My work validates the responsibility of visual artist as the historian of our time; it is a recording device of the world today. By absorbing and processing the world around me, ideas come through me and back into the world to confront where and what we are in society.
By keeping myself close to urban inspiration, I have dare to create and not to be afraid to discover. The viewer is conditioned to accept art works as art only if they are created in a traditional manner, to appreciate art works that originate and develop outside of these constraints is quite the opposite. The nature of my project is original and imaginative because it studies contemporary urban elements and situations; it explores the artistic process of creator to viewer. In my current work, I explore themes that conceptually involve aspects of our every day experiences; taking inspiration from the most unusual but common places you could find, always trying to raise awareness to the simplest aspects of life, these sometimes hide the most important and extraordinary things for the human imagination.
Our world occurs on its own terms, it is our responsibility as humans and as artists to know as much about it as we can, to focus and find new ways to interpret the purest aspects of life. Our ways of seeing have been influenced by the biases and expectations of the classical ideas of perfection, but is by challenging the tradition of classical art that much of the modern art will draw its power.
Stephanie’s work continues to evolve by exploring her stance within Jewish culture. Hadad’s works represent and touch upon the physical toll incurred by a woman that has taken on the role of a traditional domestic housewife. It's the duty of creating and keeping ancient traditions alive, not by force, but because of the desire to vitalize their customs for generations to come.
Hadad’s childhood was based around being constantly conditioned in preparation for her turn as the housewife. That intense rooted process causes the works she produces to appear in the sub-conscious, her dreams. Through her responsibilities as a daughter, she witnessed firsthand through her mother, the burden to persevere, but in the end, also revel a joy. With transformation of these perpetual traditions, Stephanie acknowledges and plays with the conscious ideas her position holds within this role and is continuously being redefined by her experiences.
Through studies, research and exploration of her individuality and culture, Hadad has taken a political and yet poetic approach to voice her works through a diverse and often unconventional range of media, including installation, sculpture, video, photography and works on paper. Each piece corresponds with the other, creating a narrative for women, who especially now, are starting to get the recognition they deserve.
I synthesize the possibilities across ecology, geology, and science in general. I travel the world to conduct research connecting geological identities, man’s drive for scientific exploration, and humanities connection to The Universe.
Where are we going and how will we get there? Conscious and subconscious connections are visualized and expressed through art as a conduit to the interconnected cosmos.
Sri Prabha, recipient of the 2016 South Florida Cultural Consortium Fellowship, is a multidisciplinary artist originally from Hyderabad, India. His artistic training includes Cornish College of the Arts and a Masters in Clinical Psychology. He integrates into his aesthetic process, tenants of geography, nature, time, human origins, and the cosmos. His works manifest across a range of mediums that include installations, video, light art, sculptural paintings, and sound. Recent works include permanent public art for the Governmental Center in Fort Lauderdale, and a video art commission for Seattle’s E4C. For 2019, he is showing at Orlando Museum of Art’s Florida Prize in Contemporary Art.
Painting & Mixed Media
My current works seek to make contact with a subterranean human network of memory outside of time. I am channeling the collective memory which connects all human experience on some level. Referencing feelings that are traces of a historical past, the works reflect my research in pursuit of that revelation.
My artistic practice includes painting, photography, printmaking and sculpture. In the paintings I evoke primordial symbols from a world of myth, and transformation, of alchemy and power. The figures represent a feminine god. She is fluid, borderless, representing all eternity. In the divine world of the goddess, she plays a role that is quintessentially female. Her story represents both the totality and also the fragment of the universal that is the personal.
Doris Kloster earned a B.A. in Art History, from Boston University, an M.A. in Fine Arts from New York University and is currently a PhD candidate at the European Graduate School, Switzerland.
Her artworks have been exhibited and collected internationally. Exhibitions include 99 Degree Art Center, Taipei; Beijing Museum of Contemporary Art; Galerie Sator, Paris; Huan Tie Times Art Museum and Zero Field Projects Gallery, Beijing; Seokjang-Ri Art Museum, South Korea; Red Army Museum, Moscow; and the Neue Galerie, Graz, Austria. Four books of Kloster’s photographs have been published.
Kloster developed and mounted a series of exhibitions focusing on women artists entitled She Views Herself, which featured an international roster of artists over five editions exhibited at multiple venues in Paris.
