basic space

Studio Visit/Exhibit Preview: Drew Peterson, "A Moment Stays" @ Burnet Gallery

Drew Peterson’s art is familiar. I’ve seen it before, many times.  In fact I’m quite fond of his prints. With the intense colors and well-crafted layers, precise lines and controlled energy… it’s exciting, stimulating, perfect.  It does no wrong except that it is always it’s best or seems that way.

How do you make yourself a better version of your best self? If you’ve been doing “you” for as long as you can remember, how do you let it all go…without abandoning all the good parts you’ve worked so hard to cultivate?

And why would you want to let go?

Because simply, at the root of creativity is re-invention. While an artist may finally find that signature, sound, or stamp that they can without doubt claim as their own, they will eventually face that moment when they must decide to grow or remain. Remaining is safe, it works and it feels comfortable. People like it (and that is the ultimate confirmation) or better, people buy it!  But any true artist knows it’s not about money (ok, sometimes it is) but more romantically, it’s all about the challenge of finding something new to like if not equally, even more. It’s even better if that something new is coming from a place of self-driven mastery, skill and experience.  This of course is more easily said than done.

Back to Drew’s art (actually this was all about Drew’s art but I’ll be more direct now)… in some ways, his upcoming solo exhibit “A Moment Stays, “ is about letting go. But don’t expect to see a whole new Drew. It’s not time for that quite yet, and detachment requires contentment. So along with his tried and true come new surprises. As he does with his art, he fittingly moves forward while standing perfectly still.

Inspired by Japanese woodblock prints, ikebana (Japanese flower arranging) and a readiness to abandon his signature imagery, Drew nonetheless lets go slowly and elegantly. In a careful step towards a purging of his typical machine-like structures… he pulls individual elements from his previous imagery and utilizes them to create new bouquet-like structures that are no less intricate but somehow calmer, balanced, refined. The result is an unexpected new softness. Another change is open space. Where previously Drew would have layered and layered until the background seemed an afterthought, he now gives the viewer a composed place to rest their eyes. His brilliant color selection is given the space to show off. Colors and layers are more deliberately placed so that a deep lilac and muted gray-blue can be admired just for looking that good next to each other.  Breathing room must have felt right, because some of the larger pieces in the exhibit are simply two colors.

Printed with silver ink on a rich cobalt blue is a piece that is more about the negative space than anything. It’s quite a departure from his previous work, but the path to achieve a piece like this comes only from a certain mastery of printmaking technique.  Acceptance of the limits of his imagery and willingness to find new space gracefully lands him in uncharted and exciting territory. The cobalt blue that floods the negative space is simply stunning because the “double drop” print of flat blue is flawless, not an easy feat. The tone of blue offsets the overlay of silver inked shapes so that the piece glows just enough to resemble something that feels like the darkest night within a bright moonlit sky. It’s hard to look away.

The only downside to the apparent changes in Drew’s work is that it makes his more classic pieces in the show seem slightly less exciting. They are no less impressive… and showcase his impeccable ability to balance a procession of layers and restrain chaos within order. However, the new techniques and risks he takes with other pieces pay off so well, you’re left wanting more of that instead. This is certainly not a bad thing for an artist.

With change comes hesitancy, so for now this exhibit will deliver everything that you would expect of a Drew Peterson solo show. Yet while his signature is fully present, he also shares something exquisitely fresh. Exploration is evident but satisfaction is clear. Perhaps then, this is the perfect moment to let go.

“A Moment Stays” solo exhibition by Drew Peterson.  

Burnet Gallery, Le Méridien Chambers, 901 Hennepin Ave., Minneapolis, Minn.

FREE Opening Reception 6-9 p.m., Fri., Jan 13. Exhibition runs through, Feb. 26, 2011. Gallery hours are 11 a.m. to 9 p.m. daily

Exhibit Review: Dreams and Effigies @ Form + Content

My head was in a crazy place that day. I had a lot on my mind and a list of things to accomplish, but slotted for around 5:30pm was a stop into Form + Content Gallery to check out an exhibit of new works by Camille J. Gage and Ellen Skoro, Dreams and Effigies. From the moment I stepped into the gallery, everything inside my whirling mind seemed to melt away…

The back of the gallery is flooded with the shadows cast by a hanging installation.  Encircled by black rings and hung lightly by strands of deep hued beads are antlers of various sizes. The antlers twirl ever so slightly in their precarious suspension allowing the viewer to gaze at them from almost every angle. Camille J. Gage explains that her installation pieces in this show were inspired by an actual dream she once had, in fact perhaps one of the most impactful dreams she’s ever had. In this dream a huge buck with massive antlers led her through an intimidating forest, helping her to cross an imaginary but real barrier into a scary place. Working with antlers as sculptural pieces of art allowed her to see their form when reversed, as protective rather then menacing.

A dually fierce and calm presence occupies the walls of the gallery in the form of totem-esque animal clusters.  Ellen Skoro, who repeatedly dreams of animals, starts with hand cut photo collages from found images of various animals. After arranging them into a shape she scans and digitally manipulates their size so that when printed, mounted and cut out of wood, the collages are practically life-size. The art works are peculiar to me at first, I’m not sure what to make of the animal clusters until upon further inspection… pattern and flow take shape. Deliberate groupings of animals, from wolves to housecats, wild cats to puppies, snakes and birds… layers and layers of curious creatures feel cyclical, calming, spiritual. 

Often times, the experience of art is palpable, specific pieces from a show become favorites… others might be troubling or a turn off, but either way preference decisions can be made on what you saw. In the case of Dreams and Effigies something different transpired for me. Being in the space with this art was not so much about the individual works but the overall experience of being surrounded by them. Animal eyes peer at you from every wall and sharp antlers encircle you emphasizing a predatorial presence, and yet you feel safe, you leave feeling peace. The take-away is the whole more than the parts... and the sleep-like, restorative energy contained in this exhibit is nothing short of beautiful.

From the deeply subconscious and magical realm of our dreams sometimes comes enlightenment, though more often than not comes confusion.  Ellen Skoro and Camille J. Gage’s dreams inspired clarity in the form of art, creating a space to remind us that life is about balance, between the known and the unknown, the intimidating and the familiar. In the end, all we can really be sure of is that we are here to experience both the real world and a dream world, no matter how uncertain they may be.

 

Dreams and Effigies runs through December 30, 2011. Tomorrow night Camille Gage hosts a Solstice Meditation and restorative yoga at the gallery, Wed Dec 21, 6 PM to 7 PM. The event is free.

