Ineffable, projected, big data ouroboros. Sculptural installations exploring the nature of cybernetic fecal residue, the relationship between the ego and the avatar, the screen. By presenting various situations where the body is flattened, digitized, projected, and/or reconstituted, the work aims to make some kind of contact with post-digital anatomy, and to seek the elusive threshold (the plane of the screen) where this interaction occurs. The intent of is not to draw conclusions but to navigate the implications and the complexity of these phenomena.
ABUNDANCE is about female sexuality and it’s subordination in a world ruled by patriarchy. It was born out of Annique's own feeling of powerlessness stemming from the judgement and the expectations that are being put on her just because she's a woman. She is "supposed to" be sensual and beautiful, young, fresh, soft, smooth, preferably untouched...her value being defined by how pleasing to all the senses she is and how scarcely she has been letting others enjoy this, her own needs and desires ignored. She feels like this is very similar to how we treat flowers. She sees a lot of parallels on how they are objectified, displayed for our pleasure and given a limited purpose. This is suffocating! To objectify us is to dehumanize us. The way the white substance moves and engulfs everything is exciting at first glance. It may awaken a desire inside of you, a craving, lust, wonder...but it is it’s plentifulness that is turning it into a force of destruction. The same way male dominance imposes it’s power over everything.
These films and photographs reflect the current state of sexist oppression. What are we going to do to dismantle it?
Valery Jung Estabrook
Valery is a female, mixed-race Korean American artist whose work explores identity and technology. It consists of individual pieces that have the ability to stand alone, while also supporting and contextualizing each other. She seeks to push the boundaries of how we interact with and perceive new media by using unexpected approaches and materials. Often installed as themed tableaus, the work is made to be experienced through various sensate strategies by asking the audience to not simply “view” but to also touch and feel. These interdisciplinary presentations provide the audience with an immediacy of engagement, making complex narratives personalized and accessible.
Valery Jung Estabrook grew up on a pear farm in rural southwestern Virginia. She received her MFA from Brooklyn College and her BA in Visual Art from Brown University. She currently resides in New Mexico.
Camille Hoffman's current work is a mixed-media meditation on Manifest Destiny and its representation in the romantic American landscape. Reflecting on the embedded and latent meanings around light, nature, the frontier, borders, race, gender and power in influential American landscape paintings of the 19th century, she uses materials collected from her everyday life to craft imaginary landscapes that are grounded in accumulation, personal narrative and historical critique. Taking inspiration from the Philippine weaving and the Jewish folk traditions of her ancestors, along with traditional landscape painting techniques from her academic training, she interweaves image with refuse in order to reveal seamless yet textured transcultural contradictions.
Casey's digital practice is comprised of hundreds of collages she creates on her iPhone and uploads to her Instagram @uncannysfvalley. She uses images she has found and collected from Tumblr and Google Image Search. She doesn't "make" anything, rather she rearranges images that already exist to create new meaning. Humor, accessibility, and dramatic imagery are a high priority in her practice. The perceived lowness of the materials and subject matter are a direct challenge to the overtly elitist and academic tendencies of contemporary art making. Her work is an attempt to subvert the relationship between signifiers that are coded as feminine with the association of frivolity or manipulation through the expression of emotion.
The work Netta produces analyzes the evolution of domestication, as an aggressive political power system. It is motivated by the departure of the Human species from the natural world, and the reintroduction of a modified & domesticated version of nature that forms a new artificial balance. Absence represents the subject and functions as a pivotal point in all of the works. She uses both video and stills to withdraw her subjects from their natural environment, and underline their presence through the process of disappearance.
Jonathan Sims is a multimedia visual artist based in New York City. His visual arts practice is characterized by brightly colored geometric abstractions and simple, minimalist symbology that evokes language and universal, ancient design. A consistent premise underlying his work is based on the idea that a modern human’s relationship with the very ancient past is mirrored in their relationship with the distant future.
Beginning in the fall of 2016, Jonathan is currently an artist in residence at Flux Factory in Long Island City, Queens.
Joani Tremblay is an artist and curator living in Montreal with an MFA from Concordia University. At the core of her practice lies a fascination around place, landscape and flora. Her version of landscape is a colorful, tropical joie de vivre which tangles between representation and abstraction with an emphasis on mark making, color and a sense of playfulness. If we consider the notion of place as something which can act upon the emotions and behaviors of the viewer (Guy Debord, 1955), these created utopian places can be seen as environments capable of influencing the viewer into another possible life, a new way of life, in alternate landscapes.
But these created utopias are landscape paintings (even if they are landscapes re-contextualized into a contemporary approach) and are, as such, packed with cultural framing. Landscapes and their utopias are invariably correlated to the question of culture, as historian Simon Schama states: “When we look at a landscape, do we see nature or culture?” The representation of landscape is not only a matter of internal politics and national or class ideology but also an international, global phenomenon, intimately bound up with the discourses of imperialism.
In contemporary times our understanding of nature has been entirely affected by its many simulations and reproductions, ranging from films and photographs to theme park attractions, computer games, websites, and seductive advertisements, as well as by how nature, far from being “pure” is instead a contested arena suffused with competing ideologies and agendas. Accordingly, in her landscapes Tremblay investigates if these utopias are possible tropical paradises or rather, if they are part of a privileged, imperialist, bourgeois utopia.
Wang "Frank" Yefeng
Frank is a new media artist. He was born in 1984, in Shanghai, China. He left China for the United States after completing his BFA at Shanghai University, and received his MFA in Art and Technology Studies at the School of the Art Institute of Chicago in 2011. In 2013 he began teaching and building the Digital Media Art program at Rhode Island College as an Assistant Professor. Yefeng is currently based in Providence, RI and New York, and constantly travels back and forth between the United States and his hometown of Shanghai.
Yefeng actively pursues his artistic career in both East and West, and continues to think and work critically across media including Experimental 3D rendering and animation, video installation, virtual reality, and 3D printing. Yefeng has extensive experience exhibiting in venues internationally, which include Co-prosperity Sphere Culture Center(Chicago, IL), Currents 2012 International New Media Festival at El Museo Cultural de Santa Fe(NM), Herald Square(NY, NY), Xuzhou Museum of Art(Xuzhou, China), HEREarts Center(NY, NY), The Museum of Luxun Academy of Art(Shenyang, China), Gene Siskel Film Center(Chicago, IL), Hyde Park Art Center(Hyde Park, IL), Hong Kong Art projects Gallery(Hong Kong), Between Art Lab(Shanghai, China), Govenors Island Art Fair (NY,NY), Chi K11 Art Museum (Shanghai, China), etc. He was also a residency artist and juried panel member in NARS Foundation in Brooklyn, NY.
Under an inseparable influence of Korean American heritage, a mind of habitual tourist, Yaloo creates poetic narratives with trans cultural icons such as corn, red ginseng, and national workout routine to explore the poetic possibilities of digital media. By creating visual extravaganzas, Yaloo attempts to inspire us to better understand our desire and the world we live in.