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  Stagnation Transfiguration

  John Jarrett Kinsland

  Age and lack of time was a constant problem for my family and a personal concern for myself growing up, maybe because I am the only person in my family under the age of 55. Lack of energy became neglect for my family’s 142-year-old farm and 40-year-old tire business. Growing up, I became all too familiar with visions of decay in what once had been a thriving place of growth and order.

  My aging family’s lack of energy was a main ingredient in the state of decay but economic flux and failure to keep up with the times were also to blame. Witnessing this decline planted a seed of desire to see progress and a way out from the current state of things. “Ad-hocism” and off-the-cuff construction using materials that were readily at hand to solve utilitarian problems became a wellspring of inspiration and creative opportunity for me. Growing up, fences, roofs, mailbox stands, gate latches, and feed troughs name but a few of the things made from old tires I found; from tarps made from inter-tubes to chairs made of steel wheels, the list could go on.

  As an artist, I continue the essence of my family’s ingenuity combined with my physical and mental need to improve and build. In some of my recent sculptures, I make use of tire parts linked and woven into forms that simultaneously seem to be on the verge of falling apart while having a noticeable structural integrity. I hope to portray to the viewer a foretaste of the atmosphere from which the resources came and a sense that a new possibility for the materials is being found. The idea of struggle and acceptance of limitations and failures in the construction process can be seen in my work and serve as important references to the reality of what is possible as I quest for new possibilities. These intentions spill over into my ceramic work with the tower-like forms built from loops of clay, mimicking the shape of tires. Juxtaposing play, structure, and defiance against forces that overwhelmingly oppose their creation is a goal of mine.

  I strive to create works that have an open ending or a kind of ambiguous existence, leaving the viewer free to impose their own narrative on the forms. As guiding rails to that narrative, I implant elements of hope, somberness, playfulness, and urgency. An influence on this approach is historic Cabinets of Curiosity that speak on the nature of wonder and humanities desire to both understand and not know. Indeed wonder is very often found in the things we feel a kind of connection to without having an understanding.

  Alwyn O’Brien‘s ceramic work has also been an influence of mine in terms of its playfulness, fragility and urgency. Sterling Ruby and Leonardo Drew are also large influences on my work due to the raw and unkempt aesthetic of their sculptures along with conceptual themes of masculinity and its fragility.

  Jarrett Kinsland

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  Ramble: Graphic Design Exhibition

  Ethan Shutt

  The content I prefer to work with typically deals with the ideas of nature and our place as humans inside of it. This exhibition, Ramble, shows the branding of an outdoor company that encourages a person to exist in nature that is different from our often urban and ordinary lives. By allowing viewers to either think or feel that they are in an outdoors store environment I am attempting to create the desire to go hiking and camping.

  This body of work is rooted in creating an interaction with the viewer, whether that interaction be design-based via packaging or signage or using illustrative means to invoke a feeling. I use three-dimensional processes such as packaging design as well as two-dimensional processes such as silkscreen and digital printing to create an overall cohesive brand that largely focuses on convincing a person to buy their product to begin their adventure.

  I often look at work by artists who pull double duty as both illustrators and designers. Currently I find the work of James Gulliver Hancock and Jessica Hische influential; Hische’s work inspires mine by adding illustrations as an accent to a typographic design, and I use limited color palettes in a similar manner to Hancock’s work.

  Value primarily defines the subjects in my work, I use a graphic style employing blocks of color and value while also occasionally using line illustrations that accent elements. I make realistic and recognizable imagery with illustrations. When working outside of an illustrative style, I create typography based layouts that balance readability and creativity as well as using photographs to effectively convey an idea to a viewer.

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  past imperfect

  Bentley Utgaard

  How do we understand the various structures that sustain our consciousness? How do these structures form, evolve, and eventually fail? Geologic layers of experiences and memories accrete, evolve, and erode continuously. Microscopic genes mutate creating new iterations of life; diseased cells multiply to a critical mass. The interplay of the seen and unseen, and the space between what is tangible and the shadow it casts fuels my research. Exploring biological underpinnings provides opportunity for communicating about the force, delicacy, and ambiguity of life even through its decay.

  The small sculptures are intimate tableaus about presence and absence, outmoded ideas, as well as memory creation, loss, and authenticity. Enameled forms layered with decals of Victorian-era engravings, patterns, and/or hand-drawn imagery evoke a sense of wonderment through not understanding everything, as if piecing together a mystery or reading between the lines. Is the whole greater than - or, conversely, less than - the sum of its parts? The use of found objects and other non-metal materials lends more contextualization and spirit to the work. The art and craft of metalsmithing itself brings with it historical significance, materiality, and emphasis on process that melds with the work’s conceptual potential. I look to contemporary metalsmiths Myra Mimlitsch-Gray, who creates ambiguity and cultural commentary by mutating traditional forms, and Haley Renee Bates, who innovates with her studies on structure and perception, as they set high benchmarks for conceptual development without compromising craftsmanship.

  The jewelry works present small-scale narratives and contrasts in form. The Vanitas Series brooches strike a balance between the familiar and the unrecognizable using cast natural objects placed in formal portrait-like settings. Matte finishes suggest a latency and “frozen in time” quality. Placing these objects within such constraints examines their preciousness and potential in an absurd way, seeking a nostalgic experience of biology. Other jewelry pieces explore perceptions of structure through conflating the natural with the machine-made. My attraction to this contrast in form is inspired in part by Lee Bontecou’s wall sculptures that appear at once mechanical and anatomical. They strike a subliminal chord. Jeweller Cristel van der Laan is also influential for her astute marriage of geometric and organic forms.

  This body of work invites the viewer to spend time contemplating what constitutes and changes our conscious lives. There is a melancholy naturally associated with themes of loss, but my hope is that the work evokes a sense of embracing the unknown in a curious way.