Past Exhibitions

2021

Cut From the Same Cloth

​October 16 - November 28, 2021

IN PARTNERSHIP WITH THE CLEVELAND INSTITUTE OF ART: CREATIVITY WORKS 
ARTIST TALK SUNDAY, NOVEMBER 21 AT 6 PM

Kaiser Gallery presents 'Cut From The Same Cloth' on view October 16 through November 28. This exhibit features the mixed media works of Cleveland Institute of Art students Ewuresi Archer and Crystal Miller. The vibrant artworks in this series draw directly from the artists' African American and African cultures, offering a dialect and a conversation between the two experiences.

"We come from two different backgrounds and are of the same race. There are a lot of differences and similarities between us as humans but also between our cultures. As a result, the work depicts our hopefulness and pride in our cultures. Rooted in cultural experiences, the hair salon, music, and home life, these experiences bring us together. While this may not be the lifestyle for every black person, we hope, in some way, a connection can be made.

The paintings depict physical spaces that we have been in and or are a place we call home. The textures, patterns, and gem-like motifs represent the continuous black lifestyle. The color combination is used to represent black skin but also celebrate black lives and transform these spaces and demonstrate an experience.

Overall the series invites the viewer to reflect on these spaces, and look into our lives, and appreciate our culture for what it is."

Ewuresi Archer

Ewuresi Archer is an artist currently living and working in Cleveland Ohio. She is pursuing a Bachelor of Fine Arts degree in painting at the Cleveland Institute of Art. Her paintings utilize fluorescent colors and distorted shapes to create unnatural environments. In using distorted shapes and colors, she creates spaces that have viewers questioning and wondering about the nature of reality, and how it is constantly slipping through our fingers.

Crystal Miller

Crystal Miller is an interdisciplinary mixed media artist currently living and working in Cleveland, Ohio. She has an Associates in Graphic Design and is on her way to get a Bachelors in Fine Arts in Painting, Sculpture and Expanded Media at The Cleveland Institute of Art. Her paintings and sculptures explore the ideas and concepts of beauty through unconventional materials such as beads, yarn, rhinestones, and foam. Her main focus is to create an individualized aesthetic that represents her blackness and personal experiences with hair.

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Andrew Ellis Johnson "Insurrection" (2020) Ink on paper. 50 x 113 inches

The Weight of Time

August 14 - October 10, 2021
Opening reception on August 14, 6:30 pm - 9:00 pm

'The Weight of Time' is an exhibition that explores the surrealism of a very real global pandemic through introspective works. The novel virus COVID-19 threw the world as we knew it into a situation that we've never seen before. The global pandemic and the shutdowns that followed created disorientating challenges for various people to navigate in different ways while further exposing broken government infrastructure and community ramifications for a world that was not prepared to stop. 

Presenting the works of Chad Eby, Danny Greene, Andrew Ellis Johnson, Matt Milligan, Haumed Rahmani, and Nowhere Mountain. 

*Don't miss the upcoming virtual artist talk on September 30 with Chad Eby, Andrew Ellis Johnson, Matt Milligan and Nowhere Mountain.
​Then join us for the closing reception on October 10 featuring local artists Danny Greene and Haumed Rahmani.

Artist Statements & Bios

Chad Eby

Chad Eby is a Lexington Kentucky-based multidisciplinary artist, designer and educator working with light, sound, and code to engage with the grain of digital technologies. 

Eby creates work, by turns stark and whimsical, that explores humanity's fraught relationship with made objects using sound, light, and digital fabrication techniques. 
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His research interests revolve around the peculiar relationship between digital and physical: especially the residue-loss, surplus and corruption-that results from moving back and forth between atoms and bits, map and territory, description and thing. 
Part of the faculty of University of Kentucky's School of Visual Art Studies since 2019, Chad previously served at the Herron School of Art and Design at IUPUI in Indianapolis, Kungliga Tekniska högskolan (the Royal Institute of Technology) in Stockholm, and Florida State University in Tallahassee. He was awarded the Frank C. Springer Family Faculty Innovation Award in 2017. 
Chad's work has been shown at the Tekniska Museet (the Swedish National Museum of Science and Technology) in Stockholm, Sweden, Generative Art XXII in Rome, Italy, New Media Fest in Valencia, Spain, the Indianapolis Museum of Art, TAG at the University of Western Florida, the Columbia College Center for Book and Paper and various local venues across the United States. He has attended competitive residencies at the Atlantic Center for the Arts, Elsewhere, and was selected for the inaugural Space Art Summer School hosted at the Russian Museum of Cosmonautics. 

Artist Statement
Parallel to the spread of the COVID-19 virus, and greatly facilitating that spread, a virulent strain of Bad Ideas also swept the globe. A surge of mis- and disinformation promulgated by a strange mix of opportunists, true believers, state actors and lulzers, and amplified by an army of COVID-19 sequestered thumb-clickers: fever dreams featuring bats, billionaires, 5G, tracking chips, and the soul-damaged vaccinated who, by succumbing to media-driven fear, lost their opportunity to "ascend." Disinformation Containment Unit D6 is an equally irrational alternative. Inspired by quack 5G and chemtrail protective devices, it is a fantastical electro-spiritual information appliance—ready for field deployment—imagined to detect and neutralize nearby disinformation. Driven by a WiFi-emitting ESP8266 chip and not-very-sophisticated cellular automata simulation, it's twin OLED displays give continuous animated feedback on its progress.

Danny Greene

Danny Greene (°1977, Honolulu ) makes paintings and paintings. By demonstrating the omnipresent lingering of a ‘corporate world’, his paintings references post-punk theory as well as the avant-garde or the degeneracy of the post-modern world. His paintings are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized technocracy. However, this reference is not intentional, as this kind of art is part of the collective memory. By referencing romanticism, grand-guignolesque black humour and symbolism, he creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle. His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By choosin mainly formal solutions, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations. His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. Danny Greene currently lives and works in Cleveland, Ohio. ​

Andrew Ellis Johnson

Andrew Ellis Johnson’s work has appeared in galleries, festivals, public collaborations, conferences, and publications in the Americas, Europe, Asia and the Middle East. He has performed as co-founder of the collective PED in Buffalo, Belfast, Chongqing, Rio de Janeiro, St. John’s, and Toronto. He studied at the School of the Art Institute of Chicago (BFA) and Carnegie Mellon University (MFA) in Pittsburgh, where he is Associate Professor of Art. Residencies and exchanges over the last decade include those at: Korean National University of the Arts, Seoul; Blue Mountain Center, New York; University of the Arts London, Camberwell; Fayoum International Art Center, Egypt; Sites of Passage in Jerusalem/Ramallah/ Pittsburgh; and Tsinghua University in Beijing.
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Recent two-person exhibits include RESORT at Kendall College of Art & Design and McDonough Museum of Art and GETTING THERE at Gettysburg College and this fall at Stockton University. His most recent solo show was FOUNDER at SUNY Cortland’s Dowd Gallery.