Her works were included in the landmark feminist exhibition,Coming to Power: 25 Years of Sexually X-Plicit Art by Women, that was first exhibited at David Zwirner Gallery in New York City in 1993 and remounted at Maccarone, New York in 2016.
I presume my work not to be only a product of the intellect but also an imaginative expression of symbols. By concentrating on the human form as the ideal object-symbol, I try to bring my work to a human pathos and to make it an activity of consequence rather than mere objects of decoration.
I paint series, which gives me the objective of concentrating on a subject that can be developed, researched and keeps me focused and interested in the subject of choice. I find working on a series exhilarating. My preferred medium is acrylic. For me, this medium gives me the necessary flexibility to use color to create composition, movement and elicit emotions.
In 2015, I began the Americana series, a subject that has been in my subconscious since my teenage years. I was influenced by movies and I was in love with everything American especially literature, philosophy and history, since America’s Independence to today. There has been a kind of mysticism that enables me to express my feelings for this country. America is a very complex society and I must say that I only understood it through the study of pragmatism, a true American philosophy. The Americana series is my way to thank the USA for granting me entrance into this country as an artist of merit and for the opportunity to work and express freely. This is my homage to the United States of America.
From a young age she was drawn to the idea of constructing figures with different elements collected in time, and bringing them together through painting. Aesthetics which jump between iconography and conceptualism, give rise to artwork that is built from mixed materials and techniques. The recollection of miniatures, metals, garbage, jewels, rhinestones and an endless number of elements in apparent disuse, started to get involved with her drawings in the assembly of dynamic pieces of art, thus leading to a sensation of wavelength that create subatomic movement on the pieces. Some built on canvas and some 3D scenarios.
Her artwork is a constant expression of an inspirational process that overcomes any philosophical resources. The iconographic subjects in the pieces of the series “Entrega de Armas” -Arms Hand Out-, pose as a deliberate recontextualisation that is far from humanizing the weapons, but proposes to transpose the signifiers subscribed in the social imaginary. Pieces that release historical arguments of war and violence constantly present in her native Colombia. Her artistic practice is meticulously conceived in a process of preciousness and configuration. In the series “scenarios” the artist stages situations in small format boxes. Shaped and scenically acquiesced, the characters and elements meddle in dreamy scenes related to human behavior. Built by assembling miniature objects and props that evolve to a particular atmosphere and an intuitive sentiment. “Experimenting everyday the unexpected effects in staging these situations and giving new meaning to things is an important part in defining me as an artist. My life is deciphering my plastic language. Painting is my passion”
Born in Barranquilla, Colombia. Political Science graduate from Universidad de los Andes in Bogotá, later specialized in video editing at New York University. Her interest in visual arts grew in the 90s; and attended SCAD, Savannah College of Art and Design, where she ventured in courses in digital art and sculpture, among others. She continued to connect her passion for art with history. Her experimental narrative shows persistent observations of reality. Scenes of war, globalization, and technology’s influence on man, take shape and dynamism through her compositions. These past years have been important for Bibiana. A solo exhibition in Paris, France; and being part of collective art exhibits in Dallas and Miami (USA), at Museo del Chicó in Bogotá, Colombia, and in JUSTMAD at Madrid, Spain. She was selected to exhibit at Florence Biennale in Italy representing Colombia last October 2017. Recently moved to Miami, and currently working at her studio at Fountainhead in Little River, Florida.
Painting & Mixed Media
Michelle Weinberg is a painter who also creates art for interiors, architecture and public spaces. She received her BFA from School of Visual Arts in NYC and her MFA from Tyler School of Art in Philadelphia. She is the recipient of awards and fellowships including a Pollock-Krasner Foundation Award, Lower Manhattan Cultural Council grant, a South Florida Cultural Consortium Fellowship in Visual & Media Art, an Individual Artist Fellowship and Artist Enhancement Grant from the State of Florida, the National Foundation for Advancement in the Arts, and residencies at MacDowell Colony, Millay Colony, the Fine Arts Work Center in Provincetown, homesession and Fundacion Valparaiso in Spain and Altos de Chavon in the Dominican Republic. Recent exhibitions of her work include: FIU Frost Art Museum, Dot FiftyOne Gallery in Miami, Cyan Gallery in Barcelona, ARENA by Renee Riccardo and the Hewitt Gallery at Marymount Manhattan College in NYC. Commissions and projects include The Art Production Fund, The Wolfsonian Museum-FIU, Facebook offices in Miami, Miami-Dade County Art in Public Places, Cultural Council of Jacksonville, FL, City of Tampa, FL, City of Hollywood, FL. Weinberg is a consultant to museums and non-profits, developing exhibitions, education programming and more.
