sure if you feel the water yet or not, in extreme weather when our lives are threatened, and also when we encounter something so breathtaking that for a brief moment our lives are taken off course. Art has been given the job of capturing contemporary life, providing mementos of things the culture does or should feel for. Culture moves at an exhausting pace yet it is difficult to make art about flux, to make objects and images that ask the audience to remain still in a culture which constantly threatens to pass them by. As we leave our bodies to move at the pace of progress, we pass the physical parts of life which remind us that we take up space. It is in the moments of the sublime experience that life slows down if even for a second. Art making provides me with an opportunity to explore the sublime through the construction of experiences. Art can mimic life physically; it can also mimic the experiences of life, adding interjections to remind us of the pace at which we live and how one perceives beauty and the aesthetic of contemporary life.
Culture aims its efforts toward a sense of perfection. I see this in how we construct the landscape: by making it manicured we believe it is under control. The more we try to force our environment into submission, the more we are faced with the futility of imposing a system. My work is an attempt at beauty and perfection that understands the failure of that effort. I equate it to the way in which we start a process and once we are invested in it we find a problem. Instead of starting over and admitting the idea was unsuccessful, we put a patch over the issue. We start putting patches on patches and after a while the process is more about the attempts to repair than the original goal. In the end it might be the patches are more beautiful than the goal of the original plan.
I desire to artistically explore a sense of constructedness and impermanence, which remind me of our own impermanence despite the best efforts of science and medicine. While technology explains away things that were once mysteries, phenomena, or even miracles, the sight of such occurrences still inspire awe. The sublime comes from a need to be awed, a need to break routine, a need to feel there is still wonder in the world around us. As the natural environment shrinks, the sublime recedes into such miniscule events as the concentric rings formed from a drop of water, of the reflection of the sky in a puddle alongside the walkway.
January - February
I seek to eliminate all or most realistic imagery from my work. I acquit myself from making work that has been expected of me. I focus on manipulation of media while immersed in the process of creating. Pieces are built with layers of media, constructing the final product over time through multiple working sessions. Basic elements and principles of art such as line, shape, color and movement are key components in my current body of work. I use minimal tools in the process of creating pieces often using my hands, fingers and breath to guide mediums around the working surface. Spontaneous and unplanned moments occur in every piece, which is exciting and challenging to me.
When I was a teenager, my attitude towards making art shifted dramatically as I let go of the notion that successful art had to be realistic. I was enamored by artists such as Georgia O’Keeffe, Wassily Kandinsky, Frank Stella and Jackson Pollock. Their work supported the ideas I had; to be focused on color, process, composition, etc. I knew that I could make tightly rendered, realistic work, but never felt comfortable with those creations representing me as an artist. I eventually listened to my instincts and started to strip away imagery, or at the very least abstract it. I allowed myself to focus on process, use of media and the basic components of art. I held onto this foundation through my college body of work, which allowed me to heavily investigate my viewpoint as an artist. I completed most of my work in clay and glass during this time (BFA, Alfred University 2002). As I moved into my professional teaching career, the artist I became started to dwindle. As educators, we strive every day to inspire our students to find their own personal voice in their artwork. As educator-artists, we often struggle with finding that very voice in our own work. I found myself back at the crossroads of feeling like I was supposed to make realistic art, as that was a great deal of what I was required to teach. I started many pieces that have never been finished and at times I was paralyzed by indecision and the pressure to be a realist. I placed a false reality on myself as a realistic artist. As a result, my authenticity and creativity suffered.
Over the past year, I have revisited my artistic influences and have opened up again to the mindset I established over twenty years ago. I have placed no restriction on myself regarding what a final piece should look like. I get lost in the process of creation and media manipulation. The subject matter, style and media are now my confident choices, not decisions that I feel were made for me. After years of dormancy, I have finally revealed work that is authentic and genuine.
January - March
Chaos has been defined as the first thing to exist.
New ideas emerge from it. Society moves forward because of it. Weather changes because of it. Art is created from it.
The world is full of chaos. Mental, physical, and environmental chaos comes at us at all times. But the world is also full of beauty. And sometimes this beauty is found in the chaos.
Even something as simple as a child’s Slinky toy can turn into chaos. Once tangled, it can never be returned to its original form. Why not take the misshapen, both in life and in objects, and make something out of it? You may be surprised by what results.
What is THE LAB?
Proposals for THE LAB are due by 11:59pm EST on Thursday, February 15, 2018.