Artist Statement
This statement and the poem below were written in July 2020. Insurrection features a man in full PPE reading while reclining comfortably on his living room couch. A cat purrs in his lap. In the safe seclusion of his own home, he is over-protected. Others, however, are not. Not George Floyd, Ahmaud Arbery, Brionna Taylor and too many other people who were shopping, running, sleeping—simply living, while black. Their deaths are painfully singular, but their cumulative toll constitutes a persistent pandemic of racism. Another pandemic rages as people rage in the streets. The death count from Covid-19 has now climbed over 100,000 in four months. Fallow Trench In the exceptional Nation State of One, the novel plague, first declared nonexistent, then decried as sophic, was ultimately decreed ‘Democratic’. It was. Though itself invisible to the naked eye, the virus, though little, spread by aspirational spittle, magnified divisions and bonds. Manufacturers mandated. Distributors consolidated. Liberators looted. Suppliers hoarded. Senators sanctioned. the unaffordable could be bought again. Sacrificial heroes, ill-suited, staved, for another quarter, the essential economy. Perhaps. Routines were screened. Meetings multiplied and merged. Unemployment ranks swelled. Curves flattened; feeds fed. Appropriations diverted. Tweet-enlisted fascists drilled. Unmasked. Indisposed Justice meted black breath no repose. The State of Stasis is fought within, and without.

Matt Milligan

Matt Milligan (b. 1973) is an artist based in New York City working in digital and film photography. His work explores identity and its connections with home and community. Originally from Dallas, Texas, he holds a degree in musicology from the University of North Texas. Having always been attracted to how music conveys meaning, he carries that theoretical approach into his photography. Milligan's work was recently included in Scopio's "Rethinking, Questioning Urban Realities through Photography in the Age of COVID-19," in Porto, Portugal.

Artist Statement
The Things We Must Face When news of the shutdowns started to make the rounds, I was in the office—three floors of what had become an eerie and quiet building occupied, at that time, by me and, occasionally, the cleaning guy. It had been that way for a week or so. Almost everyone who had the means was leaving or preparing to leave the city, and my office was no exception. The sudden exit of those who wanted to escape and could also afford to leave was the first visible division. And it was this class separation that would, at least for me, expose the rest of what was to come as a series of interlopers—unwanted visitors that keep showing up at the doorstep of America. This all reminded me of something James Baldwin said, “You think your pain and your heartbreak are unprecedented in the history of the world, but then you read.” Despite what we frequently read in the media, there is nothing unprecedented about 2020. We are experiencing problems that have been with us for generations, problems that stem from divisions. And those divisions are rooted in money, politics, religion, race, and other things one should not talk about in polite company. But these social taboos are the very things we must talk about—and face—as Mr. Baldwin also famously said, or they will keep splitting us in two over and over again. A couple of weeks after the stay-at-home order went into effect, the half of us who remained in the city had to navigate a familiar but unknown landscape. My neighborhood was as empty and quiet as my office had been. When I went on walks or the occasional errand, I photographed the changes I saw. I also turned my camera inside (because we were inside all the time!); it was a natural response to the confinement. I began to see repeated images and symbols, sometimes subtle and sometimes overt. I realized that if I was sensitive to them, they could bolster the symbols of the past that Baldwin talked about and help me navigate what I was encountering and feeling. As Thomas Merton, a Trappist monk, said, “the true symbol does not merely point to something else. It contains in itself a structure which awakens our consciousness to a new awareness of the inner meaning of life and of reality itself.” Making these photographs was a cathartic experience for me. It brought to the surface my human “constant preoccupation with pleasure and pain... our pursuit of this happiness,” as fourteenth-century Japanese writer Yoshida Kenko said. It also—thankfully—brings Merton’s new awareness that, without his and Baldwin’s help, I would not have found. This process and these writers taught me that before I say anything about the problems I see out in the world, I must first look inside and face myself.

Haumed Rahmani

Straddling creative, scientific, and digital frameworks, Haumed Rahmani spends their time thinking of questions that lead to better questions. Their code is being used by the likes of Cornell University and the Max Planck Institute, and they’re slated to present at the International Liquid Crystal Conference in 2022. With work ranging from microscope imaging to generative weaving and projection art, Haumed is foremost a toolbuilder and communicator. They currently focus their art on using math, light & time as ingredients, and on building out their open-source design framework, the aeiyou glitchkit, which was used to create this piece (and can be found online.)
Follow more of their work on Instagram at @Haumed.

Artist Statement
This piece offers a space to reckon with our mortalities, the branching of time, and the ever-present hand of chance that mold our identities. After it all, what is truly ours?

The weaving appears grey at a distance, but up close the threads are revealed to be vibrantly colorful; and as one moves around the weaving, they catch not only a shifting moiré pattern, but also their own fractured reflection. The weave structure was created generatively using code and a microscope image of a liquid crystal. 
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This is among my first set of weavings, as I reoriented my entire life during the pandemic, quitting school and seriously beginning my art practice. While the year delivered tremendous growth, I found many opportunities and even people slipping through my fingertips, forever lost to time and entropy. Death was brought to the forefront of my thoughts, and it questioned life itself. I found some peace through the clock-like act of weaving, which can be a meditation.

Nowhere Mountain

Nowhere Mountain is an art collaborative made up of St. Louis, Missouri based visual artist Mark Regester and Salt Lake City, Utah based composer, producer, multi-instrumentalist, sound-artist and mad scientist Dave Madden.
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Artist Statement
Nowhere Mountain is an imagined geographical landmark that lies between two specific points on a map.
It's where the magic happens.
Nowhere Mountain is pure, organic collaboration.
Nowhere Mountain is creation for creation's sake.

Derick Decario Ladale Whitson's Sugar (Chapter II)

SOLO SHOW SELECTION 2021
June 12 - August 8, 2021

On June 12, Kaiser Gallery presents SUGAR (Chapter II), a solo exhibition by Derick Decario Ladale Whitson. Whitson (b. 1991 Mansfield, Ohio) is an artist currently living and working in NYC. Working primarily in photography and video, Whitson explores the history and relationships of clowning, drag queens and black/white face to explore the social constructs of race, gender, and sexuality.

