Haring Love, part I: evolution of the Keyhole Torus in tribute to Keith Haring

Nate Sheaffer
September 6-28,2019

Nate Sheaffer began studying art under Robert Howard at the University of North Carolina, Chapel Hill in 1984.  Large Assemblies of found steel objects, welded and bolted together begged for lightening in some fashion.  Bob Howard said one day, “You oughta go see Jerry Noe, put some neon on those things.”  The start was just that simple.

The next semester, Independent study with Jerry Noe in the same department led to a lifelong friendship with John Wilhelm, then owner of Paradise Neon, located on Hillsborough Street in Raleigh.  Just when Nate was about to graduate and had hopes of going to work for John at Paradise Neon, John was bought up by Illumelex Corporation.

“Start up your own shop,” John said.  “You’re not gonna’ like commuting to the other side of Raleigh from Chapel Hill for minimum wage as an apprentice.”

And so, three months after graduating UNC-CH with a degree in German, Nate rented a space behind Mariakakis Greek Restaurant in Chapel Hill, and founded Neon Impressions, Inc.  Early work focused on abstractions until the reality of making rent and a living turned Nate down the road of commercial, then later, production neon tubing manufacture.

Along with his brother and partner, Curtis, Nate grew the company quickly, adding a third brother, Garth, as the first employee, followed by dozens more glass blowing apprentices, assemblers, and eventually, an engineer.  Into the early and mid nineties, production, wholesale neon tubing and sign manufacturing thrived.  The company moved twice – first into a 10,000 square foot hatchery in Pittsboro, NC and then into the former Bells School on Jordan Lake.

A strong alliance with American Neon Signs, of Muenster, Germany, provided a prolific avenue for production and sales driven by ANS founder, Christopher Sheldon.

In 1998, Neon Impressions, Inc. began working as a job shop for large production houses creating tens of thousands of units annually for the alcohol and tobacco industries.  In early 1999, the sign industry and production neon signage became one of the many industries to fall prey to offshore competition.  It was for the best, for Nate, as production neon signs and wholesale tubing had caused him to stray far from creative work.

For the next seven years, Nate worked as a project manager and estimator for Van Thomas Contractor, Inc. –  a small but respected commercial general contractor located in Siler City, North Carolina. In 2005, with the birth of his son, and later with the birth of his daughter in 2007, Nate transitioned from the work force to the world of a stay-at-home dad.

Cut to 2012, when both children are in elementary school and blocks of time large enough to create art begin to appear with consistency.  Nate re-joined the Chatham Artists Guild – an organization whose inception was part of his early artistic success as a founding member of the Chatham Artists Studio tour 20 years earlier – and once again found his home with a creative, artist’s life.

For more information about Nate Sheaffer, please visit www.natesheaffer.com/

You thought you are the center of the universe - Jan-Ru Wan

You thought you are the center of the universe

Jan-Ru Wan
August 21 - October 5

ARTIST STATEMENT

Motherhood brought out a different perspective in my life on how we understand love. After the 2016 election, I found even newer meanings about this perspective. The current work was initiated and inspired by my own thoughts through raising my daughter. In a child’s development, I found that it is important to let the child understand the idea of “self” to develop one’s individual identity, but at the same time, it is also important to teach the child about the idea of sharing, and that we are all connected with one another in this universe.

In this world we live in, the idea of white privilege is implicitly embedded in everyday life, either we aware of it or not. Even in Taiwan where I grew up, we had only beautiful white dolls to symbolize the ultimate beauty, and white foreigners were more popular and respected in our little society. We did not know what racism was nor white superiority. This culture was such that everyone thought things were just the way they were; until one day, the perception was broken, we all woke up and we were taught that everyone was created equal, and we all collectively contribute to this beautiful world.

Letter to my daughter in the future: Dear daughter, growing up with you every minute has been the sweetest moments in my life, and we bathe you with all our love. But one day you might learn that someone would dislike you because the color of your skin, or the way you talk, or your gender, or even the name I gave you. That is ok because you are still loved. I hope that, despite these unpleasant experiences in the future, you will still have compassion in your heart, know that the universe is dependent on all living beings. Even though, you are not at the center of the universe anymore, the universe is a much more beautiful and peaceful place when we all lived in balance.