More information: www.formandcontent.org

Exhibit Review: Who Are You?!? @Burnet Gallery

Who Are You?!? Dana Weiser at Burnett Gallery

When I first moved to Minneapolis 14 years ago, having spent my entire life living in the Middle East, it was difficult to identify as an American, although by blood I certainly was. Add a unique complexion and physical appearance contributed by my Thai mother… and I inevitably faced questions like, “WHAT are you?” I think the most disturbing question was, “what’s your nationality?” to which I answered, “American,” only to gain a reaction that suggested it wasn’t the exotic answer they were looking for. In my head I had a more interesting explanation, but annoyed by their lack of knowledge I rolled my eyes thinking, “ask what my ethnicity is if you want to know why I don’t look like you.” Sadly, harmless curiosity is often surrendered by a lack of sensitivity in approach and my desire to educate was lost as a result.

Yet, judgment is unavoidable. As humans we are so intensely tied to how we look and what physical cues reveal about where we are from or what kind of people we might be. Definable roots, for belonging and identity as defined by clan, is such a strong human need for both security and understanding. While we move towards a world that is less homogenous, disconnect has simultaneously grown between those we can relate to and those we can’t. It’s disappointing that it couldn’t be the other way around, especially with availability of knowledge and efforts to encourage cross-cultural understanding. Blurred lines are somehow creating more intolerance, more confusion.

Who Are You?!? Dana Weiser at Burnett Gallery

If anyone can shed some fresh light on the subject, it is often the artist who takes something we are tired of thinking about and presents it in a way that resonates. Dana Weiser’s first solo show, Who are You?!?, opening this Friday at the Burnet Gallery, does just that. Her perspective is that of a Korean-born adoptee raised in Minnesota by Jewish American parents. Growing up she struggled with how her physical appearance led people to ask hurtful questions such as, “but where are your REAL parents from?” She dealt with unfair stereotyping that she could not internalize both because of her lack of connection to Korea and the ignorance of the statements. A man in an elevator once sniffed her and asked her where the kimchee was. While many adoptees deal with how people perceive them, recent celebrity culture exonerates the adopting/saving of babies from third world countries and the media obtusely labels then as “adoptive children” rather then simply children, exacerbating the difference. As an artist, Weiser channels her emotions and reactions into a meditative process resulting in hand-drawn patterns and ceramic sculptures that are not surprisingly, both soothing and uncomfortable.

Who Are You?!? is at first glance dazzling and beautiful. Ornate etched Venetian-style mirrors are balanced next to paper drawings of delicate, flowering patterns accented with metallic outlines. In the center of the room are several sculptures, a pair of crying babies covered in gemstones and painted gold and silver, a multi-faced girl sculpture finished in a subtle glittering sheen. But as the viewer is drawn into the room, words and questions pop out of almost every surface. One mirror asks “What are you?” Peeking out beneath another drawing’s pattern is the word, “Xenophobia.” The important thing to take away, both for understanding other people and this show, is that there is more beneath the surface. Beyond first glance, what is there might not be what you expect, so please tread lightly.

The exhibit is truly breathtaking. Weiser’s craftsmanship is perfection and her clever take on identity and racism is unexpected. The strength of the show lies in the truly personal place from which the art was created and her ability to package it in a way that is equally enticing and off-putting. Yet from discomfort comes growth. Take a few moments with your reflection and a question… and you might begin see yourself and the world just a little differently.

***

Who are you?!?” solo exhibition by Dana Weiser

Burnet Gallery, Le Méridien Chambers, 901 Hennepin Ave., Minneapolis.

FREE Opening Reception 6-9 p.m., Fri., Sept. 16

Exhibition runs through, Oct. 16, 2011. Gallery hours are 11 a.m. to 9 p.m. daily

 

More on the artist: http://www.danaweiser.com/

Nate Young -- Postracializationalism @ XYandZ Gallery

We opened a new show this weekend at XYandZ. The opening reception was successful with a great turnout, but we did notice that much of our regular gallery crowd seemed absent. Granted this particular evening offered a plethora of arts events and exhibit openings around town, so perhaps that could be considered. But we also wondered about the show itself and whether or not the subject matter was a bit challenging. 

It is a unique show to say the least. Some people at the opening called it "beautiful," others called it "uncomfortable." I personally, am swept up in the deliberate lack of color. The pieces are for the most part made up of white space. They perfectly complement the white gallery walls while also managing to stay distinctly separate from them. This is only a basic place to start thinking about this show, perhaps even irrelevant. 

I encourage you to stop by and see this show. It needs your thoughts. 

Postracializationalism runs from Sept. 10- October 7 @ XYandZ Gallery. 

 

Studio Visit: Josh K. Winkler (Fantastic Realities @ XYandZ)

Josh Winkler has bird skulls on a shelf in his studio. He refers to the collection as the “glass casualties.” He acquired all of the deceased birds this Spring, each a victim of a fatal accident: flying into windows. The skulls look precious, a delicate and sad shrine.

Pinned to the wall above this shelf is a magazine image of the recreated living room of C.J. McElroy, at the International Wildlife Museum of Tuscon, which Josh visited in 2009. McElroy was the founder of the Safari Club, an elitist organization formed in the 1970’s to cater to the interests of trophy hunters. McElroy is known for having killed nearly 400 animals, which he had stuffed and mounted to be proudly displayed in his home. McElroy was actually forced to resign from the club due to questionable ethics and suspicions that he hunted extinct animals in a national park. Regardless of the behavior that ultimately exiled him from his own organization, the sheer incredibility of one man’s impact on the world is what Josh is most concerned with. Inside the trophy room are hundreds of taxidermied animals killed by a single human, deliberately for fun and status.

The image of McElroy’s trophy room serves as inspiration for a large intaglio print, where Josh uses a process of etching into metal every tiny detail of the room, scaled to express a perceived grandeur. If the room is something to be admired or disgusted is up to the viewer. Perhaps Josh’s choice of printmaking method, which uses a harsh technique of acid to eat away the areas not etched into cold metal, delivers a final image that contains less humanity within it. However, Josh claims his choice of method for this particular print is simply the ease of working in detail with intaglio, though his usual method is to use woodcut reductions. The woodcut process is a bit more rustic, requiring hand carving of an image into wood blocks and rubbing color onto them. Josh’s process usually involves 6 woodblocks per print, because he prefers not to completely cut away at the original block, as is typically done in reduction printing known as a suicide print. Once it is completed, there is no possibility for re-prints. Finality doesn’t resonate with this artist despite his willingness to put death on a shelf.

