Sterling Wells WorkArtist Statement CVVideos 1.Arroyo Seco Fountain, 2016 2.Arroyo Seco Fountain, detail 3.Arroyo Seco Fountain, detail 4.Arroyo Seco Fountain, detail 5.Makes a Leak / Takes a Leak, 2016 6.Makes a Leak / Takes a Leak 7.Pressure Drop, 2018 8.Pressure Drop 9.Pressure Drop 10.Pressure Drop 11.Pressure Drop 12.Pressure Drop 13.Pressure Drop 14.Pressure Drop 15.Pressure Drop 16.Pressure Drop 17.Partially Submerged Plein-air Painting in the Arroyo Seco, 2017 18.Documentation image of submerged plein-air painter demonstrating the use of his floating easel, floating palette, and perspective frame. 2018 19.Floating Easel, 2018 20.Standing waist-deep in a submerged trash can with leeches and frogs, 2018 ARTIST STATEMENT I make water systems that represent relationships between extra-human nature and the human made world. Real world water systems I am thinking about include neglected waterways, HVAC systems, and swamps. My works take the form of fountains constructed from found site-specific materials, interventions into a building’s HVAC system, contained condensation systems, and plein-air watercolor painting. These systems expose something, or make visible, with the intention of breaking apart. I counterract the dissonance between the underlying systems that structure our world and the metaphors we live in, by making systems in which what physically happens produces meaning. I appear in these works to show that I am part of the system, and because these systems must be maintained. The physical laws of surface tension and gravity, which are the formal principles that govern the construction of my water system sculptures, are also the properties of the medium of watercolor. In watercolor, the marks represent water, and the paper records the traces of water left by drips, splashes, and immersion. As a Floridian, I am always...
Narsiso Martinez WorkArtist Statement CV 1. Guatemala, Peru, Ecuador, 2016 2. Fujisaki III, 2016 3. Philosophy in the Fields, 2016 4. A Family Portrait, 2017 5. Premium Harvest (side 1), 2017 6. Premium Harvest (side2), 2017 7. Friends in Freshness (1 out of 4 sides), 2017 8. Friends in Freshness (2 out of 4 sides), 2017 9. Easy to Peel, 2017 10. Always Fresh, 2018 11. Always Fresh (detail 1), 2018 ARTIST STATEMENT My drawings are based on my personal experience with the agricultural industry. I grew up in an agricultural environment and I’ve been connected to the fields since I was a kid. From my experience as a farmworker, I conceived of a project that involved a non-traditional collaborative with industrial printers. Influenced by masters such as Millet, Van Gogh, and Siqueiros, I attempted to start a dialog with the food industry by contrasting the agribusiness with its laborers. I chose agricultural workers and drew them on produce cardboard boxes collected from different grocery stores, and this was the beginning of this project. Working in the fields for many years has made me realize that there is a big difference between the lifestyles of the workers and that of the agribusiness owners. The majority of the farmworkers live in an economic struggle every day to sustain their families and to provide them with the basics. Meanwhile, the plantations keep multiplying and the owners are provided with a life of luxuries. I aim to contrast the disparities of lifestyles between workers and owners through the usage of symbols, some found on the used boxes and others produced through the art making process. ...
Jaklin Romine WorkArtist Statement CVVideo 1. Beauty/ Disgust, 2017 2. Transformation Installation, 2017 3. Opened Up, 2017 4. Accession, 2017 5. I DIDN’T FEEL THIS, 2017 6. Exclusion, 2017 7. Cell of Transition, 2017 8. I Am Here, 2017 9. Don’t Label Me 1 ,2017 10. Don’t Label Me 2 ,2017 11. Rising From The Ashes, 2017 12. Common worth & Council/ Visitor Welcome Center, 2018 13. Los Angeles Contemporary Archive, 2018 14. Nicodim Gallery, 2018 15. PAM Residencies, 2018 ARTIST STATEMENT Jaklin Romine was born in Burbank, California, and currently lives in East Los Angeles. She studied Studio Arts at Cal State LA, where she was selected to be part of the Luckman Project. She then showed in galleries around Los Angeles, such as Gallery 825, Avene 50 studios, and Los Angeles Municipal before completing her Masters of Fine Arts at CalArts. There are three cohesive areas to her art practice: idea creation, working in collaboration with art production assistants, and performance. This navigation of time, space, and people has helped her learn to organize and facilitate open dialog with a team of people that can understand that her physical limitations do not define or limit her ability to make art. Within this dual role as artist and director, she found that the ability to formulate ideas and execute them is not limited to socially-constructed ideas of disability, which is the basis of her work at the moment. She was in physical transition, and thus, wanted to created art that hovers within the realms of sculpture, photography, and installation. She ambiguates the idea of the image,...
