Allison Janae Hamilton

Allison Janae Hamilton

Allison Janae Hamilton Return to Artist List WorksArtist StatementCV FLORIDALAND, 2017 Untitled (Ouroboros), 2017 Wonder Room, 2017 Wonder Room, 2017 Wonder Room, 2017 Wonder Room (Front Porch Soundscape), 2017 Brecencia and Pheasant, 2015 Brecencia, 2016 Altar/Alter: A Ritual of Mythos, 2016 They scream if you don't look twice IV, 2016 A balm for the living., 2016 Scratching at the wrong side of firmament., 2015 Dollbaby standing in the orchard at midday., 2015 House dress at the bank of a flatwoods lake, 2015 The Hours., 2015 Artist Statement My artwork features uncanny subjects and surreal scenes that blend the epic with the everyday and the disturbing with the delicate within the expanse of the rural American south. The chief concern of my practice is land: I am curious about the ways that the actual topography of the American landscape contributes to social and political constructions of space.  I am likewise interested in the role of landscape in the conception and figuring of “Americana.” In my treatment of land, the natural environment is the central protagonist, not a backdrop, in the unfolding of historic and contemporary narratives. My work is accordant with Walker Evans’s premise that “southerners are haunted by their own landscape.” I create unsettling figurations that engage the social and political concerns of today’s changing southern terrain, such as land loss, environmental justice, climate change, and sustainability. Each work contains narratives that are pieced together from folktales, hunting and farming rituals, African-American nature writing, and Baptist hymns. Most intimately, I am influenced by mythologies passed down to me through my own relationship with the region: I was born in...
Dylan Vandenhoeck

Dylan Vandenhoeck

Dylan Vandenhoeck Return to Artist List WorksArtist StatementCV 1. Entoptic Touch: Pressure Phosphene and Coffee Mug, 2017 2. DETAIL Entoptic Touch: Pressure Phosphene and Coffee Mug 3. The Nausea: Ceiling, 2017 4. Left Eye Half Closed, Bright Day, Floater, 2017 5. The Nausea: Subway, 2017 6. DETAIL The Nausea: Subway 7. Plein Air Painting XIII, 2017 8. Plein Air Painting XII, 2017 9. Plein Air Painting IX, 2016 10. Plein Air Painting IV, 2016 11. Plein Air Painting XV, 2017 12. Plein Air Painting VI, 2016 13. I'm Facing My Side, At the Hudson River Looking Towards the New Jersey Palisades, The Wind Against My Neck, Making an Observational Voice Memo, 2016 14. Standing with Poison Berries in Front of my Nose in Pound Ridge, the Blinding Sun Through the Trees, Afterimages, 2016 15. I'm in my Running Clothes, 2015 16. Left Eye Open, Right Eye Closed, Right Eye Open, Left Eye Closed, 2016 17. Plein Air Painting I, 2016 18. Plein Air Painting XIV, 2017 19. Plein Air Painting V, 2016 20. Three Glances Wearing Blue Sunglasses, at the Hudson River by Fairway, 2016 Artist Statement “Inside and outside are inseparable. The world is wholly inside and I am wholly outside of myself.” — Maurice Merleau-Ponty, The Phenomenology of Perception I make observational paintings. I paint either on location, from voice memo phenomenological accounts, from preparatory drawings/photos/notes, or a combination of the three. From life, but what does living actually look like? It’s far from straight-forward. We are told we can perceive the world but cannot perceive our own perception. Those words do not align with lived experience. Phenomena...
Matthew Schrader

