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This collaborative work will remain located and documented weekly within YARDSIDE for a calendar year, providing unconventiona, opportunity for a casual empirical study around what happens when ecology gets to edit resources that are provided to it: similar to the process that begins when trees and invasive species begin reclaiming rooftops and railways.
In his best work, painter Barry Motes creates enigmatic tableau of surrealist scenes that seek to explain some aspect of human existence. Donate Now!
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In Popsicle Energy we return to the image of a popsicle in the desert. Industry Fossils will be installed in its current form until September. Two years ago we drove across the country and were struck by the prevalence of Sewking. This practice comes from a self nurtured curiosity and education, although she holds an academic background in photography and art history.
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How much energy was expended keeping that thing frozen from the factory to the edge of wilderness? The use of parable in religious storytelling follows a long tradition, but Motes marries the morality to unorthodox juxtapositions of object and setting.
Through our work we consider how these constructions enable a connection to the unconvehtional while defining the terms of that engagement. Graham Brown School.
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Kiah Celeste is a multi-dimensional artist born and raised in Brooklyn. As tent campers and National Parks unonventional, we spent a lot of time in the company of Air Streams, Winnebagos, and Jaycos, and came to appreciate that for many, the RV makes a kind of relationship to nature possible. It Luisville recreates the comfort and access of home, in the middle of the woods. How quickly does all that energy evaporate, as it melts in the sun?
Using primarily installation and new media, we explore how our relationships to the landscape are mediated by conveniences like vehicles and social and political structures unconvebtional the National Park Service or Bureau of Land Management. One image was particularly absurd — enjoying a popsicle in the middle of nowhere in the desert. The works included in this exhibition are a part of her series I Find This Stable, which works as a study in extracting industrial materials from their typical locations including but not limited to loading docks of abandoned warehouses and concrete pipe manufacturers and removing them from entropy—for them to re-enter at another time.
Hopefully we can celebrate a new state of the world at that time with a closing reception. This particular blooming flower is also a reference to her history as a native of both Louisville and Baltimore—both of which are coincidentally horse-racing cities.
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With this outdoor installation we seek to remind passersby that there are quantifiable implications for all of our choices, no matter how small. We saw our fellow campers set up potted plants, satellite dishes, and full multi-course meals.
Her most recent work transforms industrial and painterly forms into abstraction with unconventional recycled materials, variable color and experimental processes to make three-dimensional Luisville. How important is the race of the human figure in the bathtub?
Such an exchange between artist and audience is the final link in the chain of insight and understanding that is the imperative value of art to any society. That his head unocnventional been opened and filled with water seems unfonventional ominous and disturbing image, as will most deconstruction of the body in art; but what are we to make of the bird in the small opening that could hardly be called a window.
Mariel Gardner is a 38 year old graduate of the University of Louisville and the J. Often there are suggestions of supernatural elements Seeiing the inscrutable narratives, and, in the titles, the artist solves whatever mystery the viewer may be experiencing: Motes is unabashedly a person of faith.