Derick Decario Ladale Whitson has attended artist residencies at AICAD New York Studio Residency Program, NY; Mass MoCA, Massachusetts; The Fountainhead, Miami, FL; and The Galveston Artist Residency. His work has recently been exhibited at Art Basel, Miami, FL; The Studio Museum in Harlem; and The Center for Fine Art Photography in Fort Collins, CO. Whitson is also a current recipient of the Foundation For Contemporary Arts Emergency Grant, the 2019 Enfoco Photography Fellowship, & The 2019 NYSCA/NYFA Photography Fellowship. Whitson received his MFA at Columbia University and BFA from Columbus College of Art & Design.

Read Whitson's Bio and Artist Statement

Derick Decario Ladale Whitson (b. 1991, Mansfield, Ohio) lives & works in New York City. Earned his MFA at Columbia University & BFA from Columbus College of Art & Design. Working within the realms of Photography, Video & Performance. Whitson’s work has been published in Miami New Times, Huffington Post, The Advocate Magazine, & Photo-Emphasis. Whitson has participated in many residencies across the U.S., including programs at Mass MoCA, The Fountainhead (Miami), and the AICAD/New York Studio Residency Program. Whitson is also a current recipient of the Foundation For Contemporary Arts Emergency Grant, the 2019 Enfoco Photography Fellowship, & The 2019 NYSCA/NYFA Photography Fellowship.

Artist Statement

This is your Ego: Words, two words, made up of two words. I’ve waited on the smell of beef stew and the taste of the burned garlic that sizzles the throat. My throat has held tension, it could be the tightness from allergies or the 3 legged dog pose that has become impossible to comfortably release. I’ve found moments of silence, maybe only two, but the background noise of television, irritates my thoughts on the search for a job that will convert me into a citizen. Theres been no quench of my thirst, theres no physical metaphor or reason to continue slurping orange juice. My belly is bloated, it’s beyond the american cheese and meat lovers pizza. The anxiety holds tight onto the gas that introduces itself to my neighbors. Maybe I waited for this? Waited to find that my true lover is longing and the potential, to make believe and form surrealist dreams that remind me of the bones in my sleeves. I have two treasure chests, one in my pores and the other in the sheets when I allow one sock to go because of a fungus thats beneath one curled toe. I had a dream of painting, navigating color relationships on a canvas. I also dreamed of riding my bicycle down a hill that was so steep I could barely break. Ellen is the name, she’s my divination tarot card reader. I’ve never seen her, I’ve never spoken to her, but she reveals a path. Sometimes I hear my own thoughts like a bell, the bell from the toaster oven that invented itself? Is it really true that I could be a combination of everything and every one else, am I made up of other peoples thoughts. There’s something to the color mint green, the green influences my sickness, almost like a tooth decaying in response to a mint chocolate chip ice cream cone. I’ve loved once before, he was kind, gentle, sweet, the production of him happened in my dreams. I’ve thought about my dreams once before, they told me theres something to the color yellow, they said it’s like a stench in the air that’s only tainted by the sun. Running doesn’t get me high, it only forces me to create a amount of sympathy, sympathy for my insecurities. I’ve seen this chevron pattern once before, it follows the stripes that mask themselves in red & white, but this time in cotton. Cotton has become a symbol, I’m not sure of what, maybe it’s the mucus that drowned itself in my skin. A rose also carries it’s own symbol, and I don’t mean a projected symbol that signifies the artificial lighting from Christmas lights. I’ve learned two things about breathing, only one represents life. Calvin, what a lovely name, is that because it’s attached to my suit case, or my white underwear that rises in my shorts. I’ve found solace in my longing, time in my heart beat, and a tremor in my waken state. Lets hope my ego has found peace also. ​

Exhibition Statement

Black face subsided while white face remains as the main representation of clowning. Between 1830’s-1910 across the US were performances of minstrel showings, these shows became mainstream in 1848. The minstrel shows lampooned black individuals with modern stereotypes. Othello, originated in London, by Shakespeare, is known as the most famous performance of white males performing both gendered roles and in blackface. Shakespeare also employed jesters & clowns, the first play was Lord Chamberlain’s Men. 1980’s and early 90’s we have a resurgence of the Club Kid Culture scene, that was comprised of wealthy white individuals, that then leads us to contemporary platforms like Rupaul’s Drag Race. As a spectator of such platforms and histories, levels of performance and masking are metaphoric representations of the repression of race and gender. The white clown face is blackface in disguise. Blackface which originated through clowning created new stereotypes and perpetuated mistreatment and racist behaviors years to come.

In 1865 Slavery was abolished in Texas, and Galveston had an illegal slave trade through the Gulf of Mexico starting in 1816. By becoming an active member of the community in Texas, and an outsider responding to the context and history of repression and abuse in America, Sugar (Chapter II) becomes an extension of my natural responses to the people I’ve met and the nonliving extended experiences, by being on their territory. My time in Galveston is a recent endeavor, a temporary exploration of a town that cultivated a haunting. There are pioneers, subcultures, and individuals that are transforming, and questioning the roles of identity through race in makeup, gender through costuming, and humor/entertainment through pain. The different levels of engagement and influence hold a large amount of information in standards of beauty traced from all over the world.

I use photography to create a new form of identification through methods of masking. This is a form of representation, as an explorative generation of power through image-making. There’s a need to deconstruct ideologies based on appearance through imagery. I am dissecting the levels of masking. This photographic amalgamation is political, subversive, and affirmative imagery that forms a racial & gender non-conforming empathetic utopia. During the course of the past 3 years, I have been working on a new project titled Sugar (Chapter II). Sugar (Chapter II) is a series of photographs and video that will be displayed inside a full-colored installation. Created are staged photographs that are in response to my living locations.

DomesticLands

April 9 - June 6, 2021

The home is a place that fosters our understanding of relationships. During the early years of childhood is when we develop socially and emotionally. Later in life, these early years will impact our ability to foster relationships, empathize, and how to interact with others. When revisiting memories of home, it is important to teeter on the edge of both joy and trauma as this duality defines us. There are nurturing memories that offer safety and warmth. However, for others, the home can represent pain where a moment of trauma is forever encased in time. Home can be a physical location, associated with the material, or defined within one's self.  This cultivation of objects and relationships defines who we are.    