Matthew Schrader

Matthew Schrader Work Artist Statement CV Installation image of methods of charging, 2016 Exhibition Variable U.S. Blues, Brooklyn, NY Installation image of methods of charging, 2016 Exhibition Variable U.S. Blues, Brooklyn, NY Untitled, 2016 Silver gelatin photograph. 4” x 6” Installation image of methods of charging, 2016 Exhibition Variable U.S. Blues, Brooklyn, NY Untitled (for S.G. Schell, a channel through which something (as a fluid) is conveyed), 2016 Walking stick, steel pipe, chrome plated neodymium magnet and hardware. 4’ x 1’ x 6” U.S. Blues, Brooklyn, NY Detail of Untitled (for S.G. Schell, a channel through which something (as a fluid) is conveyed), 2016 Walking stick, steel pipe, chrome plated neodymium magnet and hardware. 4’ x 1’ x 6” U.S. Blues, Brooklyn, NY Installation image of methods of charging, 2016 Exhibition Variable U.S. Blues, Brooklyn, NY Untitled, nd. Magnetic viewing film, adhesive, galvanized steel, neodymium magnets and hardware. 14” x 14” x 2” U.S. Blues, Brooklyn, NY Untitled, nd. Magnetic viewing film, adhesive, galvanized steel, neodymium magnets and hardware. 14” x 14” x 2” U.S. Blues, Brooklyn, NY Untitled (air), 2017 Outlet vent cover removed and repositioned, ducts, and air. Variable Abrons Art Center, New York NY Untitled (air), 2017 Outlet vent cover removed and repositioned, ducts, and air. Variable Abrons Art Center, New York NY Untitled (air), 2017 Outlet vent cover removed and repositioned, ducts, and air. Variable Abrons Art Center, New York NY Installation image of a high frequency alternating current, 2016 Exhibition Variable Metropolitan Structures, Baltimore, MD Installation image of a high frequency alternating current, 2016 Exhibition Variable Metropolitan Structures, Baltimore, MD Untitled (landscape), 2016 R02...
Grace Metzler

Grace Metzler

Grace Metzler WorkCV Bathers, 2016 Oil and Acrylic 12 x 14 Couples Massage Dancers, 2017 Oil and Acrylic 14 x 16 Fix Your Hair, 2017 Oil and Acrylic 14 x 16 Games on, 2016 Oil and Acrylic 68 x 72 Grave Digger, 2016 Oil and Acrylic 16 x 20 Huddle + Lookout, 2016 Oil and Acrylic 8 x 10 Laundry Day, 2016 Oil and Acrylic 67 x 70 Make Out Hole With Hole + Runners, 2016 Oil and Acrylic 84 x 103 Party at the mill, 2016 Oil and Acrylic 86 x 70 Pizza party, 2016 Oil and Acrylic 12 x 14 Ski Diana, 2014 Oil and Acrylic 68 x 72 Ski Lift, 2015 Oil and Acrylic 75 x 80 Swimmers, 2014 Oil and Acrylic 78 x 82 Swinger, 2016 Oil and Acrylic 56 x 72 Weed dress, 2016 Oil and Acrylic 48 x 36 Thierry Goldberg Gallery, Lower East Side Group Show, Summer 2017 Upstairs Art Fair, Hamptons, Summer...
Diamond Stingily

Diamond Stingily

Diamond Stingily Return to Artist WorkVideo Artist Statement CV Elephant Memory, (2016), Kanekalon hair, steel, 96 x 96 in Entryways (2016) door with locks, bat, wood, 79 x 41 in Entryways (2016), varying sizes How Did He Die, (2016) 8 min 38 sec, dimensions variable Kaa (2016) Kanekalon hair, knockers, barrettes Kaa (2016) Kanekalon hair, knockers, barrettes 2 Kaa (2016) Kanekalon hair, knockers, barrettes 3 Kaa (2016) Kanekalon hair, knockers, barrettes 4 NADA-MB16_14_WhatPipeline Diamond Stingily   Artist Statement I want to reconstruct the idea of art for people who grew up similar to my social and economic background. I don’t believe art should be intimidating or only for the privileged. As a writer and an artist I want to show how an object can tell a story and share an experience. It makes the experience universal and hopefully through this form of vulnerability creates necessary conversations. I want to explore racism, colorism, femininity, surveillance, paranoia and phobias within my community and question ideas of structure. At the moment my subject matter is constant surveillance. In dominant Black neighborhoods in stores, restaurants and on the streets there are cameras. Black people are reminded with signs that read “Smile.You’re on camera” to smile. On streets in dominant Black neighborhoods, crime is migrated due to the surveillance cameras and bright lights used at night. The city doesn’t take into account the residents who live in the buildings on the block and how it takes a toll on the mental health of the people living in these high surveillance neighborhoods. Through technology these are practices of anti-blackness. I want to explore freedom. No...