Caruso’s work often depicts male nudes, thereby subjecting the male form to the same degree of objectivity and fetishisation that the female form has endured throughout history. Caruso believes that the nude male form in art is underrepresented in contemporary dialogue because it is often interpreted as taboo or offensive; or it can be portrayed as homoerotic. As a female artist, she aims to question the ways in which heteronormative values continue to dictate contemporary subject matter. Her aim is to portray the sensual male nude.
Like most figurative artists, Caruso is inspired by sculptures of Antiquity and the Renaissance. However, she does not work from live models. Instead, she finds her references from strangers on the internet, often pornography. She is merging historical painting techniques with the digital age.
Sara Caruso is a figurative artist based in Miami, FL. She graduated with a BFA from Florida State University in 2017 with a focus in painting and ceramics.
A sense of homelessness and exile have been profoundly impactful forces in my life. Naturally, they are woven deeply into the fabric of my artistic practice.
I’m a second-generation Cuban-American interdisciplinary artist. I am also queer, though my queerness is less a function of my sexuality than it is a question of exile. Exile from the boundaries of the Normal, the Moral, even the Real. I am brown. I live with physical and learning disabilities. Though vital, none of these things wholly encapsulate me. I am more than the total sum of my categories. But they’re nevertheless significant, even central, to who I am, and subsequently, to my artistic practice. The work I’m engaging in now are visually unconventional works produced through transformative meditative practices driven by the urge to explore my experiences through radical modes of representation that invite viewers to inquire, to experience discomfort themselves, and ultimately to be freed, in whatever measure is possible. Although I do not condone universal and ahistorical narratives of the self, and clearly identify with the various differences that set me and others ‘like me’ apart, as an individual and artist I don’t feel confined to any one group, organizing narrative or aesthetic credo. Instead, I seek to embrace the intricacies and contradictions, the pain and the pleasure, and give it all up, let it exist in the seeing, the listening, and the experience of another.
Studied Visual Art at New World School of the Arts where I completed my BFA in Drawing with highest honors in 2017 and was a finalist for the Cintas Fellowship the following year. My work has been exhibited in Cifo Gallery, Unbound, (2017), NoGuchi Breton Gallery, The Incubator (2015), Exile Books, Zines Queens & Everything In-between (2016), Mindy Solomon Gallery, Make It Nice Again (2017), The Night Club, Inside the Writers Studio (2018), The Fountainhead, Everyday is Summer (2018), and the Lowe Art Museum, Cintas Fellowship Ceremony (2018).
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Rachel Lee’s work examines coping mechanisms from childhood; her visual references pull from ’90s alternative music, video games, and the Miami suburbs. Growing up, Lee spent more time daydreaming through Nintendo franchises and rock albums than living in real time due to being homeschooled. This habit has stayed with her through adulthood. Landscape paintings depict the suburbs, interrupted by polygons and music video-stills. Lee's paintings are a process of accepting the insolation and dissociation she experienced growing up, while manifesting where she wanted to be.
Lee lives and works in Miami, FL. Her studio practice focuses on painting, inspired by the DIY work ethic of American punk/alternative rock musicians, the aesthetics of ’90s video game graphics and the memories attached to them.
Painting and Drawing
Ana Sofia Batlle considers her very still and intricate work time-based. She thinks about the concept of time in relation to its constant change and very obvious stillness. Though time is not a subject explored in her work she sees it as extremely relevant both towards her practice, and the analytical thought behind the subjects she interprets. The Dominican artist graduated with a BFA in Studio from The School of The Art Institute of Chicago in 2018 and moved to Miami, FL to continue her career as a visual artist. Batlle’s drawings and paintings look to depict overlooked subjects and simple ideas through intricate patterns and composition. Her playful, intuitive, and repetitive mark strives at portraying her contradicting feelings of the absence of thought and constant overthinking.