Gabrielle Civil Work Artist Statement CV return to the sea from Fugue (dissolution, Accra), 2013 site-specific performance 20 minutes Atlantic Ocean Accra, Ghana (photo: Fungai Machirori) ritual of return from Fugue (dissolution, Accra), 2013 ritual of return from Fugue (dissolution, Accra), 2013 earthquake wake from Fugue, 2011 performance ritual 15 minutes New York, New York (video stills-documentation) aching to connect from Fugue (Da, Montreal), 2014 site-specific performance 15 minutes public park, Montreal, Canada (photo: Starr Rien) harnessing bloodlines from Fugue (Da, Montreal), 2014 site-specific performance 15 minutes public park, Montreal, Canada (photo: Starr Rien) this is my heart . . . these are my friends . . . from . . . hewn and forged . . . 2016 site-specific performance ritual 8 hours Salt Lake City Public Library Salt Lake City, Utah (photo: N. Rich) alchemical ritual (for the shadow book) from . . . hewn and forged . . . 2016 site-specific performance ritual 8 hours Salt Lake City Public Library Salt Lake City, Utah (photo: N. Rich) the performance is archive from Q & A: Eclipsing, 2018 performance 30 minutes Chicago, IL (photo: Aly Allmore the q & a is performance from Q & A: Eclipsing, 2018 performance 30 minutes Chicago, Illinois (photo: Aly Allmore) before we move on, could somebody kiss me? from Q & A: Eclipsing, 2018 performance 30 minutes Chicago, Illinois (photo: Aly Allmore) but what if we could just talk, one-on-one, would one of you be willing? from Q & A: Eclipsing, 2018 performance 30 minutes Chicago, Illinois (photo: Aly Allmore) calling the names from “Say My Name” (an action for 270...
Single Horn Guardian, 2015. Bronze and pressure treated timber. 66h x 27 x 23 inches. Edition 1/3, 2 APs
Big Mama. III, IV, 2015. Black mountain clay, gunmetal, clear and white glazed stoneware. 45h x 36 x 39 inches. each
Multi layered installation containing four parts: Big Mama. V, 2015. Black mountain clay, gun metal, clear and white glazed stoneware. 45h x 36 x 39 inches. Clear Blood Vessel 1,2, 2016. Mix clay, clear and gunmetal glazed stoneware 20h x 14 x 15 inches each. First Guardian, 2014. Bronze, pressure treated timber 64h x 12 x 12 inches Edition 4/5, 2AP APs
Multi layered installation containing three parts: Clear Blood Vessel 3,4,5, 2016. Mix clay, clear and gunmetal glazed stoneware 20h x 14 x 15 inches.
Multi layered installation containing four parts: Big Mama. V, 2015. Black mountain clay, gun metal, clear and white glazed stoneware. 45h x 36 x 39 inches. Vessel Painting 3, 2016. Oil on Linen 52 x 59 inches. Blue Vessel Painting, 2016. Oil on Canvas 63 x 53 inches. Unfinished Guardians, 2012. Paper clay, unglazed stoneware 72h x 20 x 20 inches (each)
Unfinished Guardians, 2012. Paper clay, unglazed stoneware 72h x 20 x 20 inches (each)
Blue Vessel Painting, 2016. Oil on Canvas 63 x 53 inches.
Guardians of our Divinity, 2013. Red Sculpture clay, white, crawl and clear glazed stoneware, painted plywood, pebbles, rope 50h x 44 x 76 inches.
Doll. Broken, 2012. Black mountain clay, gunmetal & white glazed stoneware in a steel frame. 90h x 34 x 37 inches.
Multi layered installation containing two parts: Ancient Vessels of the Divine, 2012. Black mountain clay, unglazed stoneware. 64h x 32 x 24 inches. 56h x 24. 24 inches. Dino Egg I, II, III, IV, V, VI, 2015. Red sculpture clay, colonial white, jujube White, crawl white glazed earthenware. Approx. 21 x 15 x 16 inches. each
Dino Egg V (Cactus Dark Green), 2015. Red Sculpture clay, crawl, crackle and white glazed earthenware. 21h x 18 x 17 inches.
Inside Garden III, 2013. Paper clay, crawl and white glazed stoneware. 22h x 34 x 30 inches.
PC_Single Horn Guardian I, II, III, IV, V, VI, 2015. Paper clay, crawl, crackle, white glazed stoneware and pressure treated timber. Approx. 123h x 24 x 24 inches. each
BM_Single Horn Guardian I, II, III, IV, V, VI, 2015. Black mountain clay, gunmetal glazed stoneware. Approx. 37h x 33 x 20 inches. each
PC_Single Horn Guardian I, II, III, IV, V, VI, 2015. Paper clay, crawl crackle and white glazed stoneware Approx. 39h x 21 x 17 inches. each