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James Yarosh Associates Announces “Paying Forward” |
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Alexander Conner
I like focusing on a shared memory and examining it from a protective objectivity, though it's never truly objective. Adding captions of text to images redefines the viewer’s interaction with them. I dislike stories without a satisfactory ending. Technology is a conceptually progressive social force, even when it retards. I like words and when humans reinforce each other’s interpretation of social phenomena with them. Concerning the Polaroid Photographs: An image documents an action of seeing. An action does not exist without a catalyst prior to its inception and a consequence afterwards. Due to it’s intimate size and nostalgic color palette, the standard Polaroid Photograph relates, in a way that does not overwhelm the viewer’s gaze, this singular action contained within a larger narrative. |
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Delia Kovac
Buildings, governments, and identity are multi-valenced, excessive and permeable proxies for invisible social structures. My work begins between these partially perceptible instances. My practice collapses the divisions between art media (sculpture, critical theory, drawing, printmaking, video, etc) and metaphorically links art objects to the larger world. I strive toward a Deleuzian practice; making new associations and meaning by causing perceptual slippages/ruptures. My early and rigorous training as a print maker indelibly marks my art practice: the mark-of-the-hand, serial images, and paper as the support for any project remain visible in my recent video/digital media practice. As an MFA student at Rutgers, I began investigating feminist/lesbian utopias. Eventually this evolved into an academic/artistic query into the nature of personal sovereignty in urban spaces. I emphasize the physicality of the materials I work with to fully consider the art objects I create. |
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Christopher Louie
People perceive things as they want to see things because they have become accustomed to what is familiar. It is only when someone challenges them to see something differently that they try to convince themselves what is right and what is wrong. More so, do I know this is a circle because I've been told it is a circle; or is it a circle because I say it is? My work mainly deals with textures, simple shapes, and familiar objects we come into contact throughout the day. I also explore words that stem from my fascination with conversations, relationships, and interaction. I want to blur the lines between what is purely aesthetic and absurd. |
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Natalie McKeever
"Learning Modern Dance From a Book (16 Times)" is a performance for video piece in which Natalie McKeever, without previous modern dance experience, attempts to teach herself basic modern dance moves from a tutorial book. The piece proposes the idea of learning as performance, and humorously mimics the aesthetics of the book's diagrams. There are stylistic choices I see myself making from project to project. I use a very saturated, intense color palette, I tend to flatten space, giving a kind of two-dimensional quality - images with an unrealistic lack of depth, and I usually have an element of obsessive-ness, busyness, or organized chaos. While I am not concerned with documenting or recreating physical environments or realistic events, I am aiming to be very truthful about introspective and intangible ideas that exist in relation to the self. I am interested in visualizing through video emotions, phobias, memories, processes of learning and creating, and other parts of the cerebral landscape - recreating experiences as they exist in the space of one's mind. |
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