Chris Young I UAC

Chris Young

United Arts Council
February

ARTIST STATEMENT

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
indoors.

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
nature.

ARTIST BIO

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
coast.

Saundra Smith Rubiera / UAC

Saundra Smith Rubiera

United Arts Council
December

ARTIST STATEMENT

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.

BIO

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.

Jarrett Burch / AJ Fletcher

Jarrett Burch 

November - April
AJ Fletcher

ARTIST BIO

Jarrett Burch is a self-taught artist originally from the foothills of north Georgia who began painting around 2002. His inspirations include Mark Rothko, Norman Lewis, and Joan Mitchell. Jarrett’s paintings have been purchased by clients throughout the Triangle; Philadelphia; New York City; Los Angeles- and Calgary, Alberta.

Jarrett is affiliated with Raleigh’s Visual Art Exchange and the Durham Art Guild, and is in the artist registry of The Painting Center in New York City. His work has been juried by many distinguished judges, including Anne Strauss (Assistant Curator, Metropolitan Museum of Art NYC); Peter Nisbet (Chief Curator, Ackland Art Museum); Katherine Adkins (Assistant Curator, Nasher Museum of Art); and Vanessa des Claux (Tate Modern UK).

Lloyd Konneker / United Arts Council

Lloyd Konneker

November - December
United Arts Council

A Solabile is a solar-powered mobile ala Calder.  Like mobiles, they move, but not only in air currents, also when the sun shines. The work honors the sculptor George Rickey, and Walter De Maria’s “Lightning Field” landscape art.

The different models work under different light conditions.  All current models are indoor models.  Some models can stand direct sunlight.  Other models work under bright office lights or indirect sunlight in a bright room, but shouldn't be in direct sun.  More information forthcoming as more models are introduced.

I make Solabiles in my basement.  They are handmade from electronic parts, mostly from Digikey and Jameco.  I use Fritzing to design and Fab my circuit boards.  I think they are the smallest circuit boards every fabbed by the Fritzing Fab, only a few square centimeters.
Soon I will also publish a history of solar-powered mobiles as I understand it.

Brian Imfeld / HagerSmith

Brian Imfeld

HagerSmith
November/December
 

Artist Statement

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.   

Biography

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.

Jane Cheek / United Arts Council

Jane Cheek

United Arts Council
November

BIO

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.

ARTIST STATEMENT

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.

Leslie Bailey / Aloft RDU

Leslie Bailey 

Aloft RDU
November - January

ARTIST STATEMENT

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.

Anthony Garcia-Copian

Anthony Garcia-Copain

HagerSmith
September-October

When I paint, I paint abstract memories. Sometimes the memory is foggy and has been replaced by an imaginary sediment, a residue that has made one memory solid and the other fluid.

Everything in art is a memory.

I have empathic traits, therefore I paint the images of the emotions that I am able to absorb from strangers and from those who surround me.

The only expectation that I have from my art is pleasure.

AGC

Cathy Foreman / Aloft Raleigh

Cathy Foreman

Aloft Raleigh
October - December

ARTIST BIO

Cathy is not, nor does she proclaim to be, a music connoisseur but what she will say is she appreciates a good groove and if it offers up a funky bass-line, then all the better. It is that very groove that guides her along in the process by which she creates her Art. 

At the base of each piece of Art is her photography. The majority of Cathy’s work stems from photographs she has captured at live music events. And on occasion she has been so moved and inspired that she captures a screenshot from her television and proceeds to turn that into a piece of Art.

In 2011, Reflections by Cathy Foreman was created and she hasn’t looked back. Currently a resident of Raleigh, NC, by way of Tillery, NC, Cathy has carved out her own space in which she comfortably sits – but it didn’t happen overnight. In what she says seems like a long and arduous road, she started simply by shooting small get-togethers with her girlfriends and high school classmates. After that, she started going on “shoot-abouts” and capturing the people and things in her surroundings. In 2012, a connection to a local non-profit focused her talents as she slowly integrated texture into her work. She was cautious as she was unsure how it would be accepted, but in 2014, she realized she has always beat to a different drum, and firmly planted her feet in what she now calls “Photography to Art”.

Through music, Cathy has found that the animation of Artists, affords her a unique opportunity to interpret their performance and energy, it has helped to mold her creative style. Once she narrowed the area of which she wanted to concentrate, she delved further into the manipulation of the photograph thus creating these photographic works of art.

Today, Cathy primarily photographs live music events, but she continues to hone her craft by staying true to her grassroots and doing shoot-abouts in whichever city or town she happens to be. Her heart lies with creating Art and it is those artistic pieces you will often see.

