I’ve always been interested in too many things. As an artist, I have had the freedom to pursue a wide variety of subjects, techniques, aesthetic strategies, and conceptual approaches using a wide variety
My work examines our tenuous connection to the environment and the exponential growth of consumerism. I incorporate post-consumer matter in my installations, paintings, and sculptures. The material
My work seeks for light through chromatic vibrations where the being appears in its ancestral essence. This artist believes in art that embraces infinite points of view. A brushstroke can be an
This visual narrative intricately explores my journey of healing from an abusive relationship through a minimalist approach to line art. Composed of four images sewn together, each stage—”She & Him,” “She Cries,” “She’s Free,” and “She Thinks”—is represented by a delicate red thread, symbolizing both the pain and resilience that threads through the fabric of my identity.
My artwork evolved out of a convergence of global, personal, and national events. By March 2020 the coronavirus had become a worldwide pandemic. Confined and seeking a time-intensive activity, I bought a sewing machine and began learning to use it.
Empty chairs in Plac Bohaterów Getta: memorial to victims and resistance fighters in Jewish Ghetto of Krakow Poland.
My collages are about a lot of things, but mostly they are about having fun. I collect magazines, posters, and used books from my community and travels. I use these pre-existing sources to create playful, approachable, and thought-provoking images that address issues of identity, value, and experience on an individual, national, and global level.
As a woman artist, I feel most qualified to offer perspectives on what it means to be a woman in the world. Such work enables us to consider women in ways that focus on our lives, passions, and past histories, and consider how the male gaze has historically objectified women, fragmenting their outward appearance from their personhood and psychological experiences.
This piece has been drawn with a gel pen. The drawing depicts Kolkata, India, my hometown, as it used to be when the British still ruled. The piece represents the city during the 1920s-30s.
My work delves into the themes of impermanence, decay, and the beauty that emerges from deterioration. I hope to capture moments of transition, where familiar forms are altered through spontaneous and unpredictable processes of chemical disruption and physical manipulation. Polaroids, known for their instantaneity and clarity, are subjected to forces that warp, dissolve, and transform the images.
Lawani Sunday deals with important social issues with a strong emphasis on the subject of the position of women in society. His paintings tell stories that concern each person one way or another. Lawani’s art speaks directly to compassion and empathy in the depths of our soul. Thus, his work becomes part of the spiritual world.
As an artist, my goal is to capture the unique essence of each person I paint. As well, I bring their personality, emotions and expressions alive through portraiture.
Having been an art teacher, woodcarver and a printmaker in my formative years, I
emerged as a painter, joyously overwhelmed by color and searching for pattern.
Color and pattern are everywhere, but the seeing and interpretation of them are
different for each of us. Pattern in nature is primal to me – which fuels my desire to
find a glimmer of logic in vastly complicated, confusing and tumbled landscapes.
On July 23rd of 2018 I witnessed a 10’ flash flood tear past my Santa Fe home, a tsunami in a quiet valley, washing downstream animals, debris and tumbling boulders, leaving behind a raw, reordered landscape. My work went from the universal to the personal, understanding that our presumed control over the environment had evolved to a “new norm.”
Collage is my primary medium and my way of giving visual expression to my inner world. I find beauty in creating something whole and meaningful from the broken pieces of different elements. In this, I feel like collage is a metaphor for all of life. I live for the spaces that I can create with collage; spaces of peace, beauty, safety, comfort, and love.
Through art, Uzomah explores the role of being a person with a disability in society, other issues, and people that go unnoticed. Her abilities draw from her personal experiences and expose the daily struggle of being disabled. Translating all of this into art is her goal as an artist and activist.
“Spatial Empathy” describes the awareness of an individual to the proximity, activities, and comfort of people surrounding them. It is related to the notion of personal space, the concept that an individual has ownership of their immediate surroundings; and for others to invade this space represents an infringement on their privacy.
I stole the title for this body of work from my three-year-old niece. She was initially afraid of the shadows created by the canopy her mom placed over her bed. My sister-in-law was about to take it down when she said, “never mind, shadows love me!” These neon gel pen drawings were first exhibited in Portland, Oregon, at a café called Albina Press, in the Fall of 2022
As a poet, appropriation and collage have always been my primary mode. Distilling and transforming text. Layering and arranging text. My poetic interests have also leaned towards the visual arts: typography, page-space, dirty minimalism.
These junkmail collages were intended as a daily practice. Use only what falls through the mail slot. Be attentive to the rips and stains and bruises the paper incurred in its travels.
As much as anything, I think that what has guided and sustained my work as a photographer is curiosity, the desire to see what something looks like as a photograph. I’ve always been fascinated by the “what it is, what it isn’t” factor of photography—how the literal can become figurative by changing the angle of view, the distance from the subject, or the light.
I started work on the “Gloomy Blooms” photo series in May 2020. The country had gone into Covid lockdown in March, and like many people, I was struggling to adapt to my new, more isolated life. I’m an introvert, and alone time is very important to me, but even introverts have our limits. The lockdown made me realize how much I depend on seeing my friends and family.
This series is a reimagining of older photographs I’ve taken with more recent polaroid’s put over top—a visual translation of the conversations an artist has with themselves, with their old work, with what they’re doing now. Everything I’ve created, whether it be visual art, sculptures, or poetry—they’re participating in one conversation, stacking up meaning.
My deepest influences are found equally within the surrealists and Outsider Art pieces such as street preacher James Hampton’s The Throne of the Third Heaven of the Nations’ Millennium General Assembly. I approach painting with a conscious rawness. With reference to Outsider Art, my artistic insights meet the paint and paper with technical and emotional directness.
The digital photographs represent two series of still life images for back lit prints, Hard Flesh and Fashioned.
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