nicholaus arnold

When I was a child, my dad tried to teach me everything wrong. He told me horses were chickens, cows were goats, bananas were apples, he even rearranged the animals on my see-and-say. This really upset my mother, and by the time I reached adulthood, I asked him why he did it. His response was that he wanted me to go to school for the first time and ask my teacher, “Excuse me Lady-sir, I need to go to the cabbage patch to lay an egg”. I don’t quite believe my dad, but I feel that this little story really informs where my work comes from in general. It doesn’t quite matter if his reasons were true, or if I even talked to my teacher. It’s a line of thought that’s been inherent in me forever. This is where my work comes from and the mind-set my work is based on.

My creative process evolves from the mundane and private in the form of personal humorous situations; I vignette it, and then universalize the situation for an audience to experience. Honesty and authorship are the overall unifying ideas in my work. The idea of the “authentic experience” or the twist of the “false experience” is a critical factor in my studio practice. The work I create must evolve from a real situation or experience I have crafted. The idea of alternative authorship or the simple questioning of the authorship of the artist plays another critical role throughout my work. Whether or not I made it, or if I declared it as “art”, becomes a relevant query to the viewer. Together these ideas interweave throughout my body of work and shape the experience the audience perceives. C/V

ian breidenbach

My work is about the death of mystery. It is about the changes that take place when faith gives way to fact; when imagination collides with reality. I am interested in exploring my generation’s yearning to know everything, the immediacy with which we need it and how easily it is to obtain it. The human quest to qualify, quantify, and make connections has been made possible without our interaction; I hope to relay this to my audience and provide them with an alternative through activism and a personal presence in all that I do. C/V

frank travers

I am fascinated by symbols. By using printmaking and drawing I am able to spawn images of collage and expressive mark making, capturing a discombobulated whole. We are constantly forced to choose, but we receive so much influence from various sources. Religion, the media, the government, our own bodies, and peers are among these beautiful distractions. Knowing this, I formulate images of ambiguity and conformity, misplacing and divulging my own supposed beliefs, fears, cares, hopes, and dreams through a process that inevitably transforms into permanent stillness. Through my practice I am allowed a diversity of invention and appropriation, with which I can compose this insanity. C/V

ren cummings

My life is like a soap-opera comedy; presenting its viewers with plenty of serious, but usually overly dramatized situations, surrounded by hilarious outcomes from embarrassing conditions. As my experiences have told me, this previous statement is completely and utterly true, which is why after so many years of avoiding my embarrassing, painful, yet sometimes good-humored memories about my life I turned to them for stimulation. It was in the fall of 2008 when I discovered the concept of autobiography; this was it, the defining moment. So I took autobiography and ran with it. Now that I have had time to develop my relationship with Autobiography, the events that transpire have been getting riskier. While starting off it was a look in to the therapeutic; how autobiography could help me, I was a symbiotic creature. As the relationship evolved, I became more experimental, testing the different roles I could carry. Now the relationship is dealing with manipulation in my objectification; presenting myself to others while controlling their perception of the visual representation as well as the original me. The relationship with autobiography is ever growing and endless in the possibilities of making.

While the relationship I hold in regards to the autobiography is interesting, the way I execute could be comparatively just as interesting if not more. My mother likes to say I am compulsive, but I like to say I am proactive. When I get an idea I act on it, if I think on it too long, I get rid of it because it bores me after such a thought process. This creative problem solving would cause others problem, me on the other hand, it presents a variety of resolutions for one problem. It is my great pleasure to solve a problem with a diverse number of means. I not only solve in one medium, but in many, creating several bodies of work at the same time while all being interconnected through me.

The research that goes into artwork can often times be very dull and boring, mine however excites me, which in general means that it will excite you. The research to develop my art involves deconstructive-ism, Gestalt theory, John Berger’s Ways of seeing and Emancipated Spectator by Jacques Ranciere. Each of these gives me a different perspective on making, how to interpret and suggest, which intern give the viewer new and interesting experience each time they come across my art.

ashley jude jonas

I long for meaning and significance. These exertions are nascent, they are a struggle, but it is the experience of the attempt I learn from and grow with.

I interrupt my activities through out the day by asking myself, often aloud, “What do I need right now?” The conversation usually concludes with a cup of coffee, a baked good, a touch, a cigarette. I have a need for something; at a very specific moment; that is experienced for a short amount of time and leaves no souvenir. The idea of providing satisfaction through impermanence, making a decision that leaves no immediate evidence in the universe, is almost contrary to art making. And so I am left with a dilemma.

My dealings with this dilemma have allowed me to exploit my sensitivities and vulnerabilities. I approach materials with these understandings. I feel uncomfortable putting the culmination of so many of my own decisions into the world. Addressing this discomfort forces me to ask myself questions as a maker. It forces me to have an obsessive conversation with myself, and an intense relationship with the things I make. It is about gaining comfort through additions and subtractions. My work is the result of exchange. C/V