Katie Ree / AJ Fletcher

Katie Ree

AJ Fletcher Foundation
August - October

I am a wanderer, explorer, and experience-r of nature. I interpret the landscape around me and try to express the wonder and beauty I feel surrounded by. I currently work in and around the Durham, NC area and love the forests, rivers, streams, and creeks. I often start a painting on location and finish in my studio. My needs are minimal - some watercolors, a nice rock, sun if I’m lucky, paper, and ink.

My work is a deeply spiritual experience for me. I endeavor to capture not only what I see but that which is unseen. There are lines connecting us all and I try to share them. Each painting is both a meditative experience and a means to push myself to notice more. What colors are really in a sky, a field, a river, a mountain? What lines and spaces make up a tree? How do you express the gentle breeze, the whispering of trees, the sound of a peaceful sky? How do you be still and one with yourself and the world around you?

I hope to create images and objects that people want to live with. That speak to them as creating them has spoken to me. Most importantly, I hope to share my love of nature and landscapes. I hope to inspire others to look around more closely. To see the beauty we are surrounded by. My hope is that we can all come back to ourselves, our best selves, in nature. 

Kelly Sheppard Murray / UAC

Kelly Sheppard Murray

United Arts Council
August - September

Artist Bio/Statement

Kelly Murray has been working as an artist, educator, and designer for more than 20 years. Since 2000, she has taught studio and art appreciation to adult learners of all ages at Wake Technical Community College. By teaching art majors and students with limited knowledge of the arts, Kelly has observed how people interact with and appreciate visual culture. She has supported hundreds of students in finding their own creativity to employ for personal and professional pursuits.

Kelly’s teaching informs her approach to her fine art and design. By working with audiences of varied aesthetic perspectives, Kelly is prepared to find a way to meet a client’s or community’s needs and purposes. For the last 15 years, Kelly has worked with numerous design and fabrication companies to create sculptures, dioramas, small models and murals for nature, science and history centers.

Environmental issues, land development and the relationship of human activity and nature has been a core interest for Kelly throughout her career and the primary focus of much of her personal fine art production.  Kelly has been exploring encaustic wax painting for the last 10 years.  This passion for molten wax is derived from years casting metal using lost-wax metal casting. Encaustic painting was a natural way to bring her sculptural background and pursuit of painting together because it can easily translate into two or three-dimensional compositions.

Kelly is interested in exploring the ways her experience as an exhibition designer, fabricator, sculptor and painter can be brought together for clients on commercial, public art and fine art projects.

Randy MacNamara / Aloft RDU

Randy MacNamara

Aloft RDU
August - October

Artist Statement

“It is like being lost in a jungle,” Dr. Mirzakhani said, “and trying to use all the knowledge that you can gather to come up with some new tricks — and with some luck you might find a way out.”

MAKING
my mind moves in the cool muck
at the bottom of a dark and tan creek
slipping through
 
mud molds my thoughts into holes
they collapse as I withdraw
pulling up roots to wear as a wig
 
stripped I splash about
in colored light biting the edge
shadows bend my vision  
 
my instincts feel rugged resistance
a stone pried and plucked from suspension
plumes of sediment bloom downstream
 
I chase after a billowing liquid cloud
expanding in pools then riffles
rocks and gone
 

Community Exhibition Program I Spring

The Following is the upcoming Community Exhibitions Program schedule for the Spring Call-for-art. 

AJ Fletcher

August - October I Katie Ree

Aloft Raleigh
October - December I Cathy Foreman
January - March I Adam Coulter

Aloft RDU
August - October I Randy MacNamara
November - January I Leslie Bailey

HagerSmith Design
July & August I Ray Pfeiffer
September & October I Anthony Garcia-Copian
November & December I Brian Imfeld

United Arts Council
July I Jennifer Potter
August I Rick Carlson
August & September I Kelly Murray
September I Mary Ann Anderson
November I Jane Cheek
November & December I Lloyd Konneker
December I Saundra Rubiera



 

Sheila Hall / United Arts Center

Sheila Hall

United Arts Council

The bold and vibrant hues of SJ Hall’s art give us pause as we go about our otherwise busy routines of life. Passionate crimsons, royal purple and gold denote culture and ceremony. Bright yellows and orange reflect the warmth of the sunlight or floral gifts of nature. Hall paints and creates from experiences, memories, dreams and visions.

