No Products in the Cart
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
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.
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.
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.
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.