My work explores issues of migration and displacement by picking at the history of decorative art and religious iconography in Mexico. Using mixed media and collage, I re-appropriate visual imagery that references maps, symbols, patterns, and language to create embellished images that indulge in and deconstruct colonial art. I often shy away from canvas stretchers and rectangular edges, instead using fabric patchworks and constructions as alternative painting surfaces. These techniques allow me to use painting as a form of installation, where intricate and layered compositions are not just images, but also places in themselves.
I often use photographic source material taken from religious iconography, art, and history within my collages. I am interested in how the process of cutting and re-assembling relates to my subject matter. To me, these processes that are fundamental to collage are a way of visually thinking through the dissection, division, and dislocation present in Latinx history and the way that it shapes the conditions we live under today. At the same time, they are also a subversion of that history. Through cutting and reassembling, this iconography is undone and reinterpreted into an eclecticism that resembles the muddled identities we inhabit.
artist website: www.mateonava.com
Curator and Art Critic
October 29 - November 5, 2018
From 2009-2014, she acted as Chief Curator at ARTIUM, the Contemporary Museum of the Basque Country, Spain. Afterwards, she has curated exhibitions worldwide: MoCAB, Belgrade; Salzburger Kunstverein (co-curated with Zoran Eric and Seamy Kelly) : EFA Project Space, New York; Centro de las Artes, Monterrey, Museo Carrillo Gil Mexico city; Museo de Arte Contemporáneo de Oaxaca; NC-Arte, Bogotá; RAER, Rome; LAZNIA, Gdansk, Poland, Sala Alcalá 31, Madrid and MUSAC in León, where she also takes part of the advisory board of the museum.
Elaborating on an approach closely related to eco-aesthetics I understand art as an instrument of knowledge, through which we can rethink and reformulate other possibilities of commonality and more sustainable strategies to relate to our specific context.
Political Ecology, cultural hybridization processes and alternative formats of social organization, as well as iterations of these thematic guidelines, are the vanishing points that my recent curatorial projects have explored in depth, building upon an asymmetrical approach to a liminal territory in which contemporary art is conceived as a device for critical visibilization.
Formally, I have been specially focused on Videoart and New Media, as well as Experimental formats that alter and transgress established codes of exhibition making or art writing, exploring non-traditional expanded forms of any type of linguistic I consider pertinent to my curatorial practice.
Before 2009, she curated exhibitions internationally in cities such as New York, Prague, London and Madrid. From 2009 to 2014, she acted as Chief Curator at ARTIUM, Basque Museum-Center of Contemporary Art (Vitoria-Gasteiz, Spain) During her tenure, she conceived new exhibition programs as PRAXIS, based in Recycling, process-oriented practices and DIY culture, which featured more than fifteen international artists and also the site-specific project series Grey Flag and Mutatis Mutandis.
Between 2014 and 2016, she curated shows at the Museo Nacional de Artes Decorativas in Madrid, Spain; in New York at the Elisabeth Foundation Project Space and at Y Gallery (New York); in Mexico at Centro de las Artes, Monterrey, Museo Carrillo Gil, Mexico City; and Museo de Arte Contemporáneo de Oaxaca; in Colombia at NC-Arte, Bogotá and the group show PIGS in Spain and Porto.
She also co-curated the exhibition trilogy Invisible Violence, which showed at MoCAB (Belgrade, Serbia), ARTIUM and Salzburger Kunstverein (Salzburg, Austria).
Her critical writings have been included in several international publications among which the catalogues for the Spanish Pavilion at the 56th Venice Biennial and the Greek Pavilion for the 2015 Prague Quadrennial of Performance Design and Space stand out. She has collaborated with periodicals such as (New York, USA) , Arte al Dia International (Miami, USA) and EXIT and Campo de Relámpagos (Spain), among many others. She has participated in several talks, workshops, curatorial residencies and seminars held in a variety of international locations.
During this past year she has curated big group shows like Hybris in MUSAC in León, LAZNIA, Gdansk, Poland, Cartografías Líquidas in Museo de Arte Carrillo Gil in Mexico City, Sostener el infinito en la palma de la mano in Sala Alcalá 31, Madrid, among others.