Cheree Garn: Oil Painting
( 5 pieces) My work explores atmosphere and space by creating places that could possibly exist physically like a landscape, but also pushing the edges of exploration of spaces or places within the mind . The landscape of a mind can be fantastical but also a simple creation of an imagined world. These created spaces are based on realities from our existence – either from things we have experienced through vision of nature and art, or by the many ways we experience life.
Emily Senkosky: 35 mm Film photography
( 6 photos) So many things today involve instant gratification: download the app, get the upgrade, put it on the card. look it up on the internet. Satisfaction is so accessible you can taste it, whenever you like. Film photography, unlike so many other things in my life today, teaches me to seek an unanticipated satisfaction. A synergy between humanity and invention that is rather honest, the pictures that come to be tell a story of an intimate relationship. As photographers we attempt to record life’s progression as it evolves, but to what point do we succumb to that progression? Film reminds me of my abilities, as well as my limits as a photographer. When an image does finally turn out, there is nothing instantly gratifying about it.
Rebecca Mortensen: Acrylic and Ink painting
( 4 pieces) Riding through a heard of five hundred elk on a daily basis was common for me when I was growing up in Jackson, Wyoming. I spent my summers on a ranch riding horses throughout Grand Teton National Park.
My interest in art was inspired by my uncle who is a practicing sculptor of life-size animal bronzes. It wasn’t until I delved into art that I realized my love for the aesthetic of the horse. Recently, I have found myself obsessed with the natural and organic shapes of the skull, and the pure beauty of it. There is something so powerful about animal skulls. The horse skull massive, heavy, and solid. I am now in possession of a variety of animal skulls, all of which inspire my curiosity and investigation.
In recent work, I am moving away from the literality of the skull and working more abstractly. By layering different types of ink I work to build depth throughout my pieces. I find architectural lines to be a nice compliment to the organic shapes found in skulls, while the ink captures the likeness of the skulls.
My work falls within the genre of contemporary western art. I tend to use a natural palette and stick to a monochromatic color scheme, but I play with form and composition in nontraditional ways. I have found an original style that I look forward to continuing and expanding. I see my artwork as an extension of the natural world of horses, which sustain and inform my life
Emily Quinn Loughlin: Textile artist
( 5 pieces) a small collection of abstract sculptural collages made using recycled fabrics from Elie Tahari in NYC)
Artist Statement: My work pertains to the repetitive processes that reveal the elusive pulse of our universe. I both give life to mental states and bring forth the animate qualities of inorganic matter. These portrayals relate the mind and matter as organs in a larger system of organized consciousness. I use recycled materials from local businesses to support the healthy digestion of material goods in our consumer society.
Humans are sculpted and affected by our mental constitution. Beginning in utero, we develop from tiny cells into complex organisms following a genetic code. My work is the result of a similar organic process, relying on a code that challenges perceived forms and functions of materiality. I begin with material that has structural integrity and then use it to develop a code, or repetitive means of growing material. In the further organization of the work, I group these units (or cells) into tissues and then larger organs, which require systematic organization. This biological approach to construction allows the matter to come to life on its own terms.
Intuition guides my insights in the sculptural process. While unraveling thoughts in my mind, I bind them up in the material form I am making. The material becomes a map of my current mental and emotional state at the time I created the form. Molding material into forms that are often reminiscent of the human figure invites my subconscious to become a living entity. Each piece I create is thus the living child of my imagination.