ARTIST BIO

For more than two decades, Jan-Ru Wan has been reusing found objects, especially those discarded from industrial factories, in her sculpture and installation work, re-inventing and elevating their original purpose. Her unique way of incorporating wildly diverse materials with layers of repetition and creating a space of awe is the signature of her installation works.

Throughout Wan’s career, she has participated in 28 solo exhibitions and 44 group exhibitions, including the 1st International Biennial of Casablanca at the Kaohsiung Museum of Fine Art in Taiwan; the Yango-Biennial in Kinshasa, Congo, and her solo exhibition at the Mint Museum in Charlotte NC. Her work has been featured in Surface Design Magazine and Sculpture Magazine, as well as, The National Art Education Association Anthology: Globalization, Art, and Education, which devoted an entire chapter on her work. In 2006, The University of Wisconsin, Milwaukee honored Wan with the GOLD award, recognizing her as the Graduate of the Last Decade. Wan was the recipient of North Carolina’s 2008 Visual Art Fellowship. She has been awarded artist residencies in Taiwan, Thailand, Morocco, Belgium, the Netherlands, and the United States.

Reclaiming My Time • National Humanities Center

On view: September-December, 2019
Location: National Humanities Center
7 TW Alexander Dr, Research Triangle Park, NC 27709

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View fullsize

The higher up you go in the art world, the whiter and more masculine those getting paid are. Statistics show that the disparities that plague other industries, causing women to hear 80 cent to a man’s dollar, also lock women, and particularly women of color or and women with disabilities, out of opportunities to advance their creative careers. To do our parts to counteract these disparities, VAE and the National Humanities Center are dedicating our fall 2019 exhibition to a survey of female Southern artists. Reclaiming My Time is a juried exhibition featuring works by femme artists residing in the 11 states that comprise the regional South: Alabama, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Virginia, and West Virginia.

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Accepted Works:

Lakeshia Reid-What you Change Changes You
Toya Wallace-We Love Our Babies Too
Jennifer Markowitz-"Do Not Look Away From Me!"
Tracy Carhart-grace, katies’ hand
Mary Cozens-Raw II
Stacey Budge-Kamison-Georgia
Miranda Reichhardt-The Fish Painting
Melinda Fine-Elation
Joan Meade-Buttermilk Falls
Alyssa Hinton-Red Corn Mother
Elizabeth Roetzel-Lamentations
Marie-Louise Bennett-Still Here
Cache Owens-Ice Queens
Xiaowei Wu-Intoxication
Ayla Gizlice-Of Primary Concern is the Possible Eutrophic Tendency of the Lake
Elaine Kinnaird-Due Date Friday
Victoria Ralston-All That We Leave Behind
Pat Perrin-Inception–Life Emerges
Alexandra Bravar-Tell Me How You Got To Be So Free
Jennifer Minnis-Shifting of Self
Ericka Alston-Embracing #1

Due Date Friday by Elaine Kinnaird

Do Not Look Away From Me! by Jennifer Markowitz

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About the Juror: Roxana Pérez-Méndez is a video performance and installation artist who creates work about the slippery nature of contemporary history and identity through the lens of her own experience as a Puerto Rican woman. Pérez-Méndez also collaborates with fellow artist and colleague, Mario Marzan. Their joint effort, CAMPO RESEARCH STUDIO, is a collaborative process that fosters the integration of nature and art through research, public engagement and education. They utilize the intersection of the arts, geography and history as a catalyst for social dialogue and creative exchange of ideas. Pérez-Mendez holds a BFA from The Ohio State University and a MFA from Tyler School of Art and is currently an Associate Professor of Art at University of North Carolina at Chapel Hill.

About the Venue:
The National Humanities Center is a nonprofit institute for the study of all areas of humanities. This fall, NHC will welcome its incoming class of learning fellows from 30 states and four countries.

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Schedule
Delivery of Accepted Work…………………..Aug. 9-28
Exhibition Run………………….….….........……...Sept. 1-Dec., 2019

Eligibility
Reclaiming My Time 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 2 years. No copies, mechanical reproductions, molds or kit work will be accepted. Visual Art Exchange 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.