Presenting works by Morgan Bukovec, Gary Sczerbaniewicz, and Allison M. Walters.

Artist Statements & Bios

Morgan Bukovec

“common thread”
This site-specific installation investigates the relationship of materials and memory in the domestic spaces we call home. Domestic fabrics (quilts, blankets, sheets, linens, etc.) activate stories and cultivate feelings of connection through generations. The found fabrics, suspended from the ceiling, respond to the architecture of the space and create a feeling of openness that draws in a delicate and airy quality. The fabrics are draped physically close and are connected through seamless ties that cultivate the feeling of intimacy, while the various textures and patterns of these fabrics evoke a sense of familiarity. Collected stories, submitted by strangers and the owners of the work’s fabrics, have been catalogued by a storyteller, the recordings are available via a phone number provided in the gallery. The intent of this work is to invite viewers to slow down, look closely at the materials, listen to the stories of strangers, and cultivate their own meaning and narrative through reflection, imagination, and memory. Viewers will have an opportunity to submit their own stories connected to domestic fabrics and memory. 
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collage works
This series of mixed media collage works are driven by my desire to understand and contextualize the experience of living female through material, content, and process. The long, narrative titles of each work aim to spark a story, while exploring and questioning the roles and relationships within the domestic space. These works are filled with opportunities for viewers to investigate the materials used, examine the story that was delicately created, then reflect on one’s own role and identity within the domestic space.

Morgan Bukovec is a mixed media artist, educator, storyteller and collector of things from Cleveland, Ohio. Having received a bachelor's degree in Fine Art and Art Education from the University of Dayton, her studio practice is interdisciplinary with a focus on themes of identity, storytelling, fleeting moments and objects across time. Recent group exhibitions include: /DIFFERENT STROKES/, Female Artist Club, Belgium, Boundaries, Woman Made Gallery, Chicago, Illinois, and Waterloo Arts Juried Exhibition, Waterloo Art Gallery, Cleveland, Ohio. Morgan works as a bartender at the local pub, a server at her grandpa’s butcher shop, as well as a Thoma Engagement Guide Apprentice at the Museum of Contemporary Art Cleveland.

Gary Sczerbaniewicz 

My approach to the concept of Home is to document the unheimlich or un-homely. This contrarian position has been gleaned from numerous experiences in which the safety, security, and intimacy normally associated with the concept of home has been subverted or dismantled (often by intangible forces), yielding spaces which are mere remnants of their once vigorous nature. Growing up at the end of the Cold War in suburban New York State in a Catholic family- my childhood was generally happy but always laced with a sense of existential dread from invisible sources ranging from spiritual retribution to literal annihilation by radioactive cloud. The resulting effect of this struggle between security/ insecurity has impacted my thinking, research, and practice to yield a permanent sense of what scholar Ruth Ronen describes as an ‘aesthetics of anxiety’. These four works comprise the first part in a series of eight which depict related wall sections of an old domestic space that have been ruptured by some unknown trauma. This trauma is perhaps hinted at in the acronym titles which refer to a Catholic nighttime prayer recited often in my childhood: *'(NILM) Now I Lay Me...... (DTS) Down To Sleep'…..(IPTL) I Pray The Lord…..(MSTK) My Soul To Keep.’

Gary Sczerbaniewicz​ was born in Upstate NY, received his BFA in Sculpture from Alfred University and his MFA in Sculpture & Installation from the University at Buffalo in 2013. Sczerbaniewicz is a 2016 NYFA fellow in Architecture/ Environmental Structures / Design from the New York Foundation for the Arts. He has exhibited both nationally and internationally and has completed residencies at Yaddo (2017), the Constance Saltonstall Foundation for the Arts (2016), and Sculpture Space (2013). Sczerbaniewicz recently served as Visiting Assistant Professor of Sculpture at the University of Notre Dame. Gary is represented by Anna Kaplan Contemporary, Buffalo, NY. 

Allison Walters

I'm a person who makes things and loves people. My work deals with what it means to be human, with what it means to be imperfect. I study the imperfection within myself, and I broadcast that into the world so that others may relate and feel closer to me and to one another, as imperfect human beings. I am most interested in communication between humans, and the failure of that communication. What happens when we love too much, and our feelings become warped or perverted? What happens when we want to get close, but we cannot? I deal with emptiness, fullness, lust, love, and abuse. I am interested in happiness, and subsequently images, text, and ideas that are connected to happiness, especially ones that have been deprived of context or emotion. Ultimately, I want to share feelings with people.

Allison Walters is a person who makes art. She works in photography, painting, video, digital art, and conceptual art. Her work deals with being human and sharing complex feelings with others. She has an MFA from Stony Brook University, where she studied Studio Art from 2014–2017. She also works as a web and graphic designer at the College Art Association, a nonprofit arts organization based in New York City.

Coveted.

February 13 - April 4, 2021  

​Laura Mulvey, Scholar, and Filmmaker introduced the term "the male gaze" in her 1975 essay. The male gaze represents the perspective of a heterosexual male viewer, along with the perspective of the heterosexual male character and the heterosexual male creator of the film. The male gaze also primarily depicts women as sexual objects for the sole pleasure of the male viewer.

While representations of the male gaze can be found in abundance when exploring themes of love, relationships, and desires, Coveted features works that offer a range of perspectives that are not easily accessible in mainstream culture. Featured works by Stefani Byrd (Fayetteville, AR), Dani Clauson (Portland, OR), Leiyana Gonzales (Cleveland, OH), Sydney Kleinrock (Long Island, NY), Megan Lubey (Cleveland, OH), Olga Nazarenko (Cleveland, OH), and Rebecca Poarch (Long Island, NY).

Read DRB's review of Coveted on the CAN Blog.

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Read Artist Bios

Stefani Byrd

​Stefani Byrd’s art practice includes video, new media, and interactive technologies. Byrd’s early work addressed social justice issues in the form of interactive temporary public art installations that created role reversal, or "empathy training,” experiences for the audience. Her current work focuses on creating psychologically charged immersive media environments addressing topics such as digital feminism, gun
violence, and how technology impacts empathy in digitally mediated spaces.

Her work has been exhibited at places such as the CICA Museum (South Korea), the Museum of Contemporary Art of San Diego (San Diego), the Athens Institute for Contemporary Art, Atlanta Film Festival, and the Hunter Museum of American Art. She has received grants and support from groups such as: Creative Capital of New York, Flux Projects, Atlanta Celebrates Photography, and Idea Capital. Byrd's work is held in the permanent collections of the Museum of Contemporary Art of Georgia and the Columbus Museum of American Art.

