Ian Weaver’s work utilizes drawing, sculpture and film to act as metaphors for fracture. He is interested in the construction of identity and memory, and how individuals and communities use commemorations and their archived personal/communal objects to represent these constructions. His work centers on the now defunct “Black Bottom” section of the Near West Side of Chicago where African American residents once lived. For this, he has constructed a fictive history for this destroyed community utilizing elements such as museum vitrines, maps and documents, sculpture, and film. Recently, he has extended this construction to the creation of a fictional group, the Black Knights – part medieval knight, part Black Nationalist – who lived within the community during the 1940s.
Residents from United States
Kothamachu’s work attempts to reify the emotional, mental and physical state of desiring. This is realized through drawing, objects, moving images and spoken word narratives. Her stories are staged in fabricated worlds extracted from the everyday, venturing beyond veneers of reality and consciousness into the subconscious to access the unspeakable in human experience. She creates a visual narrative charting the emotional and psychological journey of the human condition by revealing nuances of the multiple realms of our existence; while facilitating aesthetic experiences and personal interpretations.
Kothamachu graduated from The Academy of Fine Arts and Crafts, Rachana Sansad, India with a major in sculpture. Prior to this, she studied animation. She has participated in several residency programs including The Last Ship, Mumbai; Stiftung Futur Foundation, Switzerland; Sandarbh International Artists Association’s residency and Khoj. She received the Inlaks Fine Art Award 2013. In 2014, she installed a large-scale outdoor sculpture at the India Art Fair. She was part of the Creative India Public Art Intensive and the Changwon Sculpture Biennale, Korea.
Events & Exhibitions
Residents from India
Paint has the binary ability to summon and refuse, reveal and conceal, beautify and debase. Aaron Collier’s work attempts to revel in these manifold offerings, for in so doing, the resulting imagery is consonant with our tangled interaction with the world. Routine are encounters marked by disclosure and obstruction; we happen upon phenomena that we are seemingly able to know, grasp, and understand along with those we fundamentally cannot. Paint fittingly pictures this paradox, for painting itself is an in-between act, a simultaneous doing and undoing. Collier’s paintings, drawing and collage, thus traffic more in fragment than in chronicle. Images that indefinitely “suggest” allow him to situate the viewer and himself as deferential participants, adventuring with the image.
Aaron Collier lives in New Orleans where is an Assistant Professor at Tulane University. Solo exhibitions include Cole Pratt Gallery and Staple Goods, an artist cooperative in the St. Claude Avenue Arts District. His work has been included in group exhibitions at the Contemporary Arts Center and the Ogden Museum of Southern Art and has been featured in New American Paintings. Collier’s paintings are represented in collections such as the Boston Medical Center, Iberia Bank and New Orleans Museum of Art. He has participated in residencies at the Joan Mitchell Center in New Orleans, Ragdale Foundation and Virginia Center for the Creative Arts.