Originally from North Carolina, SJ Hall ventured to Alaska in 1981. For eighteen years she taught art to children and adults of all ages. Having retired after thirty plus years as an educator, principal and supervisor Hall now paints for enjoyment and on commissioned works. Sheila Judge Hall is best known as an Alaskan artist whose work can be found in several art collections in Anchorage Alaska. She has been a featured artist in Anchorage Wild Salmon on Parade Sculpture Project, Transformed Treasures Salvation Army Benefit art exhibitions and has donated art to many charitable silent auctions. Her colorful artwork is among many private art collections from Anchorage to North Carolina. Living and working in Alaska for over twenty years exposed Hall to a multitude of nationalities and cultures, which influenced her art. Visit sjhallartwork.com to see some of her work and shopvida.com/collections/sheila-j- hall for wearable art. Hall has returned to her native state and now works from her home “Color Speaks Studio,” in Raleigh, North Carolina.

Sheila Judge Hall is a graduate of East Carolina University, School of Art and Design, and the University of Alaska Anchorage. Hall is currently a professional artist in Raleigh, NC and a member of NC Artspace. She is a proud wife, mother and grandmother.

Janet Coleman / Aloft on Hillsborough

Janet Coleman

January-March 

Animals, landscape, people, and objects are often common themes in my work.  By defining forms through a layering of texture and color, I search for the accidental image. These images often serve to guide the piece and ignite inspiration from memory, experience or dreams. 

Gretchen Quinn / United Arts Council

Gretchen Quinn

December 2016

I make functional ceramics that are a reflection of my love for simple luxuries. By combining textures, colors, and clean shapes I craft wares that are a pleasure to both use and admire.

To me there is beauty in a seam left showing on the wall of a cup, or a rim that is just a hair off perfectly round and in fingerprints pertinently trapped in the glaze. These are the secrets left behind by the maker. They are the visible cues that shout out “I was not mass produced!”

For many years I strived for perfection, never quite satisfied, as I tended to view these elegant markings more as flaws. But over time, it’s the flaws that bring me back to those pieces and keeps me interested in making more. I feel that my pottery is constantly in motion. As I move on to a new idea I can’t help but find myself revisiting the older pieces and combining bits of both to create new work. It’s an exciting process that I don’t ever see becoming perfected.

Caroline Coven / HagerSmith PA

Caroline Coven 

In my images, I want the viewer to see contemplatively. Agnes Martin exhorted her viewers to look at her work as you would meditate on a landscape. But unlike Agnes Martin, I wish to describe a more specific narrative of human experiences. The ambition is to seamlessly join the spiritual with the earthbound. In working non-representationally, the spiritual is present in shape that is animated by the earthbound descriptors of color, composition, and line. The dynamics between the two are made manifest through the dichotomies such as push-pull, love-hate, good-evil, and severity and humor. This is the kind of story I want to tell. And with a ‘meditation of the landscape,’ I want the viewers to recognize varieties of common experience. 

Janice Geller / United Arts Council

Dreamer's Suite

Janice Geller

In my artwork I seek to bring unconscious and collective unconscious knowledge into consciousness. When I paint I work intuitively, opening to my personal unconscious, and global collective unconscious through a deep listening. The paintings unfold, each piece strange, unique, slowly forming, with a playful logic that unifies, and is yet authentic. Themes that emerge are often about relationship, identity, diversity, nature, reactivity, new perspectives, struggle and resolution.  Some paintings are fairly literal, others more abstract – dependent on the inner world I enter. The images range from whimsical and playful, calm or meditative, to full of struggle. Each piece circles the veils between reality and the imaginary. Questions arise which the paintings assist in bringing insight. What is this dream asking of me? How can I process this memory? How do I hold other’s stories and fears? Can I paint a glimpse of what is possible? Can I paint what I truly believe people radiate under all the distress? My intention as an artist is to invite the viewer to be curious, to move into a space of their own imagination, speculating about their impressions and what the artwork inspires in them.