VAE does not exhibit or financially support work that co-opts the story of a community without representation from that community acting in a decision making role.

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 please email Kyle or call 919.828.7834.

Shipping Artwork
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 our Director of Exhibitions so the piece may be returned. Do not use styrofoam packing peanuts. Shipments of artwork will be accepted Aug. 19-28, 2019.

Ship To:
Visual Art Exchange
c/o Sorena Dadgar
309 W Martin Street
Raleigh, NC 27601

Sales
Visual Art Exchange will retain a commission of 25% for VAE members, 35% 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 Sorena!

Solar Mobiles: Lloyd Konneker

Solar Mobiles: Lloyd Konneker

August 2 - August 30

ARTIST STATEMENT

Here I [Lloyd] update traditional Calder mobiles with new technology: solar cells, motors, radios, and computers. I explore a similar design space: balance, recursion, space. But instead of choosing colors and shapes, I choose electronic components. The solar mobiles are less permanent than traditional mobiles, since the motors will wear out. But there are no batteries. They should work for decades. Note that the elements turn themselves: the motor and electronics are IN the element, not in a fixed base. Self-contained elements, as in wind mobiles. There are no conductive wires between elements. Also note the dual shaft motors (shaft exposed on both ends) in some of the stacked mobiles. An element turning only temporarily perturbs its neighbors. In a wind mobile, no element can turn without moving all other elements. One work uses radios and computers. This is an area for further exploration: what if elements of mobiles could communicate?

ARTIST BIO

Lloyd Konneker was in computer science but always enjoyed creating and building. Konneker lives in a solar home and studied natural light as well as solar cells. One day he had a eureka moment: hang a solar powered motor by a thread to its shaft. Since then, he explored the idea as art. He is inspired by Duchamp, Calder, George Rickey, and Walter De Maria, but is now using new technology.

Konneker has been lucky to find a niche. He enjoys creating, but his basement studio is littered with sketches, failures, and works in progress. He has been aided by a groundswell of resources for local artists, makers, and open source contributors.

Most of his works are mobiles. They gently turn in dim indoor light, exhibiting the same soothing beauty of wind driven mobiles. Some are chimes. Konneker started with miniature, indoor mobiles, but he hopes to scale up to large, outdoor, public art installations. Lately Konneker has been creating wearables and communicating automata using radio chips and software.

Depth of Field • United Arts Council

Exhibit dates: August 2-August 30, 2019
Location: United Arts Council
410 Glenwood Ave, Raleigh, NC 27603
First Friday reception: August 2, 6-8pm

Oh snap! VAE has put together a photography show. This exhibition will be held at United Arts Council during the month of August. Depth of Field entries were juried, and here are your best shots.

Accepted Works

Ken Abbott - Smoky Mt Market, Knoxville TN

Dylan Bannister - Twins at Cherry Road Discount Beverage and Food, Under Green Awning at Carlee's and Tony's on Main

Christer Berg - My Place

Jacob Clayton - In My Skin

Dana Flynt - Oregon Inlet 1

Ana Galizes - A Janela (The Window)

Cliff Hollis -Sparks

Alexis Howard - Block 1

Doe Lee - Lie Down, Rest

Michael Ligett - Structure I

Megan Mcleay -Curtis Acres

Scott McRae - On The Sky

Ray Pfeiffer -Untitled #29 from the series "Restless Eyes"

Thomas Pickarski - Icescape no. 41, Landscape no. 2

Joseph Rafferty - Battle at Mud Creek

Eric Saunders - Serious Cloud Chasing

Rachel Thomas - The Last Ocean

Conor Vella - RAIN #2

Schedule
Delivery of Accepted Work…………………..July 17-31
Exhibition Run………………….….…............Aug 2-30, 2019

Entry Fees
members………………..…$10 per artwork/$20 for two pieces*
non-members………..……$15 per artwork/$30 for two pieces*
*All entry fees are non-refundable.

Entry Information:

• 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 at 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.

• 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
Depth of Field 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 2 years. No copies, mechanical reproductions, molds or kit work will be accepted. Visual Art Exchange 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.

We will not exhibit or financially support work that co-opts the story of a community without representation from that community acting in a decision making role.

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 please email Kyle or call 919.828.7834.