As Josh attempts to preserve some aspect of his printmaking process, his subject matter similarly preserves memory. His prints of collections, monuments and museums are seen from a detached picturesque viewpoint, despite having visited each place first-hand. The perspective of each image is that of a bird’s eye view, an almost “impossible” view according to Josh, one where the full scale can be seen from one angle. His color schemes and style remind me of the illustrative pictures I might have seen in an encyclopedia, the classic book version before we knew of Wikipedia.  Similarly vintage, his prints emulate the look of a 70’s style postcard, depicting an epic vacation to the most fantastic place. There is a deliberate sense of nostalgia in all of his work.

The fantastic places he re-creates each bring attention to obscure human attempts to revel in the wonder of creatures that inhabited the earth long before us. Paradoxically, almost everything we do to advance our quality of life disrupts their natural habitat.  One print features The Mammoth Site in South Dakota boasting the world’s largest mammoth research site, an animal that no longer exists. Another shows Lake Mead in Nevada, a large reservoir in the desert that dually serves as a water supply and a place for recreation. A reflection of our ruthless disposition towards the earth as we deplete its resources and change its structure for survival as much as entertainment. This juxtaposition is also present in a print of the National Freshwater Fishing Hall of Fame in Hayward, Wisconsin, a popular fishing destination known for trophy worthy catches. The museum features a massive 143-foot fiberglass sculpture of the world’s largest fish, the muskie. Muskies are a species prone to overfishing, so there is a strict catch and release policy. Despite the celebration of this fish, capture causes them much stress and trauma.

Josh doesn’t so much condemn the human need to assert dominance over animals of even the most monstrous size or to control nature by disrupting and moving it, as he does exude honest concern for it. While there is true sadness in a collection of recently deceased birds, he admits to some humor in the fact that most of them died crashing into a window. He hopes this humor is uncomfortable though, and just enough for some sense of awareness amidst the laughter. Possibly some compassion can be realized in the wonderment of gazing upon tiny skulls or nostalgic images of ironic animal shrines.

On a table sits a pile of wood scraps that have been extracted from a hand-carved “water tower." He’s been working on this sculptural piece for almost a year. He refers to it as a water totem, recalling the ancient tradition of carved poles to represent indigenous groups. To Josh, water towers much like highway walls, change the landscape for both humans and animals. Water towers are also a shift from a basic human need (water) now funneled from a made-made structure rather than directly from the earth. The fact that his water tower is painted and carved to look like a hamburger, hints yet again at his particular dark humor. As seriously as he addresses our growing disconnect with the land, his art frames it in an absurd twist. Perhaps under it all, the absurdity of human apathy is what is truly twisted. 

 

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Opening this Friday, August 5^th, Josh Winkler is featured in Fantastic Realities at XYandZ Gallery. The exhibit runs through Sept 3, and features most of the work mentioned in this studio visit along with a complementary collection of work from artist Brian Borlagh. 

More info here. 

 

Based in Berlin

In October of 2010, Based in Berlin held an open call requesting artists to submit their portfolios for review by an international team of advisory curators: Klaus Biesenbach from the MoMA (NYC), Hans-Ulrich Obrist of Serpentine Gallery (London) and Christine Macel of Centre Pompidou (Paris). The selection criteria for artists included 2 requirements—at least part time basis in Berlin and less than 5 years of exhibit experience, if any. However, in a risky twist involving another submission process, 5 young, emerging curators were chosen out of 40 to complete the artist selection and actual work of exhibit curation.  Only 10 percent of the 80 artists chosen were from the open call. The rest were chosen by the 5 curators through studio visits and research. The final exhibit aimed to present a showcase of the fresh future of contemporary art in Berlin. While this ambitious undertaking may have been worth the buzz and discussion around the artists and galleries involved, what actually sparked controversy was the 1.6 million euro city-funded budget. Considering that Berlin’s annual visual arts budget totals 4 million euros… plenty of public debate, criticism and writing about the high cost followed. 

Regardless, on June 8^th Based in Berlin opened its doors. I’ve recently been exploring the Berlin art scene… considering that there is a good possibility that I will be re-locating there next year. During my last visit, the highly controversial 5-venue exhibit, Based in Berlin was in full swing. Here’s a small sampling of what I saw and what I discovered: 

Artist Tue Greenfort's TENT pictured above. The floor was consumed by a folded-up large scale tarpaulin poster, which snaked and scrunched around the perimeter of the room. A small tent like structure made out of the same material perched on a table. The scale of the crumpled up poster next to the mini-structure warranted a photo op but not much further contemplation. The most lingering impression came from the strange plastic scent emitted by the tarp material.  Most of the main exhibit, housed inside a building scheduled for demolition at the end of the summer in Monbijoupark, echoed this context-less approach. Installation art was shown inside the various rooms and spaces of the building. Ephemeral perhaps, but not unfamiliar to the Berlin art scene where pop-up exhibits in unused buildings often occur. From a curatorial perspective, the lack of maps or guides was an oversight. I wandered aimlessly through the building stumbling upon art here and there, which can be awesome, but not in the case of this much conceptual art. Finding a narrative had to happen on my own. 

Media art installation artist, Matthias Fritsch showed his work We, TechnoViking, on two tv screens in adjacent rooms. In one room footage played of an internet meme which received more than 30 million internet hits, Technoviking, originally captured by Fritsch in 2000 at the Fuckparade in Berlin. People imitate or reenact the TechnoViking all over the world, and Fritsch remixes them into a loop of video clips including samples from the original video soundtrack. In the other room, a screen showed the remixed footage.  Commentary on youtube culture, internet phenomenons and instant fame, the irrelevance of location, shared and uncensored responses and youtube videos framed as art, are all expected themes of modern artistic discourse. 

Oil Painting by Rocco Berger. A hose periodically sprayed oil onto a sheet of plastic, while a small fan blowing across it continuously created new shapes and lines out of the dripping substance. I had to tread carefully past the work and it didn't seem possible to get closer, with oil leaking down and onto the floor. What I saw at that moment was ultimately temporary but the lasting affect of the oil on the plastic, on the floor and in the air (overall, the environment) struck me as an interesting. In an unapologetic attempt to be dirty and only slightly controlled, Oil Painting felt beautiful and disturbing at the same time. 

