Stratigraphy Exhibition - Celebrating Layering in the Arts
RECEPTION: MAY 27 , 6:00 - 9:00PM
PUBLIC VIEWING: MAY 27-JUNE 1 , 12:00 - 6:00PM
An exhibition presenting the work of 50+ local & international artists celebrating layering in the arts in honor of Robert Dalton Harris’ 80th birthday
ARTS LETTERS AND NUMBERS STUDIOS, AVERILL PARK FAITH MILLS, 1548 BURDEN LAKE ROAD
Denna Ameen, Mahedi Anjuman, Ipek Avanoğlu, Carolina Muñoz Awad, Mikayla Bader, Bilge Bal, Gökçen Erkılıç (+Aslı Eylem Kolbaş, Barışcan Avcı, Bengi Amaç Uygan, Berivan Güzel, Berkay Can, Ceren Balkır Övünç, Elif Hacısalihoğlu, Esra Rehan, Evrim Kavcar, Evrim Tombul, Güzin Yeliz Kahya, Harun Bilgin, Hilal Bozkurt, Ilgın Hancıoğlu, İsmail Eğler, Frida Foberg Oğuz Kayır, Onur Kutluoğlu, Ravza Kabaktepe, Rehan Miskci), Marghee Barrows, Michael Barrett, Ira Baumgarten, melike beleli, Rachel Blake, MJ Benson, Sara Britt, Christopher Bullock, Michelle Yushin Bussard, Jenn Cacciola, Bonnie Cook, Matt Crane, Clem Dacier, Alexsa Durrans, Emily Eberhart, Clarisse Empaynado, Sina Erol, McLean Fahnestock, Nancy Forster, Steve Fry, Çağla Gillis, Emilie Gould, Amy Halloran, Eve Halloran, Paul Heisig, Martine Kaczynski, Leigh Klonsky, Rich Kuperberg, Monica Lacey, Angela Lanci-Macris, Leah Ying Lin, Rachel Sophrin Lorimer, Leora Lutz, Roxanne Macmod, Jack Magai, Suzette Marie Martin, Heather Merckle, Cindy Stockton Moore, Dale Moore, Mie Mortensen, Alireza Mozafari, Barbara Nuffer, Ebrechi Okwuwolu, Alan Opresko, Ali Osborn, Barbara Owen, Kathleen Pratt, Camilla Prey, Michele Randall, Julia Rosen, Merve Kıyak Şahin, Judy Scarlata, Alex Sela, Eden Sela, Betty Siedhoff, Katrina
ON-LINE SECTION
A Tender Map-Making: Imaginary Island
Aslı Eylem Kolbaş, Barışcan Avci, Bengi Amaç Uygan, Berivan Güzel, Berkay Can, Bilge Bal, Ceren Balkir Övünç, Elif Hacisali̇hoğlu, Esraa Rehan, Evrim Kavcar, Evrim Tombul, Güzin Yeliz Kahya, Harun Bi̇lgi̇n, Hilal Bozkurt, Ilgın Hancioğlu, İsmail Eğler, Oğuz Kayir, Onur Kutluoğlu, Ravza Kabaktepe, Rehan Mi̇skci̇
Unlike maps that chart colonial matters, map-making is a tender practice. Maps can be private communication matters, self-written poems, and writings of personal memories. Have you ever identified yourself with a geographic place? Imagined yourself as a river? A cliff? A beach? Have you ever recorded a memory on a map? Did any map whisper a poem to you?
‘A Tender Map-Making: Imaginary Island’ is a ruminating map that experiments with layering and personalization as map making tactics. It explores novel ways of cartographic imagination with intimate collectivity. The artwork is a collective of this experiment, charted and imagined by 20 participants living on 3 continents, from various backgrounds: artists, architects, game designers, planners, social scientists, students, educators, and fantasy book lovers. Given a base map of an imaginary island composed of 9 plates, participants have curated and layered their geographic places with emotional translations by drawing, delineating, meditating, and place making. 102 plates of the imaginary island were designed and crafted during a week. The plates of the map are assembled digitally as a video-art.
* ‘A Tender Map-Making: Imaginary Island’ is a drawing workshop designed and run by Gökçen ERKILIÇ within the Dirty Drawings no. 02 curated and designed by Bilge BAL, between March 11-18, 2023.
Skin Deep
Shalu Juneja
Mixed media on canvas
Shalu Juneja lives and works in Ahmedabad, India, and received a Certificate of Merit from the prestigious Prafulla Dhanukar Art Foundation, Maharashtra in 2021. Her practice responds to humanity, Earth and Nature as a subject primarily through her process of art making. Through layers of mark making she displays an underlying tone of uncertainty inviting interpretations while leaving it all to an element of chance.
Arizona
Roxanne Macmod
An abstract representation of the canyons of Arizona featuring layers of rock formations. With streams of sunlight filtering above and entrenched rivers below. 2020
Roxanne Macmod is a travel-artist with a passion for painting the colors of sunsets as inspired by places visited. She studied impressionism under a renowned Russian artist in Mexico and learned cityscape impressionism in the streets of Paris. Among her artist residencies around the globe to hone her art skills was a time at Arts Letters & Numbers. Lately, she learned to embrace Duality. Of words and images.Of writing and painting. Mirrors and reflections. To create a sense of duality that pairs into oneness. Colors to canvas is her way of recreating what she felt through painting. Ink to paper is her way of tasting life twice through prose and poetry.
Self-Portrait
Narine Rudikova
Mixed media on canvas
Narine Rudikova lives in Armenia, Russia. She studied with a teacher at the Children's Art School. V.A. Ptashinsky. She is an artist working in funny technique, because she likes to experiment. She works in her own style, drawing to order and for the soul. In her works she often gets into the theme of the 21st century.
S/T
Lorenzo Vasquez
Water-based spray paint on paper, 2022
Based in Peru, the artist is part of the group Vasypa Atelier, Jaylene Cabrera
Anthropocene Topography: Mountains
Lorenzo Vasquez
This series of paintings is made from several hundred layers of synthetic polymer paints, including acrylic, latex and spray enamels. The resulting patterns resemble topographical maps, perhaps of some futuristic anthropocene era landscape.
A New Yorker, Paul Burn is based in Berlin. One of my persistent intentions is to reveal the symmetry that human’s actions possess with other creatures and to natural phenomena. I wish to reveal the primal aspects of human action as it is in accordance with the laws of nature. I wish to take a rationalist and objectivist desire to experiment, to expose and reveal without an agenda of what the final forms look like. This is countered by an intuitive, formalist approach to art making, fueled with a romanticist aesthetic. I tend to use found objects and abject, discarded debris and trash. More than an ecological concern, it is an economic way of finding a source material that is ubiquitous and abundantly available, where the materials’ past uses also fill them with residue, history and meaning.