Shipping Artwork
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 our Director of Exhibitions so the piece may be returned. Do not use styrofoam packing peanuts. Shipments of artwork will be accepted May 23-June 1, 2019.

Ship To:
Visual Art Exchange
c/o Sorena Dadgar
309 W Martin Street
Raleigh, NC 27601

Sales
Visual Art Exchange will retain a commission of 25% for VAE members, 35% 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 Sorena!

These Things Take Time: Susan Skrzycki

These Things Take Time: Susan Skrzycki

June 26 - August 3

Opening Reception Friday July, 12th 6 - 8 pm
Closing Reception Friday August 2nd 6 - 10 pm

ARTIST STATEMENT

I create art to express ideas and emotions that cannot be expressed by other means. Due to a long love affair with dance, my artwork is often inspired and informed by movement, use of space, lighting and sound. I’m currently working in a series that focuses on vintage theaters and dancers. I’m often interested in everyday objects that tend to go unappreciated beyond their practical purpose, like zippers and lightbulbs. I’ve worked in a variety of media over the years ranging from painting and installation to performance. For the last year I’ve been working with encaustic and am thrilled by the seemingly endless possibilities this medium offers. I find encaustic media to be the ideal conduit for me at this point, as diverse memories and influences are manifested in my new work.

ARTIST BIO

Susan Skrzycki is a largely self-taught Raleigh-based artist working in a variety of media including murals, installation, assemblage, encaustic and painting. Her extensive dance background is sometimes noticeable in terms of movement, dancers as subjects, and kinetic installation. Although each medium, material and subject seem to dictate the style and approach, her work is alive with, light, texture, atmosphere and presence. Susan’s goal is to continue to push the boundaries of her abilities and knowledge while collaborating with others. Skrzycki finds daily inspiration in studying the work and life of Johann Baptist Hofner, her 2x great grand uncle, having recently traveled to Germany to investigate. Susan is currently enjoying the process of earning a Certificate of Nonprofit Management at Duke.

Anthony Garcia Copian - Aloft Raleigh

Anthony Garcia- Aloft Raleigh

2100 Hillsborough Street, Raleigh
10-4 Monday-Sunday
May-November, 2019

Laura Yi Zhen Chen - HagerSmith

Laura Yi Zhen Chen - HagerSmith

300 S Dawson St, Raleigh, NC 27601

June - July 2019

Accumulated Color: Kelly Sheppard Murray

Accumulated Color: Kelly Sheppard Murray

June 8 - July 23

ARTIST STATEMENT

Guided by the idea that consistent small actions create significant impact, these small sculptures grow the body of work over time. This process of creating over months or years is meant to also tie to the notion that our small actions affect the world beyond us. I encase, cover, stitch or layer found, industrial, cast-off or surplus materials to create objects or images that are not easily identified as natural or man-made. The pieces begin without an initial plan but instead rely on an intuitive response to the materials and a search for forms that feel familiar. Bold color and the process of building up encaustic wax to transform industrial materials has been central part of the visual outcome and process of this series. The small individual pieces have grown to a considerable collection that offers endless configurations and groupings to explore different relationships. Each piece is marked with a numbered copper tag to indicate the order in which it was created. Studying, organizing and categorizing the objects by color, form or other characteristics during the exhibitions becomes a bit of a process like a scientist’s study of plants, animals or fungi led by a curiosity to see the similarities and differences that occur over time in the process of creating.

ARTIST BIO

Kelly Sheppard Murray is a Raleigh, North Carolina artist, educator and designer with BFA, and MFA degrees from UNCG and ECU respectively. Murray’s career as an artist has emphasized three-dimensional design and fabrication for nature, health, science, and history museums, although her personal practice includes a wide array of media and processes.

While maintaining professional practice in design and fine arts, Murray teaches 2D & 3D design, painting, sculpture and art appreciation at Wake Technical Community College. In 2014, Murray was awarded faculty rank as Associate Professor at Wake Technical Community College

Murray is a 2018 recipient of the International Encaustic Artists Emerging Artist Grant. Other recognitions include being selected as a 2016 the Artspace Regional Emerging Artist in Residence, as well as a 2000 and 2012 recipient of Regional Artist Project Grant by the United Arts of Raleigh and Wake County. She now maintains a tenant studio at Artspace in order to be able to continue sharing work and having conversation with the public.