Kajsa Dahlberg’s, A Room of One’s Own/A Thousand Libraries. The artist borrowed every available copy of Virginia Woolf’s book A Room of One’s Own from public libraries and reproduced the margin notes left by readers. She photocopied pages and re-assembled them into 1000 mini books of commentary on Woolf’s original work. Much like Matthias Fritsch's We,TechnoViking and Rocco Berger's Oil Painting, Dahlberg's work presents a question about the creation of art. Where does ownership begin and end? Dahlberg's content is contributed by readers, Frisch's by an unassuming partygoer and Berger's, the result of a spray hose and a moving fan. With questions of copyright at the forefront of almost every creative industry, it's no wonder that this concept arises within contemporary art. Everything in music, art, design and fashion is remixed, re-imagined, sampled or stolen. But even addressing these themes is recycled thought, previously beat to death in the work of Andy Warhol, Jeff Koons and Marcel Duchamp. Perhaps this is why I felt slightly underwhelmed by the work I saw at Based in Berlin, nothing struck me purely and simply, as original. Everything appeared either highly conceptualized or minimal to the point of being arbitrary. Did creativity hit capacity so long ago, that nothing anymore is essentially new? However, my romanticized predisposition towards art begs for further consideration of the exhibit. I am a firm believer that all art should happen. Whether it moves me, inspires me or neither, the fact that something creative was shared is enough. Everything will in some way contain fragments of what came before, but it can tell us something new in the present moment.

A reference to Virginia Woolf's A Room of One's Own might be most fitting in response to this exhibit. Woolf argues in the book that money and space (a room) are equally as important to the creative process as talent (for women particular, but we'll apply it in a broader context). She feels that inspiration can only go so far without funding and the space to create. Considering the high cost of producing Based in Berlin, it's impossible to leave the exhibit without wondering, what did it accomplish? Personally, I expected this exhibit to show me "Berlin" art. I shouldn't have been surprised that this would not be easily discernible. After several visits to what I consider one of my favorite cities, I can't quite decide what defines Berlin other than it's acceptance of a generally 'anything goes' attitude. As I mentioned earlier, on first glance originality appeared in short supply. Inspiration applied shamelessly in work that collaborated with non-consenting participants. A modern game-changer means artists have at their fingertips-- the most abundant resources-- technology and the webs of social media. Anyone anywhere can indirectly become art. (See image below of a street art piece that illustrates my point nicely). Maybe unlimited access to inspiration results in art that seems to be about nothing and yet everything.This approach may be what is characteristically Berlin, a city whose culture is defined by a conglomeration of influences from everywhere. As a result, Berlin art is not so much local as it is global and not so much driven by artists as it is by environment. Today, anyone with an idea can express it and frame it as art, but how long will concept hold relevancy before we miss skill and technique? 

The next question is then, are we looking to Berlin as a current art center to produce art that is locally definable, with a particular new flavor or style? Or are we expecting a movement of some sort, much like that of the Young British Artists in the late 80's which bred contemporary art stars like Damien Hirst and Tracy Emin? What was presented at Based In Berlin represents a step towards art that is almost completely stripped of conventional art practices, including those that took years to digest. Perhaps this is the next step for contemporary art, revisiting its power to challenge what we regard as art. Given the recent grandiose welcoming of street art in a major institution like the MOCA, possibly a paradigm shift has been brewing. When strange is accepted, a new strange must replace it. 

Most of the public discourse around this major exhibit has not been about the themes and ideas presented within the art, but instead about what it means to the Berlin art scene, and what it says about how long this scene will last. Out of the 80 artists who participated, a small percent are actually Berlin natives, most have relocated there or live there part time. If anything, the art shown at Based in Berlin illustrates the transient and worldly nature of creativity today. Perhaps the take-away is the irresistible pull of a free-spirited and limitless Berlin, where artists flock to find space, inspiration and funding, in whatever form. Where art can fill rooms and be about Berlin and the world, all at once. Limitations to art and the way we think about art are obviously changing, and Berlin makes room for this. Much like the walls of graffiti in this city, serious searching is needed to filter the rubbish from the quality. The important thing is that art is happening here, on this scale, with this much discourse. According to Virginia Woolf, that formula should eventually pay off. 

 

 More here: Based In Berlin

Trust Me: Collaborators

Not surprisingly, the opening of Adam R. Garcia's Trust Me exhibit last Saturday was amazing. More good news is that the limited edition prints (5/5) are available for sale today online through the Burlesque Design store. Stop by the Co Exhibitions gallery hours Monday-Friday 12pm-5pm, and framed prints are still available through August 6th. 

Minneapolis is likely acquainted with the local collaborators involved in Trust Me. Each of the Minneapolis-based artists who contributed are extraordinary and well worth your investment in a limited edition print. They collaborated with Adam on some of the pieces that I personally consider my favorite prints out of the total 28 presented. 

However, everyone already knows how much we like to spread the local love, so perhaps instead, a warm welcome to a few of the non-residents would be a hospitable gesture. The out of state collaborators are worth knowing about... especially with impressive backgrounds and projects to mention. Here is a small sample: 

 

KATE BINGAMAN-BURT + ADAM R. GARCIA

Left: Kate Bingaman-Burt original // Right: Final design

Kate Bingaman-Burt draws quirky illustrations in Portland, where she also works as an assistant professor at Portland State University. Last year, Kate published a highly publicized book, Obsessive Consumption, containing one illustration per day of things that she purchased over three years. Her illustration work is also featured in the book and documentary: Handmade Nation: The Rise of DIY, Art, Craft and Design.  Kate recently created an exhibition for the Museum of Contemporary Craft about the often overlooked printed materials used at museums. Her work has been covered and featured in New York Times Magazine, ReadyMade, How Magazine, Art News, The Boston Globe, SF Weekly, Money Magazine, The Washington Times, and many more. It's safe to say she's pretty famous. 

 

JUSTIN THOMAS KAY + ADAM R. GARCIA

Left: Justin Thomas Kay original // Right: Final design

Justin Thomas Kay is a master of shape and typography. He is a New York City based freelance graphic designer and the Creative Director of FADER magazine. His work is currently featured in the Edition 04, Vinyl is Forever apparel line by Soundscreen Design. His past art direction/design experience includes Complex Magazine, Mass Appeal Magazine and Swindle Magazine. Also noteworthy is his extensive work with typographic treatments and logos, which is generally awesome. 

 

MIKE PERRY + ADAM R. GARCIA

Left: Mike Perry original // Right: Final design

Mike Perry's portfolio is as prolific as his variety of mediums. A Brooklyn based designer and artist, actually graduated from the Minneapolis College of Art and Design. Since then, he's racked up an impressive client list including Apple, Urban Outfitters and Nike, while having published 3 books including Hand Job and his most recent, Pulled: A Catalog of Screen Printing. Mike showed a solo exhibit of new works at Public Image 3D gallery in Tokyo last month, adding to the already extensive list of galleries he has shown at all over the world. 

