Colin McMullan (USA)
We are many, and Emcee C.M. is just one of us. The work we do combines large-scale public, social and collaborative event-based projects with a more internal process of self-reflection through fiction, storytelling, and filmmaking.
The work we do concerns all of us, we, people. We are alive, working and playing. We have our personal and our general struggles. We are trying to understand the anxieties that freeze us in place, and celebrate our power to overcome them. If our work is how we define ourselves, then our life is work, our work is life, and it is our life's work. Work describes what all of us do with our time when we are actively engaged in living. To do work is the basic activity of being alive. This is the starting point: whatever else gets incorporated into a specific project, our work is always about work.
Betty Newman-Maguire (Ireland)
My work has taken me in many directions; however, I have always had a love of materials and our heritage. I like the challenge of working on site specific locations and trying to create a concept to marry my idea with place. I also like the challenge of creating a solo show where works within the exhibition feed off each other, and while pieces work in their own right, when put together they create a crescendo. Sometime the material within the solo exhibition can vary from bricks, to glass, wax, text, drawings, ceramics and video. When the work begins it gathers its own momentum and I find that I have to follow its direction which can be exhausting, but, at the same time, somehow liberating.
Carla Novi (Mexico)
The exploration of human relations and their social context is central to my practice. I'm particularly interested in working with disempowered communities facing social, class and/or economic injustices. After identifying a specific problem in a particular community, I begin the process of engagement. As I submerge myself into the local, I then start drawing parallels with the global; narratives generated by individual voices recurrently mirror other voices in different micro-societies around the world that are not necessarily related with one another. These invisible lines that link one story to another, to another... become the source of my research to produce work, in an attempt to have a better understanding of human behavior, thus parting from an understanding of the individual voice. Whether the final product of my projects becomes a sound or video installation, a collaboration, a shared activity for the community to take part...the climax of the process remains in the possibility of inviting each individual and their voice to participate as a medium that has the power to encourage other voices and other voices...and other voices, to make a contribution towards change.
Jeremy Dean (USA)
On its bend toward justice, the arc of history is indeed long, but it's also liquid, subject to change. This fluidity of historical truth leaves it open to revision and manipulation - blurring the line separating the right or the wrong side of history. My work stands in this temporal river momentarily redirecting the water, where history, culture, economics and politics float.
My underlying process is physical, below the surface - an excavation of memory from sediment,bringing artifacts to the surface - and then, a reconstruction.
In fact there is a term in archeology known as anastylosis, defined as: the archeological reassembly of ruined monuments from fallen or decayed fragments, incorporating new materials when necessary.
This is very close to a description of how I see my work, except that I often do this process in reverse. Taking monuments, myths, histories, culture, I break them down into fragments, incorporate some new material (from the present or imagined future) and put them back together as a new,constructed
meaning, imagining different outcomes and parallel narratives.
Michele Brody (USA)
The success of my work thrives on the interaction with new communities and environments. Through a careful investigative method involving the gathering of regional materials, native plants, local stories, architectural landmarks and historic research I have focused on the creation of site-generated works of art that illuminate the unobserved in our day to day surroundings and the challenges facing our environment.
I have developed an interdisciplinary practice that incorporates a wide spectrum of resources and techniques. I am intrigued with the process of creating a controlled environment where the work organically develops and changes over time. This form of artistic creation represents the constant state of entropy we live in, and how the delicate characteristics of memory and time can both erode and enhance our interpretations of experience.
With each new project I lean towards a minimalist approach. I focus on exploring the formal use of light, color, pattern, space and time - by interweaving manmade, natural, and living materials to create a sense of elegance out of the simplest of gestures. My intent is to evoke a visceral encounter that comments on the compartmentalized preservation of Nature and History, while planting a new awareness of the tenuous relationship between ourselves, nature and the built environment.
crystal nelson (USA)
crystal am nelson is a civically engaged, multidisciplinary artist who works in social practice, curation, photography, video, performance and installation in order to activate under-articulated histories and alternative subjectivities.
She regularly collaborates with other artists, often to perform happenings that position artists as service-providers or cultural docents to the public. Another aspect of her practice includes creating site-specific interventions that are in direct response to not only the history and geography of a location but also to its position in the contemporary sociopolitical landscape.
At the center of Drew Ippoliti's practice is an interest in the vernacular language of tools and containers, using a traditional, skill-based approach coupled with examinations of history. Drew generates objects and installations rooted in craft, concerned with how the individual relates to the mass.
In 2009 he was awarded a J. William Fulbright Fellowship to China to study Ceramics and Architecture along the ancient Silk Road. For the last two years, Drew has remained in China, constructing an international practice of lecturing and making work at various universities and residencies.