THE LAB is a space programmed by VAE Raleigh to experiment with different themes and challenges for our creative community. Produced as part of VAE Raleigh’s exhibitions program, THE LAB provides artists a chance to exhibit in a highly-visible space and challenges them to incorporate a theme that will connect a run of six exhibitions. The theme for this call is COMMUNITY! THE LAB exhibits will run for roughly 3 weeks, and will be on view for one First Friday reception.
Serving Life: ReVisioning Justice
January 5 - 25
Hidden Voices is a radically inclusive, participatory, and co-creative collective committed to creating just, compassionate, and sustainable relationships. This network of relationships connects communities across difference and provides pathways for global change.Read More
A chance to speed date with owners of four of the Triangles most sought after shops for artesian goods! Find out how to get your work in one Monday February 15th!Read More
United Arts Council
May 4 - 25, 2018
Deadline - 11:59 pm on April 6, 2018
ULTRALIGHT 2 is an exhibition of artwork about disability, created by artists with disabilities. VAE is offering a platform for artists who identify as having a disability to take back the narrative that is so often controlled by the medical field and the media. ULTRALIGHT 2 seeks to exhibit work that challenges the viewing public to leave their preconceived notions and sympathy at the door, and experience artwork that tells the real story of living with a disability and the current state of access. The exhibition breaks access into three parts: physical, communication, and attitude. We encourage artists to draw inspiration from these questions:Read More
VAE's next Artist Critique will be with guest critic, Oami Powers. This event is for open to textile and mixed media artists. Space is limited.Read More
United Arts Council
Windswept mountain ridges. Quiet forest trails. Cliffs overlooking an expansive sea. Big skies
and dramatic vistas. I’m drawn to nature.
Inspiration comes from local venues, as well as, far-flung destinations like Iceland and
Tasmania. While hiking, I fill sketchbooks with pen and watercolor drawings, translating those
images into larger oil paintings in my studio. I think of myself as a plein air artist who also paints
My recent landscapes range from impressions to abstraction. They are created with oil and cold
wax - applied, layered, scraped, and marked - creating textured and complex expressions of
Chris Young is an Iowa native and a 21 year Cary, NC resident. While also active in the
business world and as a community volunteer, she has been a professional artist for 4 years.
Chris has exhibited in Cary and Raleigh and her paintings are in private collections coast to
United Arts Council
I have spent my life studying, teaching, and making art. What inspires me to pick up a pencil, brush, or pen, and make marks on paper or canvas is the same now as it was when I first started out as an artist: color, pattern, and flattened space.
For me, color needs to be as intense and bright as I can make it. I want my colors to be exciting, like opening a new box of crayons on the first day of school.
My work is flat and decorative. I am mad for pattern, texture, and interesting marks. I like the movement they create in a drawing or painting and the way they activate the surface by breaking large shapes into smaller colored spots.
Although I draw from life, I make a conscious effort to flatten the space in the picture plane by tilting it toward the viewer and altering the perspective. The objects looked stacked, one on top of the other, vertically, rather than one behind the other, horizontally.
There is also an element of "storytelling" in my work. The objects I draw and paint are objects I touch or use every day--objects perhaps unimportant to others, but which have meaning for me beyond my finding them interesting or beautiful. These objects evoke stories from my own memories or sometimes stories I make up about them.
I find these stories funny or whimsical, sometimes sad, sometimes silly. We all struggle, I think, daily, with horrors in the news and difficulties in our own lives. In my drawings, there is no cruelty or violence, no war or hunger or pain. I am aware that this is not the real world, but I want the viewer to forget all that if only for a moment. I want my work to be a feast for the eyes.
Saundra Smith Rubiera is a North Carolina artist who works in colored pencils, markers, acrylic paints, and linocuts. She has an MFA degree from East Carolina University with a major in painting and a minor in printmaking. She is a retired art teacher and has illustrated three published books. Saundra’s work has been exhibited in national, regional, and local shows. Her business, Dancing Lady Designs, creates custom art and furniture for children’s rooms.
Saundra was a 2017 recipient of an Individual Artist Grant. The grant funded the framing of this travelling show which has been shown in six locations throughout the state. The Regional Artist Project Support program is administered and funded by the Arts Council of Fayetteville/Cumberland County with support from the NC Arts Council and the counties of Lee, Moore, Richmond, Robertson, and Scotland, the City of Fayetteville, Cumberland County, and private contributions.