 

NEUARMY + ADAM R. GARCIA

Left: Neuarmy original // Right: Final design

Philidelphia based Neuarmy is the personal brand of designer Ryan Katrina. Besides working full-time as the Design Director at Neiman Group, his work has been published in Faesthetic Magazine, Vapors Magazine, Swindle Magazine, Overspray Magazine, Worth Global Style Network, Creative Review, Computer Arts Projects, and more. His design world presence is understated, but he's incredibly talented.

 

MR. KIJI + ADAM R. GARCIA

Left: Mr. Kiji original // Right: Final design

Kiji McCafferty claims to be influenced by the ethereal-- specifically Japanese folklore and Buddhism. A New York based artist and graphic designer originally from Beppu, Japan, his client list includes MTV, Nike, NBC/Universal, New York Times and WeSC among others. He's participated in solo and group exhibits all over the U.S. and along with print and digital illustration, has completed several large scale murals. Recent murals include the Welling Court Mural Project in Queens, the AOL Artists Baltimore 8 Hour Mural and the Ace Hotel NYC. 

 

MIKEY BURTON + ADAM R. GARCIA

Left: Mikey Burton original // Right: Final design

Mikey Burton wins awards. And rightly so, he does amazing things as a designer and letterpress artisan, to receive distinction from Communication Arts, Print, HOW, CMYK, Logo Lounge, Print's New Visual Artist, and ADC Young Guns. He founded his own design company, Little Jacket, based in Philadelphia, but spends his time these days working freelance on logo and identity design, and projects like illustrations for the New York Times and Fast Company, or commemorative posters for Wilco, just to name a few. 

 

See all of the original and works given to Adam by the collaborators and more about the process here.

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Each of the 28 artists were picked by Adam for a reason, so regardless of which one tickles your fancy, it's likely a justifiable choice. Buy a print you love or buy a print by someone famous. Either way, buy prints here. 

Trust Me runs through Aug 6th at Co Exhibitions. More info. 

 

 All images courtesy Adam R. Garcia

Exhibit Preview: Trust Me @ Co Exhibitions

This Saturday, Adam R. Garcia will reveal 27 new collaborative works at Co Exhibitions. Each piece was started by someone he considers a friend and/or respects creatively, and handed over to him to do “whatever he wanted” with it. None of his collaborators will have seen the finished piece until the opening.  Trust Me is an idea this imaginative graphic designer and illustrator has had floating around in his head for quite some time, but it’s presentation in a gallery space perhaps wasn’t his original intention. In the following conversation Adam and I discuss the challenges and complexities involved in this project and despite the “art talk” what it’s really all about in the end. 

I’ve followed your career for a while, and I’ve had a chance to work with you in the past. My personal impression of you is that you are a process driven artist. Exploration and how inspiration develops seems at the forefront of your approach. I’ve seen this thread in your past work as well as recently, in your ongoing sketch blog, Force Per Unit Area. Is fair to say that these concepts are flowing into what is now going to be solo gallery show? 

Absolutely, but first… calling it a solo show is a misnomer… I’d say it’s a collaborative project. This was an experiment to see if I could take things that are the byproduct of other people’s process and experience my own process of coming with a new image with meaning. But yea, you’re absolutely right, the whole thing is about process and hopefully being inspired along the way. Force Per Unit Area is about sharing and just putting it out there. There’s stuff in there that I don’t like but I think it is still interesting to put it up.  A lot of it isn’t about design, and a lot of it I am scared to put up…. some of it could get me in trouble, swear words and things I don’t want my mom to see. And that’s the fun of it, not knowing what’s going to happen next, just trusting yourself, your instincts and knowing that you are still going to grow is exciting. 

Going back to your initial point that the “solo show” is a misnomer… this exhibit still puts the focus on you, however that seems to be something you reject. So despite this being unavoidably framed as your exhibit, will you still claim not to have ever done a “solo” gallery show? 

Yea, it’s funny that it’s at a gallery because to me it feels like an art school project. It seems like, how can we take something that is about process and the journey and funnel it into this art show end result? These are going to be multi-media prints and a lot of them are actually digital in creation, but they are limited edition—5 of each—Adam and Mike Davis, or Adam and Ted Quinn, etc-- and then framed. Just the act of framing is something that kind of rips it out of the design realm and pushes it over that fake threshold into the art realm, which is not necessary in any way. But playing with that idea and keeping “solo show” in quotes is interesting. Maybe the process determined that one artist’s piece is recomposed and re-colored, or I just moved it around a little to hopefully create a new meaning or focus the meaning in another direction. Whereas with other pieces I take the work and make it so small that you can’t see it and it becomes something totally new. Some people are going to say, “how is this Adam’s work, or how is this so-and-so’s work?” Where are those boundaries drawn? It’s fun because there might be responses that are really critical. 

The show’s title suggests you are asking your collaborators to take a risk and trust you, but yet it almost seems like you’re the one who might be taking the bigger risk. 

I think that might be part of the reason why I keep saying that it’s not about me being an artist… it’s about me being playful with my friends. Maybe that’s also a defense mechanism, for me to say, “no, it’s not a solo show, it’s an experimental project.” That helps me put up a wall and barrier between me and the artist solo show where there is too much on the line. It’s all about that filter. Putting the experimental lens on it gives you a lot more freedom to take risks and be creative. The solo show idea is terrifying.    

So to you is there a clear difference between a designer and an artist? 

When I was in school at MCAD there was this interdisciplinary artist/designer approach and all that… but for communication purposes, having worked in the design field for several years now, you realize that sometimes delineation is necessary. Personally though, no I don’t think there is a difference. The older I get and the more I read and the more I make, I am realizing that everything can be looked at as one big art project. Kind of a more meta way of looking at it, life as art… every section of your life is a different project. If it can be broken down this way, there are creative phases in your life. 6 months of your life can probably be summed up with one title… but back to the question, no, I don’t think there is. 

I guess I’m curious how you are feeling about working within an art context vs. as a designer creating a product, i.e. Nike shoes. Is there a sense of freedom from the business side of creating an artistic product, or is the pressure still there given that each of these framed prints is for sale at a price? 

I’m trying not to think about the value so much, I really want to do what’s best for the process and the project. I think that my pressure is to do the people who have given me work justice and hope they are proud. But at the same time, I’m kind of like… eh… you gave it up, I’ll do whatever I want, I don’t care. I hope that people are going to want to leave with something. If I could give everything away I would. But that’s not possible…. the gallery is helping out so much, and for me the value is about helping them out in return. 

Left: Collaborative show image with Aesthetic Apparatus. Right: Screenprinted show poster image. 

I think it’s important for people to see the value of art, and to invest in it in order to support artists and galleries. But moving towards talking about the finished product… what kinds of challenges have come up for you as you’re finishing the pieces? 

