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
Through large-scale drawing, ceramics and installation practices, Zachari Logan evolves a visual language that explores the intersections between masculinity, identity, memory and place. In previous work related to his current practice, Logan investigated his own body as a site of exploration. In recent work, Logan’s body remains a catalyst, but no longer the sole focus. Employing a strategy of visual quotation, mined from place and experience, Logan re-wilds his body as a queer embodiment of nature. This narrative shift engages both empirical explorations of landscape and overlapping art-historic motifs.
Zachari Logan is a Canadian artist (born in 1980, Saskatoon) working mainly in drawing, ceramics and installation practices. Logan’s work has exhibited widely in group and solo exhibitions throughout North America and Europe. As an extension of his practice, Logan has attended residencies in Paris, rural Tennessee, Calgary, London UK and three times in Vienna; through project space Schleifmühlgasse 12-14 and Vienna’s Museums Quartier, quartier21: Artist in Residence Program. Recent projects include Eunuch Tapestry 5, Leslie-Lohman Museum, New York; Folds, Angus-Hughes Gallery (London; Sisi-boy, Schleifmühlgasse 12-14, Vienna; Fugitive Garden, Illingworth-Kerr, Calgary; and touring group exhibition Faceless, at De Markten in Brussels, Mediamadic in Amsterdam, and freiraum quartier21 International, Vienna.
Residents from Canada
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.