December 1 - 30
MULTIPLES is a show of works in multiple. We are looking for artists to create editions of 25 identical or nearly identical works, which would be available for individual sale. Editions can be traditional like an edition of 25 Intaglio prints, a drawing or painting of the same composition done 25 times, 25 monotype video pieces (you can figure out what that is), or anything in between!Read More
November - April
November - December
United Arts Council
Can we understand anything absolutely and completely? Even if we study and measure every quality we see, there are important characteristics that are beyond our ability to measure. Measuring and organizing helps everyone to better understand how the world works. But the full picture is still always slightly, we hope only slightly, beyond full comprehension.
My work is compositionally inspired by the visual language of graphs, charts, and writing. When I plan and lay out my work, I incorporate grids, consider margins, and arrange symbols to create a space where the placement of something has meaning and is in part defined by our experiences with other visual forms of communications. Grid lines could divide individuals or highlight their commonalities, and a line graph could represent changes between two points but could also be a horizon line. As I collect data for each piece, I determine a layer by layer procedure to incorporate each piece of information into the same space.
I choose many of my materials for the textures they allow me to create. My aim is to elicit an impression about the environment of the artwork; similar to the way walking in the sand or stepping on broken glass might also conjure an impression. Incorporating found objects and unconventional art-making materials allows the nature of the materials to represent for me unclear characteristics that cannot be defined or quantified. Spread over the entire surface, these non-quantifiables are present everywhere.
As a constant observer, I always feel that if I continue to look at a problem I may find a new perspective from which to see it. Through my art-making process, I might determine where I exist within the composition. And maybe you can see yourself somewhere in the grid also.
Brian Imfeld was born in 1978 in Beaufort, South Carolina. As the son of military parents he studied and learned in many towns and cities in the eastern United States. In 2001, Brian earned his BFA in Printmaking and BS in Art from Miami University in Oxford, Ohio. His work has been included in exhibitions in Ohio and North Carolina. He recently exhibited a piece in the 2017 North Carolina Artist Exhibit at the Duke Energy Center in Raleigh, NC. Brian currently lives and works as an Art teacher in Raleigh, NC.
United Arts Council
Jane Cheek is a mixed media artist who works in an abstract expressionist style. She enjoys working with bright colors, metallic accents, and texture to create art that plays with whimsy and elegance. Jane is interested in using the balance of artistic opposites to represent the balance of emotions she has as a survivor of child abuse with a happy life as an adult. She finds joy and inspiration in nature, her three exuberant children, her amazing husband, and the wonderfully supportive and loving people in her life. When you look at Jane's work you might notice the unmixed colors of Fauvists like van Gogh paired with the simplistic playful shapes of expressionists such as Miró and Kandinsky. In her works with craft and sculptural elements, you may see influences of Janet Echleman and Juame Plensa. Jane's work is a daily practice of seeking and creating joy.
Jane attended North Carolina State University where she received a BA in Visual Arts Applications. After graduating, Jane taught art for five years at a K-8 charter school in Durham while working in her home studio and began selling work at local art fairs. She took a few years off while her children were newborns and then resumed work in her home studio. Jane’s work is currently on display at Read With Me, Emily & Co, and Lavish. When she isn't working on art, she and her family can be found living the unschooling life at local parks, and museums, and traveling as often as possible.
In this collection I am exploring contradictory artistic elements. I am working with the relationships between opacity and translucency; two dimensions and three; structure and complete abstraction; whimsy and elegance. I have used these elements to explore the contradictions between my own past as an abused child and my present as a happy mother, wife, and artist. I used bright colors and metallic accents to create happy expressionist work because I have chosen to seek and create joy in my life.
November - January
The act of making a mark on the art surface is the beginning of my creative process. The mark-making could be with graphite, a painted line, a piece of painted paper, or any number of mark-making tools. The act of creating with a particular chosen media leads to an intuitive, creative exploration of those materials. The artistic decision-making in the subsequent layers explores process and product, sometimes by design and sometimes by surprise. Discovering these creative explorations and surprises is why I feel it necessary to create my art.
My art is abstract with an emphasis on expressionism, sometimes focusing on lines and shapes, sometimes including an abstract human form, and sometimes a mixed-media collage with the theme: a political/social/feminist statement.
I want the viewer to experience the painting as a journey through the mark-making, splatters, drips, and/or color changes. I want them to experience the textural changes, the surface treatments, and the small moments within the painting. I want the viewer to question the political/social/feminist female body collages and to influence their thinking and perception.
As a former elementary art educator, I saw many children get lost in the act of creating, simply enjoying moving paint on their paper, and creating marks. This is my reason for creating, to attempt to capture the childlike joy in color, shape, line, pattern, and forms.
On Saturday November 4, 8-9:30pm, VAE will host four hilarious African American comedians in conjunction with the current exhibition, Black On Black V2.Read More