Hmmm… 

Smooth sailing? Each piece has been amazing and fun to work on?

Oh no, not at all. It’s challenging as shit. The show is in a week and I’m not done with all the pieces. I actually have a new day job since a month ago, which is probably twice as taxing as my last one. When I’m home I’ll work as late as I can, but then I have to get up and go to work in the morning. When I am at work, always at the back of my mind I’m thinking about this show. Luckily, a lot of these ideas are kind of coalescing away from my personal studio, which is good. I have a sketchbook just devoted to “Trust Me” with ideas and it’s constantly changing. I think the biggest challenge has been time, and making sure everything feels right.

Also a lot of these have been exploration for me to push myself into different directions and try to do something new.  A lot of it I’m not comfortable with. Right now I’m looking at a piece where I did some hand-done type that I’ve never done before and I really like it because it’s kind of freeing, but at the same time… it might be kind of ugly. I can’t tell anymore! I think that is also part of the challenge.

Has lot of new inspiration has come out of this? 

Yea, it’s amazing. But honestly, this thing might be a total failure. People might come and say, “Adam, we were expecting a lot more, you probably shouldn’t have kept everything hidden, the work is not that great.” I’m not joking. 

So is that one of your fears, that it will fail? 

Yes, but it’s still all about fun and process. I’ve been talking with Michael Gaughan a lot lately, he’s one of my best friends and one of my inspirations when it comes to putting yourself out there. You do the best you can, let the process guide you, trust yourself, hopefully others trust you… make it a good time and enjoy it.  I’m inspired and hopefully this can inspire other people. Michael has a piece in the show but I also asked him if he would do a performance at the opening, which I’m really excited about. I don’t know what he is doing yet. I’m trusting him to do anything he wants for 20 minutes, so we’ll see. 

Considering Michael Gaughan’s influence on your show, how much of your personal relationship with the artists, or their individual aesthetic factored into your completion of their work, or were you able to separate from that totally?

When I started, I thought it would be like when my mom and I used to play this game when I was a kid, where I would draw eyes on a napkin and then she’d draw a nose and so on. That element of surprise and watching the process of collaborating with another person, I love it. I thought this was going to be like that, a fun game. Someone will give me a piece and I’ll draw on it, and it will be funny and irreverent and it might be about the person or it might not be, but it will be awesome. But as I was getting the pieces, they were so disparate in aesthetic… all over the board. I had to approach each one of them totally differently. One of them for example, is an aesthetic mix of me and the other person 50/50, but the meaning is all theirs. Whereas, someone else gave me a blurry and abstract photograph and I just wanted to draw all over it and be goofy. But in the past, this same person had given me a book that really influenced me and some of my work. So the piece ended up being all about that particular book and our relationship. I think there is a spectrum, and it’s been interesting to see what direction they have taken me in. 

I like that there is so much unknown about the final product.  However, I think it is fair to say that people see you as a successful artist and it’s impressive that you are doing this show with this much unpredictability. Even though I’m pretty certain everyone knows you are not going to fail. No, you’re not putting up 30 pieces of individual work and making it all about you. But it is still a challenging and unique twist on a group show… 

Well, thank you, that sounds awesome. But speaking of putting up 30 pieces of work, preparing for this show and getting out of the design world I’ve been living in-- I’ve been thinking of what it means to be an artist and the boundaries and thresholds that people put up. I have a job as a designer working for Nike, this mammoth brand, where I work in brand design. I’m constantly thinking about how other people view the company. No matter what you say about art being at the service of big business there is something in there when filtered through an artistic perspective. Art direction means that you are giving an idea to someone else to create so I’ve been thinking about the idea of ready-mades, the idea of appropriation. Think about Jeff Koons, he comes up with an idea and has a factory full of people who create work for him. Murakami, same thing. I think it would be so fun to create a show, which I still might do next year… it will still be collaborative and I’ll work with friends again, but I’ll hand off work to others. So I'll ask someone like Mike, to write down his favorite phrase or word on a piece of paper and scan it and give it to me. I steal a picture off his Facebook page, which I take into Photoshop and compose really simply into a picture of Mike, with his writing over the top. Then I send that to China to get painted by an oil painter for $80, who sends back an 8x12 and then I turn that into an 8x12 foot print. I’ll call it Portraits of Friends and I’ll have done nothing, and it will be beautiful. 

Your idea like relates clearly to the making of art in today’s world and the shift towards a mass-production of creativity, but at the core of it, it’s still about collaboration… which seems to be something that is so inherent in you. 

Yea… well, remember Industry?

Um, yea, of course. And we certainly did a lot of collaborative projects back then.

Well, remember that issue of Industry, where you let me, Greg Hubazek and Eric Carlson do the cover?  We had this collaborative group, KHS, which did a lot of projects, but that cover was the first and last thing that we all worked on together over the course of one night for 12 hours.

I remember that cover, it was amazing. 

I think it’s still one of my favorite things I’ve ever done. We were forced to collaborate for the cover, which at the time it was huge for us and we were so excited. So, thanks for that. Also… later when you were working at the Camel space, you had an event with a bunch of artists collaborating on paintings…. And that ended up being the only time that John Grider and I have worked on anything together. It was really simple, but awesome. That whole event was about collaboration.

I guess maybe that is why I am so intrigued by your approach to this idea because as a Curator or Editor, I’ve kind of just organically gravitated towards conceptualizing situations where artists are paired up and taken out of their comfort zone to see what happens creatively. But thanks for bringing up those past experiences, I’m glad they were memorable… and I’ll probably just have to take credit for your show now…. I’ll claim that I started it all. 

Totally. (laughs)

But back on track, your show is quickly approaching back in Minneapolis, where you started. You’ve always kept strong roots here, not only just through mentions when you are interviewed or written about, but continuing to provide design on local projects like Wants vs. Needs. Is there comfort in doing a gallery show here, or is it perhaps more daunting because hometown expectations run high? 

I would say absolutely daunting. I did some shows in Philly and some shows in Portland, but none of them were solo shows. In other cities there is anonymity that you can hide behind and there is no precedent set. With Minneapolis, still having a presence and doing things while having moved away, there is actually some guilt there. But I know that this project is interesting and some of the collaborators have done solo shows on their own all over the world, so that makes it feel okay, to me. When it comes to formal aesthetic… I’m not Drew Peterson, or John Grider, Eric Inkala or Jen Davis… Just to name a few of the people from there who create whole bodies of work with one voice and are so deserving of having a show anywhere they go because they are amazing people with amazing work. So there’s a little bit of guilt for me, there. But I’m a designer by day who's doing a project and this is the end result of that. 