​She received her BFA degree in Photography from Georgia State University. She holds a Masters Degree in Visual Art from the University of California San Diego. Byrd is currently a Visiting Assistant Professor at the University of Arkansas.

Artist Statement
A visual tone poem inspired by the beautiful, but potentially tragic, mating ritual of the American Bald Eagle. The two soar up to high altitudes, lock talons, and spiral towards the earth. If they release in time and complete the courtship ritual, they become a bonded pair for life. If they don’t release from one another in time, both will crash into the ground and die. This act creates a tension between succeeding with their mate and maintaining their own survival. The score for the video comes from the infamous song “True Love Waits” by the band Radiohead. The song was written 21 years before it was recorded and released on a studio album. It began as a hopeful and proud love song at the beginning of the relationship between lead singer Thom Yorke and artist/scholar Rachel Owen. The two would later marry and have two children. The song was finally recorded and released in 2016 as a resigned and melancholy ballad after their divorce and her subsequent death from cancer. The song refers to the same relationship, but in its two stages, chronicling its aging and eventual deterioration. This piece is inspired by the notion of tragedy, abandonment, loss, and the gap between the ideals and actualities of romantic love.

Dani Clauson

​Dani Clauson is a queer trans/non-binary ceramics artist, who has been utilizing art as a mode of ‘speaking’ since they were a child. Dani utilizes their past experiences of domestic memories, trauma, and relationships to influence their work. They found clay as a freshman attending the University Of Montana, and have been touched by the materials empathy, reciprocation, and bodily metaphor ever since. Clay has been crucial to healing and expressing their struggle with bodily connection and sense of safety. From the University of Washington they have received a BA with honors in 3D4M, alongside a minor in Art History. They utilize their art history education to strengthen their art objects to speak upon the history of violence against the Feminine and its effects upon queer identity and gender.

Artist Statement
“If I were to write to you To tell you something Or create some visual you can place hands upon Some textural tactile technique How naked should I become? [do you fetishize my flesh?] These domestic recesses of my mind, Where the boundaries of body, emptiness of self Reveal themselves behind the curtain, [I seem obsessed with the perforated line that seems to divide But suggests to cut open. To be so vulnerable yet suggestive of barriers.] Do you remember what they told you, about becoming a ‘woman’? Can’t you see, I’m not one? (don’t)(touch me) I’ll keep these restless hands digging through clay To find an empty state To find acceptance / rejection Of objectification / subjectification To find my voice To find my body.” With its own sense of body, touch and memory, as well as its transformative nature from ephemeral to permanent, ceramics holds a metaphor of trauma and its lasting effects. The ceramic forms I create are reflective of the Abject Body-the traumatized body-the Queer body. They expose distortion and fragmentation that compel the viewer to meet both discomfort and familiarity. Being trans/nonbinary, I have spent my life distant from my own body. ‘Love’ within a Queer body is an abject experience, a reckoning with the body one exists in and the desires that are under the surface. Finding embodiment in physicality is a gentle process-a painful endeavor-leaving voids and a hollowing from residual trauma to try and find that sense of safety and comfort. Through use of washes and glaze, the textured surface reveals marks of erosion, scaring, discoloration, and tearing. The bodily forms are placed upon built settings that are rendered domestically familiar to reveal the origins of these physical disruptions. These ceramic renderings/ramblings understand the physical feeling of Body from the perspective of the Emotive-Self. Through this voice, validation, and vulnerability, my work aims to acknowledge trauma and bring forth a grieving space that is sensitive, healing, and Queer.

Leiyana Gonzales

Leiyana Gonzales is an interdisciplinary digital artist based in Cleveland, Ohio. Her work is rooted in the details and emphasizes saturated, vibrant colors that dance across your mind. Leiyana focuses on creating pieces that effortlessly portray familiarity while embodying otherworldly elements. She has been creating on digital platforms since 2018, after spending her early life sketching and painting with graphite and acrylic mediums. Her work intends to inspire her audience to see magic in the mundane and transport them into another world. ​

Artist Statement
I intend for my art to feel like a dream you don’t want to wake up from. Shapes, colors and motifs dance across your mind just waiting to be decoded. My creativity is mine, but it exists on its own. It is up for your interpretation. I want my art to stay with my audience and speak to their soul. About the submitted collection: Being desirable and being loved are not synonymous. As young women we unknowingly conflate the two, breaking our own hearts in the process. Black women are often viewed only as objects to be desired. Our bodies are so much more than just desirable. Our bodies are portals into our minds and souls, they hold the very essence that is us. My collection invites you to look at a black body beyond desire, beyond the surface, and into the essence that is me. Hopefully inspiring others to do the same.

Sydney Kleinrock

Sydney Kleinrock is a painter and textile artist born in Long Island, New York. She received her Associates Degree from the Fashion Institute of Technology, and graduated in 2018 with a BFA from Hampshire College, studying visual arts and sustainability. In her last year at school, she exhibited a gallery show of her thesis artwork which examined the role of clothing in everyday life as well as its larger, cross-cultural impact on the global environment. Recently, she has done a residency at the Vermont Studio Center, and shown work at the Untitled Space in tribeca. She currently works out of her studio in Greenfield, MA.

Artist Statement
My practice incorporates painting and drawing with textile art processes to explore themes of queerness, identity and internal landscapes in the context of greater cultural surroundings. I explore the variation of texture and dimension that is added when textile elements are combined with painting. The imagery in my work is drawn from a combination of memory, imagination, and moments captured from life. Often reflective objects are transformed into a vessel for refracting the fleeting moment that is presented before the surface. Recognizable figures are distorted through a reflective surface or the ever-shifting perspective of memory and emotion. Through the use of oversaturated colors and loosely-rendered space, everyday scenes and memories become surreal and dream-like; sometimes breaking objects and subjects away from a fixed sense of space entirely. Distanced perspectives are captured through the frame of up close objects, creating a layered effect that hints at the transitory nature of reality and the ever-fluctuating presence of internal and outer life. 

Megan Lubey

Originally from Buffalo, NY, Megan Lubey is a young artist currently studying painting and creative writing at the Cleveland Institute of Art. Her work often explores unconventional, ‘crafty’ media and how it interacts with more traditional aspects of painting. Lubey’s paintings range from observational to non-objective, repeatedly incorporating unexpected saturation of color and gestural expression. Her work considers themes such as comfort, domesticity, girlhood, shame, and sexuality. These pieces tend to reflect on personal experiences and their ability to resonate within others when stripped down to their core emotions or when evoking a visceral feeling.

