Working Method Collective at Aqua Art Miami 2016
Aqua Art Hotel
1530 Collins Avenue
Miami Beach, FL 33139
Wednesday, November 30
VIP Preview3 pm – 10 pm
Access for Art Miami, CONTEXT and Aqua Art Miami
VIP Cardholders & Press
Thursday, December 112 pm – 9 pm
Friday, December 211 am – 9 pm
Saturday, December 311 am – 9 pm
Sunday, December 411 am – 6 pm
WMC Artist’s are gearing up for Aqua Art Miami 2016! The full info is available at: http://workingmethodcollective.com/index.html
I am passionate about depicting the subjects of the spiritual realm or the realm that is unseen or invisible in our reality. Our physical form consists of a spirit and the world that we live in also consists of spiritual forces. With the landscapes that I create I am exploring to depict the realms of our internal self and the external spiritual forces that resides outside of us. When I’m speaking about the external forces I’m am not simply referring to ghosts and evil spirits but I am focusing on the superior being, the being that transcends all knowledge and power and place.Eventually my goal as an artist is to depict this intimate connection that we have with God or that intimate connection that God longs to have with each individual being. I explore the spiritual realm because God himself is a spirit and we too consist of a spirit.
In order to achieve this goal, I work on large wall sized surfaces to depict God’s grandiosity and his omnipresent, omnipotent, and omniscient nature. The materials that are often incorporated in my works are non-precious materials such as poster boards, old discarded drawings, and cheap packaging paper and on clearance house paints. I use these non-precious materials to repurpose them so that these materials can be glorified as an artwork. This is a direct metaphor towards the subject of my work, as individuals will find new purpose and new life through their connection with the Creator.
Translucent paper, brown packaging paper, colored paper, and old drawings are cut or torn into shapes and are glued together to form a spiritual abstract landscape. On the surface of the duct-taped poster boards, there are layers of saturated and de-saturated colors that interact with one another to create a landscape that is distorted and retranslated to depict an invisible spiritual realm.
Three-dimensional surroundings birth from neon, glitter, and pastel pen drawings featuring glowing holes, daunting openings in the universe, and the creaturesque beings that inhabit them. When creating, I fabricate the surrounding material from my drawing universe, forming a space that places the viewer as subject. Accessible processes like papier-mâché, crocheting, and drawing to allow the viewer to relate and participate in these fabricated surroundings. The viewer/interactor can hide inside the forms and animate them by sticking their arms, legs, and faces out of them. When the forms are used to meditate in one’s own space, or to look out to the world and people around them they are activated. Although lighthearted in nature, the lands of hiding spots, rainbows, and sparkles point to coping with anxiety in relation to one’s space.
Eccles explores her detachment to her surroundings as result of her never taking root in any particular place. In her representational oil paintings, everyday objects: pastries, toys, and cosmetics, exhibit highly emotive qualities in spite of the quiet, loosely painted, abstracted backgrounds they inhabit. A Florida native, born in 1974, her interests in culture and narrative have led her to travel to various corners of the world. Most recently she lived and worked in Japan prior to returning to her alma mater, Florida State University.
Lisa is a printmaker working primarily in woodcut prints, who received her BFA in Printmaking from Armstrong State University in Savannah, GA. After graduation, she was given a solo exhibit through Art Rise Savannah at the Desoto Row Gallery and worked independently as a printmaker until her decision to apply to graduate school. She is currently pursuing a MFA in Studio Art from Florida State University.
Once the curtain is drawn to enter my studio, you are immediately greeted with piles of raw wood, lumber, window frames, paint, paper, photos and stacks of materials that I just cannot seem to part with. Tiptoeing through the rubble gives guests a glimpse into my mind, filled with images of the abandoned houses and barns from rural Kansas that inspire me.My visits to these forgotten structures has become ritualistic, almost a pilgrimage that I need to make in order to create. Being able to visit places so full of history and decay is the biggest part of my research and could not be done by studying photographs alone. Each location has its own story about the collapse of a way of life. The end of an era. These ideas come into play with my work using disjointed imagery in an attempt to capture the tragic beauty of these deserted locations.
I have started recording interviews of neighbors, describing life in the Midwest to preserve these memories before they become lost in time. This helps inform a body of work that includes not only my voice, but those in the community that inspired me.
My work often deals with issues of identity where I use hair as a medium to explore complex relationships. By going back to the line and using drawing as a medium I am able to create strands of curly kinky hair. The repetitive meditative marks allows times for self-reflection and creates an objective lens, allowing me distance and space to reflect on the natural curls of my hair. The simple lines reveals itself and becomes beautiful.
I primarily collect thick slats of glass, steel rods, springs, and other found material. I create large scale grid-like installations by stacking, layering, lining up, and separating my materials. These dominating assemblages engage the viewer. Once an installation is complete, it is photographed and taken down. I then reuse the same materials in a different environment to create a site-specific installation.
Lauren Ashley Baker
My artwork as a culmination of influences, the natural world, culture, archaeology, the pendulum of relationship roles and individual perception, which allows me to explore the interior microcosms of life’s collaborative collage. Through studying Sigmund Freud’s analysis in the realms of the conscious and unconscious mind, I believe that our perceptions of reality are refracted by the relationships we construct with people and our environment. These perceptions tend to become more elaborate and highly individualized with the temporal roles that we take on within our families and community.The idea that perception can be hijacked by assumption is the driving theme behind my artwork. I have chosen to focus this exploration of perception on significant relationships in my life and how my consciousness is impacted by these interactions. Nude figures with animal heads are used to expose raw feelings and create complex interpretations of personality. The archetypal animal representation is linked to the muse through behavior, cultural and historical references. These concepts are the core principles present throughout my work.
Reclaimed objects have wear from human hands over time, which enriches the character of the piece. Manipulating materials on a low relief plane, allows me to pay tribute to Egyptian pictography and Byzantine paintings, in which forms avoid any reference to pictorial space. Distortion of perspective gives importance and meaning to the narrative. My figures on capricious backdrops allow the ever-changing waves of perception to flow transparently throughout, and enable the viewer to superimpose their own reality.
My title B’Rael Ali is an affirmation that I use so that I always remain conscious of my spiritual identity and purpose. My purpose being a creative force sent from the cosmos, a bringer of truth. I was born on the south side of Chicago and I have lived much of my life in the urban City. I am a graduate of Southern Illinois University of Carbondale achieving a BFA Painting and Drawing. I am also a spoken word artist. My artwork and poetry are infusions of urban life, history, and social commentary. I believe that knowledge of self is the true answer to anyone’s individual struggles because gaining it has improved my life tremendously. My artwork and poetry serves as a form of education, displaying the lessons and philosophies that help me during my struggles in order to help others through their struggles as well. Art is my language, Art is my way of solving the problems of today in order to create a better future.Much of my artwork features dancing figures. Dance is the physical cultivation of the Spirit through mental release and rhythmic processes. Dance historically, and contemporary is a large part of African and African American culture being used for ritual purposes, ceremonial, as well as social. My artwork depicts those traditional uses of dance through 2D drawings on paper that are enhance with acrylic paint and pastels. I use the dancing figure as a creative vessel to express African American culture and issues. Through compositions designed from the figurative image of the dancer, I compose narratives that describe the African American experience, largely addressing identity, reconnecting African Americans to their African ancestry. The collaboration of symbols new and old creates the persona of “Afrofuturism” in my work, allowing my art to become ritual.