Some of the work arises as I concentrate on bringing a quality of attention on some impressive but unintelligible dream image, such as the innocence before a woman opens a door to a room full of imaginary animal spirits. Some of the work emerges during a C.G. Jung inspired Authentic Movement sessions, no longer in image or dream but now in my body, allowing the movement to happen as my psyche and body draw or paint between movement experiences. Inner parts speak, move, and ask to be seen in visual form. The work can be fantastical, verging on the surreal, where creatures interact with sorcerers and angels in imaginary environments. Some of the work arises during Active Imagination as inner figures ask to come into consciousness and be known. A recurrent visitor is the dragon as protector, as creative muse, as flying witness. Some of the mixed-media artwork emerges from the materials, watching the watercolors flow into each other, opening access to the imagination. Some of the work develops during a Body-Mind Centering exploration of my inner body systems. For example, feeling into my lymphatic system where I plant a garden of white blood cells to strengthen the immune system or visualizing full-body, fluid-filled internal organs, as a bird woman appears with human internal organs.  I might enter into the spaciousness of cellular consciousness, where the cells are surrounded by space and a thin fascial web.  Some of the work is created after mediation practice where a calm, peaceful presence is embodied, and then takes visual form. Some of the work arises after exploring theater or movement improvisation, where figures spin and float, circling the void.  

Once down on paper I can now see the unconscious made conscious and reflect upon it. I do not always know the meaning, and each new viewing allows further interpretation. A single piece can have a weaving of references: personal and collective memory, dreams, rituals, body impressions, landscapes, present moment and future. As I work on a piece I usually begin to have a name or a story about the work. This bringing of the unconscious into consciousness keeps me engaged in the piece. Quite often references overlap leading to multiple associations. This multiple meaning making, flows through the creative process, and applies when the work hangs on the wall.

Community Exhibition Program - Winter / Call for Art

CEP

Deadline for entry - 11:59 pm on February 15, 2018

ABOUT
VAE's Community Exhibition Program offers VAE members the chance to have solo or group exhibitions in alternative venues around Downtown Raleigh. These exhibits are seen by thousands of people each year!  VAE works with five venues across Downtown Raleigh to give artists opportunities to show bodies of work and receive a stipend. Each venue is unique and has its' own exhibition schedule. Exhibition benefits vary based on each venue, please see below. 

APPLY
This is an open juried call-for-art with a deadline of February 15, 2018, at 11:59 p.m. Submissions are reviewed on a bi-annual basis. The entry form will allow you to: submit five work samples of work you would like to exhibit, a bio, an artist statement, first and second choices for the venue, two months you are unable to show, and payment.  

Entry Fees
Members - $10
Non-members - $15

Become a member today!  

VENUES

AJ FLETCHER FOUNDATION
907 & 909 Glenwood Avenue, Raleigh, NC 27605
Exhibitions at AJ Fletcher Foundation enliven the common areas of start-up non-profit organizations that work inside the AJ Fletcher building. This venue allows artists to present their work to professionals who are excited about and supportive of local artists! 

Artists are curated by the AJF staff and while the exhibitions are not open to the public and offer no reception, exhibiting artists are financially compensated $150 per month.

Capacity: 15-20 pieces of small (<16"x20") to large (>24" x 36") works
Exhibition Duration: 6 months

ALOFT RALEIGH
2100 Hillsborough Street, Raleigh, NC 27607
Aloft Raleigh offers exhibitions that are seen by thousands of people each month: guests of the hotel, visitors to the ground-floor businesses, attendees of conferences or meetings, and people headed to the hotel's restaurant and bar. The hotel's branding is contemporary, colorful, and visually stimulating and it is in their mission to support local artists who make work with that same look and feel. 

Artists are curated by the Aloft Raleigh staff and while the venue does not offer a public reception artists are financially compensated $125 per month.

Capacity: 15-20 pieces of medium (> 16"x20") to large (> 24"x36") works
Exhibition Duration: 3 months

ALOFT RDU
10020 Sellona Street, Raleigh, NC, 27617 
Aloft RDU offers exhibitions that are seen by thousands of people each month: guests of the hotel, visitors to the ground-floor businesses, attendees of conferences or meetings, and people headed to the hotel's restaurant and bar. The hotel's branding is contemporary, colorful, and visually stimulating and it is in their mission to support local artists who make work with that same look and feel. 

Artists are curated by the Aloft Raleigh staff and while the venue does not offer a public reception artists are financially compensated $125 per month.

Capacity: 8 pieces of medium (> 16"x20") to large (> 24"x36") works
Exhibition Duration: 3 months

HAGERSMITH DESIGN
300 S Dawson Street, Raleigh, NC 27601
Located in Raleigh’s Warehouse District, right around the corner from VAE's main gallery space, HagerSmith architecture firm offers artist great exhibition space, with gallery lighting, and an opening reception as part of Raleigh's First Friday Gallery Walk.  The layout is conducive to many styles and sizes of artwork. This is an excellent space for both new and established artists to display their work.