Your trip here next weekend is really quick, just here for the weekend and the show, but is there anything you miss or need to make sure to do while you’re home? 

One thing I really wanted to do was see this friend of mine who I met in Seattle, he goes by Astronautalis and now lives in Minneapolis. I want to spend more time with him because he’s an amazing person. He has a show the same night as my show… and if I had my drothers I would turn myself into 2 people and go to that too. Of course, I’ll be seeing all my friends from Wants vs. Needs and all the people I love in Minneapolis, which is why I come back, my best friends are there. 

So with that idea of support and friendship, tell me about the friendship bracelets.

I thought it would be cool initially to give away friendship bracelets because they are a symbol of friendship and trust. But after doing some research, it turns out that friendship bracelets are not as easy to get made as I thought, unless I were to go to Peru and have them made in bulk. So as another collaboration idea, I asked my girlfriend, who happens to know how to make them, help me out. I’m not giving them away anymore, because it is a TON of work. But in figuring out what they would look like, I thought of a snake as a symbol of deception in western mythology and so maybe the bracelets would have a snake pattern. And I remembered a story from my childhood best friend...who actually ended up being diagnosed as a compulsive liar. He was really into nature, he was a boy scout, his parents were into the Audubon and he worked at an animal shelter. He was the one who taught me the difference between the coral snakes, one is poisonous and one isn’t. The poisonous coral snake is a copper color, a light white yellow and black. I thought that might work for the friendship bracelet… and those also ended up being the colors for all the pieces in the show. So that’s it...simple. 

 

Trust Me opens at Co Exhibitions on Saturday, July 9th and runs through Aug 6th.

Opening Reception: Saturday, July 9th 7pm-10pm. Event page here. 

Exhibit Preview: Mass Portrait // New Work by Anna Tsantir and Dan Luedtke

This is not your everyday print exhibit. Yes, Anna Tsantir and Dan Luedtke are both printmakers, both with impressive resumes and associations, but their awesomeness as a powerhouse duo of printmaking talent isn’t what makes this exhibit so unique. Though it is certainly a start.

Anna’s contribution to Mass Portrait includes a hand-bound book, a woven rug, animal shapes, dance steps and infinity tornadoes, just to name a few. Dan presents a living, multi-dimensional mural made from wheat-pasted prints and news reel icon projections. Also, unconventionally printed portraits of a trickster and a seductress, and a suggestive photographed sculpture. Anna's work feels minimal and monochromatic, hand crafted, organic and naturally geometric. Dan’s work is color and intensity, aggressive and synthetic-- fused with music, sex and medicine. With all the symbolism, it’s impossible to resist an attempt at decoding what appears so deliberately encrypted. Both artists admit that bold themes of life, death and human nature are present. Along with exporations into paper, printing and the mass consumption of information-- questions about how it is presented but more importantly, how it is internalized. Anna posed the question, "are we guilty when we read about tragedy, war, etc and do nothing about it?" Studio visits with both artists left me with the following clue—the medium is often the message.

Personally, I’ve decided this exhibit is fascinating because of what cannot be described in words, a special element of inexplicable connection that exists between these two collections. When any two artists are paired together our instinct is to look for the dualities… where is the common ground between both discussions of social consciousness? Or to find the underlying dichotomy… is Anna the logic to Dan’s emotion or vice versa? While much thought has gone into this exhibit on the part of both artists, the final result is likely less intentional and slight more serendipitous, and this makes it all the more incredible. So you have two choices—go in blind and enjoy the unexpected. Or, read the following interview with Anna and Dan and see where they take you as a slightly educated observer.

Images from Anna Tsantir's studio, Mass Portrait works in progress.

How do you approach color? What are your personal preferences and thoughts about color?

Dan: I have a functional approach to color.  As a printmaker, I'm always thinking about ways to make the most out of each layer/color I lay down. I find that the drawback to screen-printing is that it seems flat and lacks certain depth. I try to imply depth and create mystery by overlaying colors (conceal/reveal).  Sometimes color is a distraction, a smokescreen or crutch for me. Insecurely, I often complicate my imagery with color.  This is something I struggle and think about with each piece. Why am I using this much color?  Is the color enhancing or distracting to the idea?

Anna: I once read a quote by Kiki Smith in which she said "Color has always seemed extraneous to me", and I don't think I could put it better. I am usually into the material-ness of what I am using. Many times this is simply the paper and the line or ink. Adding color to my pieces, unless it is symbolic, usually just doesn't happen. I guess it sort of goes along with my suspicions regarding color and painting. It is to easy to be seduced by it for it's own sake, and I am not so into art about art... or really formal endeavors. I get bored.

As an artist, do you feel you are more about the process or the result?

Anna: The process. When I visit family in Greece, my favorite part of the trip is the four hour ferry ride to the island I love more than any other place on earth, but the ride itself over the sea - watching the island appear seemingly out of the sea ahead is the best part. The anticipation is usually the most exciting part...it is very much like that. A lot happens in the process that could never be planned or even totally described. In fact, I tend to throw a lot of stuff out after it is made.  

How do you edit? When do you know something is done?

Dan: I edit most of my prints in Photoshop.  I draw, then scan, and then edit them in the computer until they look good.  Something is done when it either a: looks good enough or b: I'm way too tired of thinking about it, and it needs to be done.  That's how I approach a print.  With a photo, it's done when you pick the print you want. The sculpture piece in this exhibit was the weirdest for me personally, because there are always ways to add or modify the piece endlessly.  I found myself breaking the concept down into sections or actions, and assigning elements or materials to each idea.  When I had all the ideas covered or represented, it seemed done. 

How far out of your comfort zone have you gone with this exhibit?

Dan: Extremely. I've never done anything except prints and I ventured into video, photography and sculpture for this show, which is scary, and great.

Anna: This show is really exciting for me. I think Dan and I both had some new ideas and we wanted a venue to work them out in. I had been working mainly in print for a few years and really felt like I had begun to be cornered there. A few years back I definitely always used print, but did more installation, book, and sculptural work actually.  It feels really good to have broken through some new ground. Most of the pieces in the show I feel like are sketches or they feel very seminal. Mike Bishop wanted some of my older work, the prints of danglers etc included, but the drawings, cuttings and woven pieces are new and I don't even know if they are good yet. It feels great. So definitely I am pointing my toes in some new directions.

Images from Dan Luedtke's studio, Mass Portrait works in progress.

If your collection of art for this exhibit had a sound or music set to it- what would it be?