Recent exhibitions include a solo exhibition Kelly Sheppard Murray: Sculptures at Wilma Daniels Gallery, Wilmington, NC; Knoxville Tennessee’s Dogwood Arts 2018 Regional Arts Exhibition, Raleigh Fine Arts Society’s 2018 North Carolina Artists Exhibition, Artspace’s 30th Anniversary Retrospective Juried Exhibition.

UNREAL • United Arts Council

Exhibit dates: June 7-29, 2019
Location: United Arts Council
410 Glenwood Ave, Raleigh, NC 27603
First Friday reception: June 7, 6-8pm

Accepted Work
Peter Vetere: Conflagration and Cliques
Vanessa Murray: Incidence
Annie Blazejack and Geddes Levenson: Space Collage
Jane Cheek: A Blueprint For Happiness
Rick Grime: Content III
Caroline Coven: Chicken Little
Georges Le Chevallier: Chicken Roasted in a Wood-Fire Brick Oven Served with a Tuscan-style Bread Salad (after Chef Judy Rodgers)
Debbie Robbins: Scattered and Sweeping
Kayla Plosz Antiel: Glitz
Michael Lamvik: Flying 1 and Flying 2
Brian Imfeld: Plotting The Path of Improvement and When All Sides Are the Wrong Sides
Martin Balint: Dynamic Origins
Eric Saunders: Tapestry World
Kate Robinson: Beauty Within
Nicholas Portanova: The Fabric of Time
Chieko Murasugi: Roshambo #14
David Dagenhart: Seen
Naomi Balint: Bounce (Shippo - Orange x White)
Ayla Gizlice: Flags are not always about Patriotism
Sterling Bowen: Untitled

Schedule
Delivery of Accepted Work……….....…May 23-June 1
Exhibition Run………………….….…............June 7-29, 2019

Sifting: Eric Kniss

Sifting

Eric Kniss
April 24 - June 8, 2019

ARTIST STATEMENT

The key concerns in my work have to do with notions of the value of physical labor, the accumulation of material as evidence of time, and challenging prevailing assumptions about material, its uses, and hierarchies of value. I have used non-traditional materials like rope, unfired porcelain pots, and clay dust (industrial Kaolin). I am interested in discovering ways that material might visually reveal (or challenge assumptions of) its own characteristics. This is accomplished by implementing simple but concentrated and repetitive physical activities like winding, sifting, stacking, or compressing, creating contextual surprise as a result of process over time. I am interested in the capacity of physical labor to generate a visceral sense of connectedness to place. The sifting of Kaolin produces a tenuous situation of delicacy and impermanence that creates tension between the embedded sense of investment and the ephemeral nature of the result.

Over time I have become increasingly aware of the performative aspects of my work and have thought long about how to open the process to viewers without sacrificing the solitary, contemplative space necessary for its making. The specifics of the Cube have allowed me to put forward one scenario as a solution. For this exhibition I have closed the gallery space to public view and used video feeds to provide viewers access to the work and the process of its making via TV monitors in the gallery and online viewing options.

The situations described above build on the work I have been pursuing for a number of years, and the use of technology that mediates the viewer’s experience of the work bring new questions into the mix that I find very compelling. For example: What is the ontological status of the object of art in the context of mediated experience? What is the nature of knowledge in an intensely mediated reality?

This exhibition has been funded in part by a Faculty Research Grant from Bridgewater College, Bridgewater VA.

ARTIST BIO

Eric Kniss earned a Master of Fine Arts from the University of North Carolina at Greensboro, a Bachelor of Fine Arts from Bethel College, North Newton KS, and an Associates of Art from Hesston College, Hesston KS. Kniss has been awarded the Joan Mitchell MFA Grant (2010) and is a fellow at the Hambidge Center for Creative Art and Sciences (2015). His work has been exhibited in various venues including the Weatherspoon Art Museum (Greensboro NC), CUE Art Foundation (NYC), Lexington Art League (Lexington, KY) and Staunton Augusta Art Center (Staunton, VA). Kniss teaches a wide range of courses in the Art Department at Bridgewater College, Bridgewater VA.