Artists are curated by VAE staff. Artists are responsible for providing and refreshments for opening receptions and HagerSmith is only open for the first month's First Friday. Artists are financially compensated $50 per month

Capacity: 15-20 pieces of medium (> 16"x20") to large (> 24"x36") works
Exhibition Duration: 2 months

UNITED ARTS COUNCIL
410 Glenwood Avenue, Suite 170, Raleigh, NC 27603
Exhibitions at United Arts are mounted in The MJH Gallery. This space is located in the historic Pine State Creamery building in the Glenwood South district of Downtown Raleigh. This exhibition space features great natural light, views from the storefront windows, and an opening reception as part of Raleigh's First Friday Gallery Walk. This venue features exhibits of 2D and 3D work each month. While UAC does not offer and artist stipend, they host the largest First Friday out of our CEP and are one of the best selling venues. 

Capacity: Two-dimensional exhibits: 15-20 pieces of medium (> 16"x20") to large (> 24"x36") works
                 Three-dimensional exhibits: 5-15 pieces (depending on scale)
Exhibition Duration: One month

To use the online form to submit information about and images of your work, please review these instructions for naming your files:

• All files should be named like so: 01_LASTNAME_TITLE.jpg, 02_LASTNAME_TITLE.jpg.
• Still images should be sent as jpegs should be at least 1000px in their widest dimension, not to exceed 2MB per image. 2D artists may submit one JPEG per entry. 3D artists may submit two JPEGS (one full shot and one detail) per entry. Follow the filename format for works as indicated above.
• Video samples should be edited to no longer than 2-minute excerpts. It is strongly preferred that video & audio artists submit their work online through clips or url addresses to online sharing formats like hulu, vimeo, youtube, or dropbox. Videos submitted as uploaded files should be submitted as Quicktime files whose width is no larger than 720px and file size is no larger than 10MB (as that is the largest file eligible for upload on our entry software). Video pieces will only be accepted for exhibition if they are captioned, either with open captioning that is integrated into the video, or closed captioning that can be turned on when needed. Read info about captioning videos on Youtube, with iMovie, or Quicktime! Please only submit video art or video documentation of an art piece that requires video to be fully experienced. Do not send video walk-throughs of static exhibitions or video slideshows. While web-hosted submissions are strongly preferred, video and audio samples can be submitted on CD if necessary. Please contact Kyle Hazard to make arrangements for CD delivery prior to the deadline. Follow the filename format for works as indicated above.
• Audio: Audio should be submitted as separate MP3 files. Each track should be no longer than 2 minutes. Follow the filename format for works as indicated above.
• Web-based: Web-based work should be submitted as a URL listed in the work sample list. Please only submit web-based projects. A portfolio website that features audio/video art and still images will not be considered.

ELIGIBILITY
COSO'18 is open to any living artist. A maximum of 2 works of any medium, per artist may be submitted. Two and three-dimensional entries will be accepted. Work must be original and completed in the last 3 years. No copies, mechanical reproductions, molds or kit work will be accepted. VAE reserves the right to exclude work due to size or special requirements. Entries must be hand delivered to the gallery or mailed in a returnable container. Artwork submitted on behalf of an artist requires written and signed authorization by the artist.

ACCESSIBILITY
VAE’s gallery space is fully accessible and we strive to make the submission process accessible as well. We encourage anyone to enter our open call exhibitions. If you need any additional information or accommodations in order to enter this exhibition or become a VAE member, please email Brandon or call 919.256.6856 for assistance. Visit our accessibility page for more information.

SHIPPING WORK
Ship artwork using a sturdy, reusable packing materials clearly labeled with your name and telephone number. Do not include return postage in case the artwork sells during the run of the exhibition. Following the exhibition, each artist who shipped their work should generate a FedEx label and email it to Kyle so the piece may be returned. Do not use styrofoam packing peanuts. Shipments of artwork will be accepted January 25-27, 2017.

SHIP TO
VAE Raleigh
attn: Brandon
309 W Martin Street
Raleigh, NC 27601

SALES
VAE will retain a commission of 30% for VAE members, 50% for non-members on all work sold during the exhibit. If a work is not for sale please indicate with NFS value in appropriate space during registration or on the consignment sheet. Click here to join VAE!

LIABILITY
All entries will be handled with the utmost care and respect. VAE is not liable for artwork during transportation to or from the gallery but does carry a blanket inland marine policy that covers most fine art works and craft items up to $5,000. VAE reserves the right to refuse coverage to artwork with inherent vices, high values or that is deemed unstable. By entering into this show, the artist agrees to abide by all rules and regulations as set by exhibition guidelines.

QUESTIONS? Email Kyle!