Dan: NOT KATE BUSH.  All my friends are obsessed with Kate Bush right now and I’m so sick of it.  I wanted to make an audio piece derived from the sung radio call letters that you hear on the radio.  Like... a small group of singers singing WKO5! THE RIGHT CHOICE... those type of jingles, but I wanted to string all the call letters together to form this string of sung letters and numbers... WKO5KDWBKMOJKCRP…and on and on.  It seems like it would go hand in hand with the news transition footage that you’ll see in the mural piece… but that doesn't really answer your question.

Anna: Oh I don't know, if it's good it shouldn’t need one right? Maybe every once in a while I hear the soundtrack to Indiana Jones in my head when I am working on something new, but that's pretty cheesy and I don't know if I have ever admitted that to anyone. But that's about as far as it goes. Making a piece that incorporates sound recordings is interesting and I have been thinking in those terms recently but that is a very different question.

What does Anna's art have that yours doesn't?

Dan: Anna's art has a directness that mine doesn't.  Her art is more about natural phenomena, creating a space to contemplate the fundamental ways we think about death, memory, and reproduction. While mine is more about cultural/artificial stuff, like how we construct ideas of publics, publication, and sexuality.  Anna's prints have LOADS of depth and mystery in these very efficient images while I think of my work as being way more fatty in comparison.  Her stuff is also WAY more sad than mine... which is so great. 

What does Dan's art have that yours doesn't?

Anna: Dan is fearless and has a really beautiful intuitive understanding of aesthetics. He seems to effortlessly trust his instincts. Many times I tend to labor and doubt and come the long way around to finally believing my first instinct. 

What is your favorite thing about his/her approach to his/her work? 

Dan: It's so sincere...and really intense.  I love how she responds very emotionally to the natural world...but not in an earth-mother hippy-type-way.  She advocates and contributes to organizations that protect animals threatened with distinction, so the animal imagery relates to something very REAL to her.  That realness is in her work. She makes technical stuff that isn't showy at all.

Anna:  His work deals with tough issues sometimes too, but he seduces you with play and makes it a joy to look somehow and that is really hard to do.  His formal sense of color and space has fascinated me since the first time I saw his work. Also, his stuff is very smart and works in the present tense without being about some idea of 'coolness'. Like it has a real sense of now/pertinence-- without the grossness of being trendy or being bound by what art is suppose to look like according to the most recent art blog, art rag or big show somewhere. It's about the work with Dan, which is why I love working with him, he is always thinking about the work itself.

If Anna's work could speak to your work, what would it say?

Dan: "...but what does it mean?"  That's what Anna says whenever I tell her an idea I have.  I can see her work staring my work down, putting it on the spot and asking,  "why are you doing that?"

If Dan's work could speak to your work, what would it say?

Anna: Maybe it would sing a song about the sun going to shine again someday or maybe would ask who turned on the color drain...  

***

 

Mass Portrait // New Works by Anna Tsantir and Dan Luedtke opens on Friday, June 24th @ XYandZ Gallery.

More Info: Facebook Event or XYandZ

Exhibit Preview: Sideshow Soo @ SooVAC

      Left: section of "Buns and Wieners" booth by Mary Johnson/Amy Toscani. Right: PJ Maracle puts finishing touches on the Gnarlac.

A carnival sideshow might be the most appropriate allegory for the art world. After all, what is art but full of curiosities, oddities and illusions? And for those of us in this industry, working with artists and their many inspirations-- exhibiting and selling their work can often feel like a circus of strange characters and constant chaos. But excuse my metaphorical musings on a lighthearted theme. This particular carnival sideshow is far from serious business, despite the accomplishment it celebrates. In honor of their impressive 10 year anniversary, SooVAC decided just to do what they do best... show art, have fun.

What does it take to fill an art gallery with nothing but fun? Not much out of the ordinary, perhaps a little bit of sewing, sanding, painting, building, and glitter sealed with a clear coat of imagination. The extraordinary group of 12 artists invited by SooVAC to present "interactive" booths, have all risen to the carnival challenge by thinking classic with a bizarre twist. During a preview of the show amidst installation, I got a peek at Will Grant and PJ Maracle's "Feed the Gnar-lac," which can only be described as a bean-bag toss game in a monster suit. Instead of bean-bags... participants will toss "crim-worms" -- adorably ugly, furry creatures with multiple eyeballs. Grant and Maracle, of the installation art collective Crim City, explained that the felt and fabric creations are a new experiment... and who better than the eager audience of Sideshow Soo to test it out on?

In other experiments, a beautifully sanded tree structure leaned against one wall, and as I stood admiring its flawless craftsmanship, SooVAC's Gallery Manager Allison Hiltner explained that the artist, Aaron Dysart, has smooth sanded branches for participants to hammer into the tree, blindfolded. Perhaps a more avant garde interpretation of "Pin the Tail on the Donkey," but nonetheless amusing.

     Left: Levi Murphy works on "BoxBall". Right: The mysterious Lady of Mysticism, Zoyraya.

Considering that drag queens will be on site to do your make-up (either clown-style or drag, your choice) and Moxie stylists will whip up your carny hairdo (think clowns and siamese twins, rather than a State Fair tween hair nightmare), its safe to assume that attendees are welcome to experience the carnival as they please, either as a voyeur or a performer. Artist Jamie Carrera enthusiastically explained the possibility of performance within the performance, particularly with his contribution to the festivities as the fortune teller Zoraya, Lady of Mysticism. Is Jaime psychic? His answer, "aren't we all a little bit psychic?" Spend a few minutes with Zoraya and one thing is for sure, the experience will be uniquely yours, or as Carerra assured me, "like owning an original painting."

However, don't expect to see any paintings at this exhibit. A carnival wouldn't limit itself to something as ordinary as 2D. Almost everything can be climbed into, played with and altered. SooVAC encourages you to touch the art and explore. While furniture designer, Levi Murphy put the final touches on the "Box Ball" installation, he explained the inspiration for the ping-pong table/squash court/cardboard box tree-fort. The game was created by himself and collaborator Mark O'Brien, a sculptor, who have both recently found themselves influenced by context and function. But really, it's just about fun.

Left: Amelia Biewald's unicorns. Right: Crim City's crim-worms.

Sideshow Soo: Interactive Carnival in Celebration of SooVAC's 10th Anniversary opens on Saturday, June 4th from 4pm- Midnight... (also as part of the Northern Spark all-night art festival). Tasty treats, drinks and libations will be available.

Participating Artists: Amelia Biewald, Aaron Dysart, Jaime Carrera, Will Grant, Mary Johnson, Levi Murphy, PJ Maracle, Mark O’Brien, Chris Pennington, Liseli Polivka, Amy Toscani and Eric Veldey.

More info: www.soovac.org