Sunday, October 01, 2017

October Unicorn Of The Month: Megan St.Clair

Emotional identities and intimate awareness are things that fascinate me. Although these conditions cannot be clearly defined, I enjoy the struggle of attempting to examine them or create new questions asking what we think we know about ourselves.

My goal is to question these complicated qualities of closeness through drawings, paintings, metaphor, or object. I expose constructs of identity in the singular self and within the plural unit of a relationship.

Megan is also a contributor to Hyperallergic, Art Maze Mag, and the Director/Curator of SoftCoreLa.

More of her work can be seen on her Website and Instagram page.

Friday, September 01, 2017

September Unicorn Of The Month: Ann LePore

Ann LePore Was raised in the garage under her father’s car and continued tinkering with analog video and kinetics in Western New York and later with computer driven electronics and animation in New York City. A New Leonardo artist, and Geraldine R Dodge Foundation grant recipient, Ann has exhibited at events such as Digital Salon, the Free Biennial, and La Superette, in New York City and Internationally. She has completed residencies at Engine 27 Sound Space, the Taliesin Artist Residency Program and was awarded a year-long studio residency at Gallery Aferro in Newark.

The images and installations she creates as a result of her tinkering are heavily influenced by her experiences not just as an artist, but as a member of several communities that are defined by the physical assertions and limitations of a very specific environment. Ann received her BFA from Alfred University and her MFA from the School of Visual Arts. She is currently Associate Professor of 3D Design and Animation at Ramapo College of New Jersey.

The Greening: 209 evokes different moments in time: present, future, and past. In the U.S. a house or other building may last a generation or more. The systems we design to guide us as a society outlive us all, though they are not permanent either. How do we know if the structures we put in place are working? How long does the long view need to be if we are going to plan accordingly? It’s time to remodel.

The Average age of homes in the US is 35. Is that because we are a “young” culture? Or a disposable one? Vines grow quickly, decay can be seen on the walls, and an oculus opens up on the roof. Is this a time-lapse showing years compressed into seconds or are those plants actually predatory? Is the oculus actually the moon, or are there primordial organisms swimming under a microscope? We’ll only know if we spend some time, looking at the same thing, all facing the same direction.

And this is what being rooted in a place, in the landscape, does for us. To all face the same way, shoulder to shoulder, laboring together- this is the only way to be human together. Everything else that defines us is less consequential.

More of Ann's work can be seen on her Website,  her Vimeo Channel, and be sure to follow her on Twitter

Tuesday, August 01, 2017

August Unicorn Of The Month: Grace Roselli

My work overall is driven by the malleable nature of identity, eroticism and gender, and is realized through transitory performances- visual dialogues with transition and self modification mediated by both natural and man-made forces. The final documentation—generally the mediums of painting and photography—celebrates, and interrogates the narrative potential buried in everyday encounters, innocuous materials, and their embedded cultural associations. 

’Naked Bike’, my current series, involves women riders and their motorcycles. I’ve been riding since the late eighties, and have sometimes considered ‘riding while female’ as a gendered performance piece involving the display of the female body combined with a machine that has had mostly masculine associations. 

I started the project by asking volunteers to consider this: When you ride, you wear gear that protects you, like a helmet etc. What happens when the ride stops, you take off the helmet and walk into ‘female’? The answers and ideas in response have been overwhelming with ‘Naked Bike’ being very much a work progressing.

There’s a rich history of women’s bodies, nude and clothed, portrayed in art. Much of this historical portrayal has ranged from the casually misogynistic to outright sexism. After a still ongoing struggle for awareness and rights, many women are now controlling, owning and celebrating the narrative of their bodies. 

The Naked Bike Project is a performance of that narrative, concerning the language and agency of the contemporary female body combined with a machine traditionally associated not only with men, but sexuality, rebellion and freedom.

The motorcycles portrayed cease to be mere moving vehicles but become a symbol and extension of contemporary female sensuality. It’s curves echoing the form of the body, the motorcycle functions as a lover, a prop, a site for the expression of utter physicality. The female bikers who have volunteered for the project share a love of riding and a willingness to be vulnerable for an idea: re-imagining the portrayal of their bodies in combination with their beloved machines. The images of Naked Bike are as diverse as the individuals being portrayed.

Women riders and machine can be one—cyborgs rejecting the boundaries and social mores that separate human from machine. In some pictures the women are covered in gear for the sport, but also can function here as armor, a mysterious shell, a hidden space. In others, that protective layer is gone. Naked, the women project what protects them, or not, as female. 

My work isn’t about documenting the visibility of the growing number of female riders, but a change in the very culture we’re in. This is not just about/for women, this freedom of thought is for everyone. 

