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What I see when I hear the word “rubble”. My love of moss (on rocks, trees, grout lines in tiles). What I dreamed I could dig up from my backyard when I was seven. These snippets of memory and fantasy build from my experience with the bizarre overlap in nature and infrastructure in suburbia. I took inspiration for this collection from snapshots from my memory of the overlooked undergrowth. Fairy rings in mulched over medians, bits of gravel with neon paint mysteriously on the corners, and my esteemed childhood collection of fanciful woodchip shapes are just a few of the nostalgia ridden images that bring these works together.
"Works that call on my memories and idealizations of the overgrown corners I rooted around in my childhood."
- Curina Staff, Katie
Madeline Walker is a Visual Artist working at the intersection of Sculpture and Painting. You'll like Madeline if: all your best doodles come from fidgeting.
Max Manning is an artist and educator who currently lives and works in Houston, Texas. He earned his Bachelor of Fine Arts in Two Dimensional Studies from Bowling Green State University in 2011 and his Master of Fine Arts from the University of Cincinnati in 2014. Max has exhibited work nationally and internationally and is currently represented by TW Fine Art in Brisbane, Australia.
Jenny Kemp's lines don't try too hard to mark where one object ends and another begins. Instead, they take the lead in playfully guiding the viewer's eyes around the page, sometimes literally in spirals. If you follow closely, you'll start seeing layers that have you look into the piece beyond surface level. And her color choices have an earthy quality that is almost nostalgic - orange is always in fashion, right?
Sasha’s paintings are small but mighty. They sometimes look like fictional sculptures dropped onto the vacuum of vibrant color. Other times they’re like a clutter of found objects. In either case, disparate objects disappear in favor of a whole situation of motion and interaction, tinted with Sasha’s faith in the possibility of true harmony.
Painter, sculptor, and musician Ryan Patrick Martin is one of those rare people who creates his own reality - one of playfully strange objects and environments. His works are often informed by an interest in sound synthesis, movement, vibrancy, multi-sensory experiences and an endless search to find humor and harmony in the slop.
In the age of migration and multicultural families, no one has to be one thing - Winnie straddles three countries of Indonesia, China, and the U.S where she worked as educator as well as artist. In her mixed-media works, tropical and botanical motifs are not relegated as an exotic backdrop but intermingle with human bodies. Some motifs are more pronounced, like figures sitting in the position of or making hand gestures of Buddha. But Winnie's playful collage uses these pieces to resist the sense of a fixed origin, fully giving in celebrating rather than resisting the confusions of having multitudinous identities.
In a world that creates shiny new things just so they can go obsolete, Jen discovers old, abandoned, or neglected things gone sinister. Throughout works that vary in palette from rainbow neons to worn out neutrals, from panoramic scenes of lake gatherings to close-ups of fences, there shouldn't be anything outwardly unsettling. If anything, Jen's use of fine lines and matter-of-fact realism inspired by photography should make these objects familiar. But the unsettling effect arises from finally facing these usually unseen, even deprecated, things - we had forgotten them so profoundly that there is no way to make sense of them.