Artist Statement
This series of three explores the artist's relationship with the social construct of virginity. In adolescence we are generally taught that virginity is lost when a penis enters a vagina and a hymen breaks. This definition feels incredibly far removed from the expansiveness that is the practice of sexuality and is dangerously hetero-normative. This interpretation directly caters to cis straight males and perpetuates the idea that while men are gaining something from engaging in sex, women are losing something. The loss of a boy’s virginity is something that is often congratulated or is considered a right of passage. This is almost never the case with a woman or non-binary individual. There is a pressure specifically put on young girls to stay abstinent that is often perpetuated by family, teachers, and religious organizations. At the same time, there is an equally present pressure from their male counterparts and media to become sexual and that pushes sexuality upon girls before they get the chance to decide to partake in it themselves. These notions result in feelings of shame and regret in young women and perpetuate rape culture.

​This series depicts the artist’s personal disconnect between the feelings involved with a so-called “first time” and its standard definition as well as the shame and pain that intertwines with discovering sexuality and deviating from the standard. “The First Time” represents the feeling of becoming sexually active despite not having the desire to. There is a very specific pain that is endured when the body is engaging in something that mind is against. This piece is an abstract representation of physical pain, confusion in disdain, coercion, and an attempt to adhere to expectations and social norms. The first time is forced heterosexuality, it is unwelcome. “The Second Time” is an abstract depiction of a hymenectomy. This is a medical procedure that occurs when an individual’s hymen has developed in a way in which it is unable to break naturally and results in extreme pain and discomfort when there is an attempt to penetrate. In regards to the biological definition that includes the breaking of the hymen as the loss of virginity, this is an extremely unconventional way to do so. The second time is blacked out under amnesia, it is sterile and scheduled. “The Third Time” is virginity in the way that the artist would prefer to define it. This depicts an experience that is both wanted and welcome, yet conflicted. In a hetero-normative and religious environment there is a sense of shame in being a queer woman. In a patriarchal society there is a feeling of inadequacy and anxiety in being a queer women and living in a way that does not involve nor benefit the cis male. A concept of virginity without a hypothetical man is both seldom heard and unpopular yet extremely necessary and valid. The third time does not involve standards or medicine, it is queer, messy, and spontaneous.

Olga Nazarenko

Olga Nazarenko is a Russian-American interdisciplinary mixed media artist currently based in Cleveland. Nazarenko documents the transience of experience through a sensorial and culturally-guided lens. Nazarenko uses a variety of visual, auditory, and tactile artistic mediums to shape works that comment on the narratives that shape human identity, the relationship between humans and nature, and the rituals that connect humans to the divine.

Since 2019, Nazarenko has been experimenting with mediums that liberate and engage the senses. As a filmmaker, Nazarenko uses sensory ethnography and experimental documentary styles to shape new forms of visual communication and to explore human
sense-making. In addition to analog and digital film and audio as mediums, Nazarenko uses three-dimensional materials to create physical objects that tell a story or comment on cultural customs. By using cement sculpture and ceramics, Nazarenko shapes forms that allow audiences to relate to the world as a child does, with a free and exploratory mind. By connecting the intuitive world of the three-dimensional with the visual narratives of the two-dimensional, Nazarenko suggests new ways to view our realities and the narratives we build in our own lives.

Artist Statement
​Olga Nazarenko (b. 1994) is an interdisciplinary mixed media artist documenting the transience of experience through a sensorial and culturally-guided lens. Nazarenko uses a variety of visual, auditory, and tactile artistic mediums to shape works that comment on the narratives that shape human identity, the relationship between humans and nature, and the rituals that connect humans to the divine. In the infamous 1972 article “Is Female to Male as Nature is to Culture”, anthropologist Sherry Ortner explored the universality of female subordination by arguing that women are identified with and are a symbol of nature; while, men are symbolized by humanity’s culture. Cacophony (2020) is a short sensory ethnographical film exploring humanity’s complex relationship to nature, and the power dynamics that shape this relationship. By analyzing the age old war between anthropocentric human superiority and to-be-tamed nature, this film seeks to illuminate the tension that exists in mainstream heterosexual desire and sexuality using sensorial experience as its language.

Rebecca Poarch

Rebecca Poarch is a 22-year-old artist from Long Island, New York. She recently graduated  from the Pennsylvania State University after pursing a Bachelor of Fine Arts in Studio Art with  her concentration in Painting & Drawing. Rebecca was awarded the 2019 Margaret Giffen Schoenfelder Memorial Scholarship by Penn State School of Visual Arts to recognize her as an  exceptional forth-year painter. Rebecca has shown at Greenpoint Gallery in Brooklyn, New  York, Radiator Gallery in Queens, New York, and with the Garment District Alliance in New  York, New York. Rebecca has worked as a Curatorial Assistant at Isabella Garrucho Fine Art in Greenwich, Connecticut and as a Curatorial Assistant at the Art Alliance of Central Pennsylvania in State College, Pennsylvania.

Artist Statement
With vivid colors and dream-like scenes, my work aims to realize the blurred line between the body and its lived experiences, in conjunction with these developing ideas in the contemporary art world. My work aims to tell stories of girlhood, love, loss, sexuality, and other physical and emotional experiences, creating a personal mythology and diaristic narrative. Through painting a dreamland of hyper-femininity, I am creating a world of bright light from darkness, or a utopia from a place of vulnerability. After a surgery that caused me to think about my relationship to femininity and sensuality, my most recent works have used a process of taking photos of myself, cutting and manipulating these images in photoshop, and transferring these compositions to a painting. This bridged my thoughts on the cutting and healing process my body physically has undergone and its relation to my femininity and that which makes me feel beautiful. Through my painting process, I am able to accept and adapt to the bodily changes I have experienced, confront my constant need to make myself feel beautiful, and connect to a deeper personal sense of sensuality and femininity. Most recently, my work has contemplated how painting can act as performance in my life, particularly in my everyday ritualistic beauty routines. Sewing together my used makeup wipes as material to paint on has caused me to merge my self-care practices and my painting practices to find fulfillment in both performances simultaneously. I hope to address questions of growth and self-acceptance, coming from a place of vulnerability, to then create soft, ephemeral, and hyper-feminine works that speak to not only my personal experiences, but also political and social issues at a greater scale. I hope to find oneness, beauty, and strength in the elasticity and morphing of the physical and emotional self, particularly while living in the body of a girl who is becoming a woman.