Lost and Preserved: Eun-Kyung Suh

Lost and Preserved

Eun-Kyung Suh

May 3 - 31

ARTIST STATMENT

Suh will construct multiple pentagonal and hexagonal boxes that can be arranged next to one another on a wall in appropriate patterns symbolizing ethnic enclaves. Her focus is the assimilation process of immigrants of color and their formation of ethnic concentrations in the settled areas. Immigrants often cluster in close geographic areas and develop migrant networks, thus forming ethnic enclaves. The transitional phase of learning a new language and social norms of the country restricts immigrants’ activities within the enclave and subsequently sequesters them from the larger societal context. These constructed ethnic enclaves act as havens where their heritage can be preserved and fortified.

EXTRA CREDIT • United Arts Council

Exhibit dates: May 3-31, 2019
Location: United Arts Council
410 Glenwood Ave, Raleigh, NC 27603
First Friday reception: May 3, 6-9pm

Accepted Work
Queen Hatshepsut by Selene Santiago-Lopez
Street Dog and Grandpa’s Wisdom by Ellen Zeng
To Wilmington Street and Home by Aysia Drayton
Untitled Artwork by Sophia Chunn
Alone at the Staircase by Alexa Karrenbauer
Blonde and Grey by Clara Mourad
Death to the Earth by Katelyn Crespo
Thatcher Effect and Amy by Roshni Arun
The Force Awakens (Drawing With Words) by Lauryn Bailey
The Adventures of Snail Boy by Laurie Williams
Self Portrait Collage by Abigail Roach
In Bloom and Oddly by Aida Guo
Let My Body Down to Rest by Xia Zipper

Schedule
Delivery of Accepted Work……….....…April 24-27
Exhibition Run………………….….…............May 3-31, 2019

Sophia Chunn - HagerSmith

Sophia Chunn - HagerSmith

300 S Dawson St, Raleigh, NC 27601

March - April

FIRST FRIDAY RECEPTION APRIL 5, 6-9PM!

Kennedi Carter - United Arts Council

Kennedi Carter- United Arts Council

March 1 - 28, 2019

OPENING RECEPTION MARCH 1, 6-8PM!

United Arts Council
410 Glenwood Ave.
Raleigh, NC 27603

A Durham, North Carolina native by way of Dallas Texas, Kennedi Carter is a fine art photographer, retoucher and creative director with a primary focus on Black subjects. Her work highlights the aesthetics of sociopolitical aspects of blackness as well as the overlooked beauties of the black experience as a whole: skin, texture, trauma, peace, love and community. Her work aims to reinvent notions of creativity and confidence in the realm of blackness. 

Beyond Despair: An Environmental Art Exhibition

February 22 - June 22

National Humanities Center
7 TW Alexander Rd.
Research Triangle Park, NC 27709

This exhibition juried by Joshua White, photographer and professor at Appalachian State University, asked artists to present and showcase work about, including, and referencing the environment. This exhibition is in partnership with the National Humanities Center and will be exhibited during their conference, Beyond Despair, April 3-5, 2019.

Artists and Selected Works
Claire Alexandre - Resistance
Stephanie Bagwell - Changing Tides
Rick Bennett - South Saunders Street
William Breazeale - Stripped Clean
Justin Cook - Jean Hooper at Her Family Cemetery Threatened by Sea Level Rise on The Outer Banks
Sara Dean - Climate Compass
Naomi Falk - While We Were Sleeping
Lee Fearnside - Nexus Pipeline #5
Caroline Hohenrath - Blue Landscape
Emilie Hoke - Surface 8
Jean Kaplan - Migration
Daniel Kariko - Salt Water Intrusion, Louisiana
Rachel Kosbab - Remnant 2
Jim Lee Mantis - Shrine #4, The Decommissioning: Even the Survivors will Die
Emily Ligon - Encroachment
George Lorio - Hand Impression
Cameron Luck - Teach a man to overfish
Randy McNamara - wave acction
Jeffrey Murphy, Hummingbirds
Chris Ogden - Remaining Values (toxic beauty copper mining leftovers), Trading Our Trusts (utah wilderness)
M.A. Papanek-Miller - Preparing for Winter: " If they could not defend themselves they were bound to be conquered"
Delphine Peller - Remembering
Thomas Pickarski - Ice Pattern
Jennifer Printz - Woven Firmament, Intricacies and Colossi
Katie Ree - Eno River 24
Vicki Rees - Power Grab
Laurie Riccadonna - Throw-Away
Shushana Rucker - South Philadelphia Refinery
Eric Saunders - Flooded Beach No. 1
Lauren Scavo-Fulk - Building and Tree
Mary Storms - Back of Beyond
Knic Umstead - Lady Slipper
Anne Willson - Double Pod
  
