Sara Garden Armstrong
20m
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Interviews by Brainard Carey
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Sara Garden Armstrong: Layered Scapes February 11 – March 11, 2023 Installation View with artist at Steffany Martz, ONWARD Series 49 East 78th Street, Suite 2B, New York, NY 10075 photo credit: George Kondogianis Sara Garden Armstrong is a visual artist whose decades-long practice embraces a wide range of scales and techniques, from large site-specific sculpture to artist’s books. Lyrical, nature-based biomorphic abstraction characterizes the work, focusing on life processes and systems. It addresses organic change and transformation, while exploring properties of materials. Breathing is a major concern, as are mechanical support systems of the body. Other recurrent themes are water and time, with its elements of decay, chance, and shifts of reality. Recent atrium commissions have focused on scientific phenomena and their interactions with the human condition such as the installation for the National Multiple Sclerosis Society, Alabama-Mississippi Chapter, at the University of Alabama Birmingham (UAB) Medical Center. A past recipient of a Joan Mitchell Foundation CALL (Creating a Living Legacy) grant through Space One Eleven, Armstrong has exhibited nationally and internationally for over 40 years. Her artist’s books can be found in the collections of the Museum of Modern Art, New York, and the Victoria and Albert Museum, London, among others. The monograph SARA GARDEN ARMSTRONG: Threads and Layers, published in 2020, reveals the influences and concepts that run through her diverse body of work. It coincides with a traveling exhibition of the same name, incorporating site-specific work. The exhibition made its final stop at the Gadsden Museum of Art, January 2023. The Museum published a catalog documenting the history of the exhibition. Armstrong received her Master of Fine Arts from the University of Alabama and a Master of Art Education from UAB. After living in New York City for 36 years, in 2017 she returned to Birmingham, where she currently lives and works. She has recently received the 2022 Artist of the Year Award from the Birmingham Museum of Art Collectors Circle. Find her on Instagram. Layered Scape 9, 2021 Acrylic and pigmented fiber on canvas 48” x 60” photo credit: George Kondogianis Sara Garden Armstrong: Layered Scapes Installation View photo credit: George Kondogianis Sentient Matrix, installed 2014, Abaca and kozo paper fiber, acrylic, gel medium, programmable light-emitting diodes, microcontroller, aluminum, stainless steel, and PVC. Approx. 16’ x 20' x 21' Photo credit: Hugh Hunter SARA GARDEN ARMSTRONG: Threads and Layers Gadsden Museum of Art November 4, 2022 – January 26, 2023 Artwork in Image: Abaca Wall Backs 1 – 4 Sprayed abaca forms, plastic hoses, incandescent lights 24” x 98” x 12” Photo credit: Savannah Lowery
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Karla Knight
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Alva Mooses
Alva Mooses photographed by Mauricio Cortes Ortega at Shandaken Projects, Governor's Island 2023. Alva Mooses is an interdisciplinary artist. Her work explores the intersections of printed media, ceramics, and sculpture while engaging with earth-based materials to signal the memory of geological time. Her ceramic series titled ear to the earth/ culebra, truena, tormenta was exhibited at Jane Hartsook Gallery as part of her artist residency at Greenwich House Pottery. The slip-cast reconfigured globes move away from historical representations of the earth as a perfect sphere on a steady axis toward a transformative body—the pieces are glazed, distorted, mended, and kiln-fired multiple times. culebra, truena, tormenta translates to snake, thunder, storm, referring to the Mexica earth and mother goddess Coatlicue whose entire skirt, head, and belt represent snakes. The legendery 16th century Coatlicue statue was buried and unearthed multiple times since the Spanish conquest out of concern that the statue would inspire religious and political resistance; it now lives in the National Museum of Anthropology in Mexico City. The writer Mirene Arsanios describes Alva’s ceramic globe series as: “Broken or no longer erect, the globe stands and their measuring systems are inoperative—the deconstructed globes undermine the project of western geography and the violence of its measuring tools, favoring instead a world, earth, and planet governed by the