2020

SWITCH

December 18, 2020 - February 7, 2021

Kaiser Gallery is proud to feature artists and creatives from the art and technology sectors who utilize light as their medium and source of inspiration. The evolution of art has led it to become more and more intertwined with technology and reshaping the definition of what we consider art along the way.  SWITCH features a wide variety of artists and creators who challenge art in different directions through the implementation of technology. Artists and creators alike explore different expressions of light through multidimensional studies, including but not limited to, sculptural works, printmaking, projection art, and virtual reality. The blending of different types of media through innovative practices may even provide a glimpse into the future. 

Presenting works by Laura Bigger, Emily Dzieweczynski, GIBSON + RECODER, Carol Anne McChrystal, Haumed Rahmani, Joseph Santarpia, and HR-Stamenov.

Read Artist Statements & Bios

Laura Bigger

My work explores the relationships that exist among humans, animals, and ecosystems, particularly in terms of the food chain, raw materials, and the human tendency to exert control over natural systems. It explores existential quandaries such as what it means to be a human today, how we can live in the world responsibly, and what our obligation is to do so. As a multimedia artist, I question anthropocentric viewpoints and interpret the man made environment primarily through print, drawing and installation. Celestial Bodies is a series of prints that uses symbolism to articulate the concept of a tipping point. Some works portray the point at which light approaching a black hole changes direction, having been drawn toward the black hole’s mass. Others portray light emerging carelessly from a prism with no obstacles. Components such as slices of water are either upright, indicating an expected stasis, or upside-down, hinting at an eerie world with laws of nature unfathomable to us. While this series is more abstracted than much of my recent work, it manifests an environmental concern and a visual experimentation with balance, optimism, pessimism, and escapism.

Laura Bigger 'Constellations' (2019) Monoprint: intaglio & relief with copper leaf and reflective glass beads. 10.5" x 14.5”

Laura Bigger Bio
Laura Bigger is an Assistant Professor of Art and runs the printmaking area at Truman State University in Kirksville, MO. She has previously taught at the University of Nevada, Reno and Augsburg College, in Minneapolis, MN. Originally from Boulder, CO, Bigger received a BA in Studio Art and Hispanic Studies from Colorado College in 2008 and an MFA in Printmaking from the University of Minnesota, Twin Cities in 2013. She has exhibited her work in solo and group exhibitions nationally.

Emily Dzieweczynski

I’m curious about empathy. My portfolio moves between science, art, and technology. It questions the lengths and limitations of these fields when they intersect at the concept of empathy. This interest in empathy comes from equal parts hope, stubbornness, and cynicism. I wanted to understand what could make people do good. The research began by studying Daniel Batson’s Empathy-Altruism hypothesis. This hypothesis states that the more empathic concern we feel towards an entity, the more altruistic motivation is experienced. Empathy is facilitated by both understanding or sharing emotional remembrances and one’s ability to project and experience bodily sensations in relation to another entity. My work is interdisciplinary. Psychological literature informs art making decisions, bringing something that is analyzed into something that is felt. I conduct research through data collection and documentation. Work in two-dimensional or new media functions as empathic stimuli, questioning how we connect and experience empathy. Ultimately, your reality is vastly different than mine and I want to understand that.

Emily Dzieweczynski 'An Audio Analysis of Home' (2020) 3D Rendering, Ambisonic Sound, and VR. 3:50 min

Emily Dzieweczynski is a multimedia artist, creative researcher, designer, and educator. She is interested in the intersection of science and art, particularly where they meet at the concept of empathy. Emily is a graduate from Gustavus Adolphus College, holding Bachelor’s degrees in Studio Art and Psychological Science, and studied Fine Arts Media at the Slade School of Fine Art. Her work takes the form of drawing, printmaking, writing, and new media; including code, virtual reality, 3D modeling, web-based media, sound, and video.

Emily’s work has been shown at venues such as the Target Gallery, the American Swedish Institute, Rosalux Gallery, Highpoint Center for Printmaking, Gustavus Adolphus College, and the Children’s Museum of Minnesota. She has received funding through the National Science Foundation, an Arts and Cultural Heritage Grant, the Prairie Lakes Regional Arts Council, and Gustavus Adolphus College.

GIBSON + RECODER

Coming Attraction GIBSON + RECODER In our installation work, we use projected light to articulate space and time. Film projectors and celluloid are the material base of our constructions in light and shadow, the elemental properties of cinema. These things are deeply imbued with a history of viewership in the dark of the theater. To remove it from darkness is to flood this history and cast a certain illumination upon it. A certain exposure. Light spills in the shifting of film from its native darkness in enclosed chambers (camera obscura) to the uncanny openness and defamiliarized illumination of installation. We are exploring the shift, elaborating the displacement, recasting the light mechanics of a peculiar estrangement of the medium. The art of cinema, yes. But more timely: the becoming cinema of art. That is the coming attraction for us.

Gibson + Recoder 'Solid Light Film' (2017) 16mm film projectors, acrylic cylinder, and hardware. 14" x 41" x 13"

Collaborating artists Sandra Gibson (b. 1968, Portland, OR) and Luis Recoder (b. 1971, San Francisco, CA) have been exhibiting their expanded cinema installations and projection performances since 2000. Their works are in the permanent collections of major art museums, including the Whitney Museum of American Art in New York, Memorial Art Gallery in Rochester, and Museum Kunstpalast in Düsseldorf, Germany. Artist awards and commissions include the Rockefeller Foundation Bellagio Center in Italy, National Endowment for the Art’s U.S.-Japan Creative Artists Fellowship, and Madison Square Park Conservancy’s Mad. Sq. Art in New York. Lecturing appointments include both long and short-term teaching residencies in the media departments of the University of Colorado Boulder, Denison University in Ohio, and California Institute for the Arts. They are featured artists and research associates of RESET THE APPARATUS! A Survey of the Photographic and the Filmic in Contemporary Art, hosted by the University of Applied Arts Vienna, Austria. Gibson + Recoder live and work in New York.

Carol Anne McChrystal

My materially-driven sculptures work through chemical processes and labor-intensive hand-making to explore the legacies of colonialism and trade, as well as the ways in which the climate catastrophe has compounded these histories of inequity. Inhabiting a tension between Earth’s immense geological history and the absurd everyday experience of plastic and labor, I consolidate the painstakingly hand-made with mass-produced consumables to pry open a speculative space to resist the means-ends rationale of late capitalism.