  

Arsis Fruritch - United Arts Council

Arsis Fruritch- United Arts Council

Februray 1 - 28, 2019

OPENING RECEPTION FEBRUARY 1, 6-8PM!

United Arts Council
410 Glenwood Ave.
Raleigh, NC 27603

SCOPE '19

SCOPE ‘19

Exhibit dates: January 15-July 15, 2019

REX Heart and Vascular
4420 Lake Boone Trail Raleigh, NC 27607

In partnership with Rex Heart and Vascular, VAE is producing one of our annual exhibits; SCOPE. The purpose of SCOPE: the southern landscape is to exhibit the widest range of “landscape” works possible in and alongside Rex’s Heart and Vascular’s extensive collection of local and regional artists. The South is a hub of creativity and Raleigh has adopted a vision to become the Southern Capital for Arts and Culture. To do our part, VAE and REX will exhibit landscape works by artists across the regional south, or works created in or inspired by the southern landscape.

Rex Heart and Vascular collects and exhibits the artwork of local and living artists in order to provide a positive environment for their patients and their families. The hospital features rotating exhibitions of artwork created by artists who believe that art can have a positive effect on people.

ARTISTS

Isolde Sarnecki - Surf City beach
Lisa Ellis - County Line, Beaufort Bridge 1969
Paul Cory - Marsh, Trees and Sky
yi Zhen Chen - Snow Covered Raleigh
Rick Bennett - Raccoon Creek
Beth Barger - Tart’s Grocery
Lori White - Rakes Mill Pond
Lily Sala - Heavenly Snows
Joseph Rafferty - Metamorphosis of North Carolina
Daniel Kariko - Last Camp on Isle Dernieres, Louisiana
Nancy Hughes Miller - Marsh at Dusk
Kandi Champagne Cook - Wolf River

Stationary Effort - Emily Moorhead-Wallace

Stationary Effort

Emily Moorhead-Wallace

January 4 - February 1, 2019

Originating from a desire for unattached musical enjoyment, Stationary Effort is a series of human driven audio players. In Stationary Effort a performer pedals a bike that turns a front flywheel, which hits an idler wheel, whose energy is transferred through bearings and gears to another idler wheel that spins a record platter. 

Similarly in Stationary Effort 2 a performer drives skis backward propelling a central flywheel, which hits an idler wheel and bearing system that transfers the energy to a pulley system to spins a cassette supply reel. The riders attempt to regulate the musical rhythm. The audio record and cassette spin inconsistently causing perceptible distortions; familiar songs, tones, and pitches are altered. 

This discordant absurdity veils the observable lack of human control over the machine and uselessness of human as accurate timekeeper. There is a push and pull between recognizing the futility of the performer’s efforts and the humor found in deformed sounds.

The future of this work is to perform the kinetic sculptures together. Each structure’s flaws will emphasize audio deformations in the futile “man as machine” stereo system.

Marie Arondeau - HagerSmith

Marie Arondeau - HagerSmith

300 S Dawson St, Raleigh, NC 27601

January - February

FIRST FRIDAY RECEPTION FEBRUARY 1, 6-9PM!

Both a kinesthetic and visual learner I am most happy when I can channel my creative energies using those avenues.   I have been taking photographs since the early 90s when I began my studies at SUNY @ Purchase College with a mixed major in Photography and Environmental Science.  Environment, movement, and the human form inspire much of my work.

Dreamscapes is a body of work that has been shot over the past two years.  The images were composed in the camera, using double exposures and sometimes, a fish eye lens.  They are tweaking the natural world into magical, dream like places.  They are a dance between reality and fantasy.  In our current climate, both environmental and political, I hope they offer a momentary escape.