erotics of its own materials.” Alva holds a BFA from The Cooper Union and an MFA from Yale University. She has exhibited her work in the U.S., Latin America, and Europe. She has completed fellowships and residencies at the Lower East Side Printshop, Shandaken Projects, Socrates Sculpture Park, Center for Book Arts, Greenwich House Pottery, The University of Chicago, Tou Trykk in Stavanger, Norway, and Casa Wabi, in Oaxaca, Mexico, among others. She serves on the faculty at Hunter College in the Department of Art and Art History and lives with her daughter and partner in Brooklyn. ear to the earth/ culebra, truena, tormenta, 2022 | ceramic | 20x15x8 inches | Photo by Alan Wiener courtesy of Greenwich House Pottery. ear to the earth/ culebra, truena, tormenta, 2022 | ceramic | 16x10x9 inches | Photo by Alan Wiener courtesy of Greenwich House Pottery. Undercurrents, 2023 | Drawing with CNC machine | 13x17 inches
Matthew Kirk
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Cyle Warner
Cyle Warner is a Brooklyn-based artist of Afro-Caribbean descent. A recent graduate of the School of Visual Arts with a BFA in Photography, he works across mediums, often using fabric and photographs inherited from family to explore his concept of Dis. In 2022 he attended the prestigious Yale Norfolk Summer School of Art. Welancora Gallery is proud to present Weh Dem? De Sparrow Catcher?, a solo exhibition of new work by Cyle Warner (b. 2001), on view from July 27 to October 10, 2023. Warner’s first exhibition at the gallery brings together a reimagined archive of photographs and textiles to reveal a very personal exploration of his family’s life in the Caribbean. Sourced from the Warner family archive, the photographs are layered, recomposedand enlarged to conjure feelings of curiosity about Warner’s elders and their life in the Caribbean. The works on view raise a number of questions;namely, what would life be like if there had been no migration to the United States? The photos, ranging from the mid 1940s to the early to mid 1970s, depict family members when they were permanently residing in the Caribbean. The hazy quality and sepia tones, as well as what’s visible, what’s further highlighted, and what’s left to be desired all lend themselves to the artist’s fractured understanding of a time in the Caribbean that he never experienced first hand. Cyle Warner a vessel a jam slow, 2023 Various fabrics and inkjet on fabric on wooden frame. 76 x 64 inches 193 x 162.6 cms. Photo: Copyright The Artist Courtesy of Welancora Gallery. Cyle Warner Album Page II (Debating with Powell and the Queen), 2023 Various Fabrics and Inkjet on Fabric on Stained Wooden Frame 15 1/2 x 11 inches 39.4 x 27.9 cms. Photo: Copyright The Artist Courtesy of Welancora Gallery. Cyle Warner I don't want to go, 2023 Archival pigment print with collage on Hahnemühle Photo Rag 5 x 7 inches 12.7 x 17.8 cms Edition of 2.
Heather Dewey-Hagborg
Heather Dewey-Hargborg, American artist and bio-hacker most knowned for the project Stranger Visions. Her recent work has been cesored to be showned in China. Ana Brígida for The New York Times Dr. Heather Dewey-Hagborg is a transdisciplinary artist and educator who is interested in art as research and critical practice. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (such as hair, cigarette butts, or chewed up gum) collected in public places. Heather has shown work internationally at events and venues including the World Economic Forum, the Daejeon Biennale, and the Shenzhen Urbanism and Architecture Biennale, the Van Abbemuseum, Transmediale and PS1 MOMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, the Wellcome Collection, and the New York Historical Society, among others, and has been widely discussed in the media, from the New York Times and the BBC to Art Forum and Wired. Heather has a PhD in Electronic Arts from Rensselaer Polytechnic Institute. She is a visiting assistant professor of Interactive Media at NYU Abu Dhabi, an artist fellow atAI Now, an Artist-in-Residence at theExploratorium, and is an affiliate ofData & Society. She is also a co-founder and co-curator ofREFRESH, an inclusive and politically engaged collaborative platform at the intersection of Art, Science, and Technology. Hybrid (Trailer) from Heather Dewey-Hagborg on Vimeo. Installation view, Heather Dewey-Hagborg, Hybrid: an Interspecies Opera. Courtesy of the artist and Fridman Gallery. Still from Heather Dewey-Hagborg, Hybrid: an Interspecies Opera. Courtesy of the artist and Fridman Gallery.