Carol Anne McChrystal 'Media Archaeology I' (2020) Dual layer DVD-Rs, kernite, dye, and copper nails. 60" x 60"

Born into the dual diaspora of the Philippines and Ireland, Carol Anne McChrystal is a Los Angeles–based artist and designer. Her materially-driven sculpture and videos work through chemical processes and labor-intensive hand-making to explore the legacy of colonialism and trade, as well as the ways in which the climate catastrophe has compounded these histories of inequity. Inhabiting the tension between Earth’s immense history and the absurdly mundane everyday experience of plastic and labor, her practice consolidates painstakingly hand-made and mass-produced consumables in order to pry open a speculative space in which to resist the means-ends rationale of late capitalism.
 
As part of the collaborative duo Nightmare City, she has created immersive environments that have been exhibited at Alter Space in San Francisco, The Luminary in St. Louis, and Horse and Pony in Berlin, and has shown video works at Essex Flowers in New York, MASS Gallery in Austin, and ACRETV in Chicago. Her writing has been published in critical arts publications like Art Practical and Temporary, and she recently self-published a collection of poetry titled, “Entropical Latitudes.” In tandem with her art practice, she organizes within the local Filipino community in Los Angeles with GABRIELA, the anti-imperialist Filipino women’s group.

Haumed Rahmani

Just as we learn who we are through the process of self reflection, so too does this projection piece form its own  emotions, memories, and identity by seeing itself through itself.  The camera, projector, and cross-dichroic prism act as the  organs of a feedback loop of converging and diverging light,  always recreating the present as a fractalized view of the past.  In this way, the system hopes to achieve some internal meaning. 

Every word in the dictionary  
is defined by other words in the dictionary,  
like every moment in time  
is defined by other moments:  


a language of fractals,  
only ever returning to itself.

Haumed Rahmani 'Self-Reflection' (2020) digital projection and prism.

Straddling creative, scientific, and digital frameworks, Haumed Rahmani spends his time thinking about questions that lead to better questions, in hopes of finding a guiding compass through the future. His code is being used by the likes of Cornell University, Johns Hopkins University, and the Max Planck Institute, and he’s slated to present at the International Liquid Crystal Conference 2022. With work ranging from microscope imaging to generative weaving and short film, Haumed is foremost a toolbuilder and communicator. He is currently working toward his PhD in Chemical Physics at the Advanced Materials & Liquid Crystal Institute at Kent State University.

​Joseph Santarpia

My practice captures a stark contrast of darkness and luminosity, referencing both a sense of visceral interiority and expansive space in order to address curiosities regarding embodiment and release, and autopoiesis and sympoiesis. I achieve a range of abstracted and representational imagery using pigment and fluid on paper along with monotype printing and photographic processes. Through series’ of ink and watercolor paintings, collages, cyanotypes, and some 3 and 4D pieces, my work indexes the comparability of and transitory nature between interiority, flesh, bodily mechanics, and corporeal structure, to that of the expanse of space into which bodily actions extend. My materials interact through varying ratios of fluid, light, and object. The cyanotype process is fundamentally photography and printmaking—chemical exposure to UV light and transferring objects onto paper. The creative capacity of the chemicals, light, and objects on the paper surface allow this media to be treated painterly, as my "Scope" and "Range" series are. Evoking the aesthetics of medical imagery (MRI and X-ray) and using exercise equipment as the subject of the image transfer, this work is imbued with a context of medicalization and rehabilitation.

​Joseph Santarpia 'BOUND vi' (2020) Cyanotype. 45" x 33"

Joseph Santarpia's work leverages autopoiesis—the self-creative capacity of material—to explore questions of release, embodiment, and landscape. He received his MFA from Stony Brook University in 2020, and a bachelors degree in Visual Art Education from SUNY New Paltz in 2017. He's shown in galleries across the United States, including: Small Green Door, East Los Angeles, CA; Manifest Gallery, Cincinnati, OH; LIC Arts Open, Long Island City, NY; The Brooklyn Waterfront Artist Coalition, Brooklyn, NY; Limner Gallery, Hudson NY; The Paul W. Zuccaire Gallery, Stony Brook, NY; Gallery North, Setauket, NY. He is the recipient of awards including The Goldberger Fellowship and the Dorothy L. Memorial Purchase Prize.  Santarpia is also an active, New York State certified art educator currently working for the Lowville Academy & Central School District and previously for the Gallery North ArtVentures Program and Stony Brook University’s Studio Art Program.

At age 18, Santarpia had a spinal fusion of his L5, S1 vertebrae, altering his bodily reality. Because of this, he has grown to be intensely attentive to his bodily sensations. The lived experience and physical consequences of this procedure have since informed his life and art practice greatly. The two main components from which Santarpia’s practice manifest are (1) material approach and process, and (2) conceptual and biographical context. Both his material approach and the spinal fusion surgery he underwent, rely on systems of collaborative creativity (autopoiesis/sympoiesis). The fusion surgery uses bone graft, which is essentially a glue that hardens or fuses into bone over time. The procedure sets a rigid ground using rods and screws along and into the vertebrae for bodily regeneration to take its course. Similarly, Santarpia’s art practice facilitates a system of interaction: the flow of liquids and sediments; gravitational forces; evaporation; crystallization; state changes of liquids, gasses, and solids; UV light; emulsification; muscle contraction; respiration; cognition.

HR Stamenov

HR-Stamenov was born in 1981 in Plovdiv, Bulgaria. In 2007 he obtained his Master’s Degree in Painting from Academia di Belle Arti di Carrara, Italy in the class of professor Omar Galliani. HR-Stamenov work combines technology, new media, video, traditional oil paintings, and site-specific light Installations. 
​
HR-Stamenov exhibited in: Centro per l’Arte Contemporanea Luigi Pecci, Prato, Italy, (2009); Lu.C.C.A. Museum - Center Of Contemporary Art, Italy (2011); Institute of Contemporary Art Sofia, Bulgaria (2011); La Triennale di Milano (2009 ,2018); Laznia Centre for Contemporary Art, Gdansk, Poland (2012); Sofia Arsenal - Museum for Contemporary Art (2012); Sofia City Art Gallery (2009,10,11,12,13,14); Museum of Contemporary Art of Istria (2015) Structura Gallery, Sofia (2017); Galleria di Arte Moderna e Contemporanea, Viareggio, Italy (2018); CAMeC, La Spezia, Italy (2020) Æter Haga, The Hague, Netherlands (2020).

HR Stamenov 'We need miracles' (2020) Video, loop, silent.