A work in progress, ultimately Naked Bike is about the journey, the beginning of a provocative and culture-shifting ride.

More of Graces' work can be seen on her Website, Instagram, and Facebook Page.

Tuesday, July 25, 2017


Hello Creative Economy Grant Panel. 

Welcome to my blog.
Since my mural proposals are not on my website, I have set up this blog post specifically for you!

I am proud to say that I am taking part in this festival.  In the next two weeks there will be a mural map on the W.O.W website, so please feel free to find me on the map and come say hello at my mural location. More information about the festival can be found on the WOW Website.

The Wide Open Walls mural festival is taking place from August 10th through the 20th, 2017. It will bring over 40 artists – local, national and international – to the Sacramento area. This year’s event adds to the region’s already venerable history of mural painting – which has produced over 600 murals over the last 40 years.

My concept sketch for upcoming Wide Open Walls mural festival, roughly 15 feet tall and 25 feet wide.

The festival celebrates the relevancy and diversity of street art, and will transform walls and neighborhoods throughout the downtown area and beyond. It will include many opportunities for the public to engage with the artists – including gallery openings, public mural tours, artists’ receptions and panels, First Friday and Second Saturday celebrations, the Wall Ball – an art-themed fundraiser for arts education – and the unique opportunity to watch artists as they create these large-scale works of art.

Not Just Any 'Ol Place

I have also included photos of the shopping center where Pantry once stood so that you may get a sense of the space and scale. Thank you once again for taking the time to look over my proposal.

South facing wall.
Side view of south facing wall.
River Park Shopping Center.
Former site of Pantry.

Saturday, July 01, 2017

July Unicorn Of The Month: Malayka Gormally

In my oil paintings I use the figure to explore emotional vulnerability and connection between people of disparate races and generations. The subjects of my work stem from personal observation both within my community as well as in communities that have aspects of familiarity to me yet challenge my preconceptions. From my perspective, the diversity reflected in this lens matches that of the world around me — one occupied by people of various ages, body types, genders, and ethnicities. I am interested in the ways in which this perspective, an iteration of a life that is recognizably normal to me and most people I know, appears out-of-the-ordinary within the context of the figurative canon.

Malayka Gormally is a figurative painter, curator, and commission portrait artist. Her paintings are included in the City of Seattle Portable Works Collection and Safeco Insurance Collection, and have exhibited in group and two-person exhibitions throughout the US.

Malayka’s childhood in Berkeley influenced her interest in equity and social awareness, as she grew up during the integration of public schools and Vietnam War protests in the streets. With her figurative paintings, she aims to reflect the world around her — one occupied by people of various ages, genders, ethnicities, and body types. 

Since 1997, Malayka has painted portraits on commission for over 100 collectors in the United States and Europe, including individuals who have served as board members for the Seattle Art Museum, the Henry Art Gallery, and the Palm Springs Art Museum. Malayka also curates the rotating art exhibitions of corporate properties in the Seattle region.
My photographs inspire my iPad drawings, which I use as source material for my paintings. I intentionally maintain the linear quality of the figures, a device commonly enlisted to depict a generalized “person” (such as in cartoons or graffiti), to depict specific individuals with recognizable emotions in nuanced moments of interaction. The specific nature of the emotions expressed in the figures has the power to resonate with personal experiences from the viewer’s life. Some of my work utilizes overlapping figures suspended over bands of color, referencing sequential moments of time as well as film frames.    

Growing up in Berkeley profoundly influenced my interest in equity and social awareness, as my childhood included both the integration of public schools and anti-war protests in the streets. At home, my father told of surviving the Nazi occupation of his native Holland, and my mother spoke of her Jewish grandparents escaping pogroms in Poland and traveling through Ellis Island to the United States. 

Though I’m haunted by their stories, they push me to create imagery of the measure of social integration that I experience in my current life — precipitating my body of work Gatherings. My community of friends and relatives were the subject of this body of work. The majority of my friends and relatives are in the arts and so these paintings have also served as a documentation of an artistic community.

For my body of work Beachlife, I based my paintings on the unselfconscious beach culture of Spain and Italy. I wanted to create these paintings for a US audience, particularly women, to provide a jumping-off point for reflection about how we feel about ourselves. Women in the US are much more self-constrained about our bodies, which adds to the measure of disempowerment that we feel. Cognizant of my role as a woman painting other women, I address women's concerns about body size and image, and my paintings reflect a range of physiques and stages of life.

These paintings investigate women’s place in society with the implicit aim of subverting the male historical painting canon. By creating art that depicts women and families spending time together while quite physically exposed, I hope that we reconsider our own anxieties and judgments about our bodies.

To see more of Malaykas' work, check out her Website, Instagram, Twitter, and Facebook Page.