Taylor Kolnick
Drifting
35mm
2021
Price available upon request
Griffin Allman
Maybe if you go to sleep happy, then you'll wake up happy
Acrylic and watercolor on canvas
2021
$350
“My artistic practice consists of abstract paintings and drawings that attempt to embody the fluidity and subjectivity of memory in visual form. Specifically focused on memory recollection, I am concerned with depicting the experience of remembering through lenses or filters, where different moments collide and combine to become something that is simultaneously familiar and foreign. My work is rooted within the history of geometric and hard-edge abstraction, and I am interested in reducing memory down to a visual language that primarily utilizes color, form, and repetition. Through this cycle of compacting moments of the past and repurposing them to create something new, I aim to make abstract work that is seen as both replenishable and renewable."
Natalia Mahan
Pothos: Longing Growth
Oil painting
2021
Price available upon request
Griffin Allman
I locked the door and threw away the key
Acrylic and watercolor on masonite panel
2021
$350
Lauren Farkas
The Materials and the People
Colored pencil on paper, buttons, thread
2021
Price available upon request
"We often relegate the process of data visualization to electronic algorithms in the name of efficient objective accuracy. This relegation strips data of the susceptible record of the human witness. I am interested in the slow embodied move to manually sculpt patterns from a raw collection of signs and signifiers as an exploratory act of reclaiming the humanity of data.
The Materials and the People is a patient delve into a single sample of our collective cultural lives--namely, a rack of used clothing. This sample consisted of over 200 shirts in the women’s medium section of Ladies of Charity thrift store in Knoxville. From this succession of clothing hung between homes, I extracted and isolated information like location on the rack, country of origin, material, and washing instructions to coalesce patterns and trace histories of the garments. This information became my data set for a practice in data visualization.
I photographed the tags of each item in sequence, and these photos became collage elements for a poem that traces a cotton garment from tufty seed to human body (this poem was published January 2022 in Pigeon Parade, a local literary arts publication). I then organized the information from the tags into colors and concentric shapes to represent the proportions of material in each article. I added overlays to these drawings to show the country in which each material [blend] was crafted into clothing, and how the fiber components of the part relates to the whole of each garment and the entire sample.
The narrative of materiality and the people who make, use, and discard it matter to me in fashion as well as in art. The thrift shop sample and the (inherited) paper and colored pencils used in this work are reflections of my insistence on using and reusing materials that are already in circulation."
Jackson Jalomo
L'impuissance de l'individu
Oil and dioxazine pigment on canvas
2021
$650
"L'impuissance de l'individu is an expression of discontent with the incessant impact that large corporations have on Co2 emissions and consequently climate change, as well as the disheartening recognition of the futility of the choices of the individual in the face of the unfaltering environmentalist nightmare that is the oil industry."
Megan Wolfkill
Window/Obstruction
Flashe and cotton fabric on canvas
2021
Price available upon request
“I make my work on the floor, which requires me to hover over the surface on which I’m painting. I sit on my knees, crisscross, or take a half kneel if I’m reaching far across the surface of the work. I move around the surface while it remains stationary, providing myself with a skewed aerial view of the work as it progresses. This top-down view feels most natural to me due to my history as a dancer and choreographer. When learning to dance, you look down on your body, which is simultaneously you and your instrument. My neck often hurts from looking down.
I allow my hand to feel what it’s making, while it’s making. I follow its lead, and analyze what it has created after the fact. Trusting in my hand is new to my studio practice, which comes as a surprise to me since I have long trusted in my body in the dance studio. I remain in the world of geometry, but allow the edges of my shapes to wander across the canvas, rather than predetermining them with ruler and pencil. The translucency of some shapes allow the visual information below to shine through, while the opacity of others blocks previous layers.
My shapes are containers for color. The colors live inside the edges, sloshing up against the sides of their confinement. Just like our bodies are the places we live, so are the edges of my shapes to my colors. The outer boundary of each shape is like the space where your forearm ends and air begins. The edges of my shapes are the edges of the color’s body. I use my choreographic instinct to determine how these bodies arrange themselves in space. I make my work on the floor so I can see it like I see my body. When there is no mirror to look in, you must look down."
Katie Seal
Disconnected
Digital photograph
2021
Price available upon request
Katie Seal is an artist and graduate of the University of Tennessee, Knoxville. With a BA in Art and Psychology, she enjoys the experimental as well as simple documentation. Katie creates work that touches on an array of topics such as psychology, identity, and our relationship between the natural world and modern-day technology.
Jana Ghewazi
Swim Space Stadium
Acrylic and china marker on frosted mylar
2021
Price available upon request
“I make paintings, drawings, stories, and experimental performances driven by my interest in corporeal presence, ambiguity, and interactive art. I am inspired by novels, cartoons, manga, comic books, and board games as well as comfortability, perception, sentiment, social practice, and interaction. I am fascinated by deviations of realistic representation, different variations of bodily forms and movement, and the process of building a narrative within a painting. There is a play between familiarity and obscurity within my work as I use coded imagery, comical word play, and abstract colors to depict recognizable forms and references.
My work explores audience engagement with different readings and interpretations of a painted image by inviting audience members to consider my work as a game of searching and guessing. Viewers participate as storytellers, decoding imagery, allegories, and meanings. Writing, painting, and drawing is an active conversation between medium and message, and between myself, the art, and the audience. Like tennis, air hockey, checkers, and many more games that revolve around the back-and-forth motion of players, my work engages in the push and pull of dialogue, conversation, discussion, and contemplation to form an engaging plot of discussion and storytelling.”
Rae Taylor
Bigger Than Me
Mixed media
2021
Price available upon request
"Through my work, I depict people existing in peculiar and ambiguous worlds. My pieces frequently include figures that are distorted but recognizable. I depict the relationship between bodies and the space they exist in using pattern, line, material texture, and flat color to unite and divide the subject from the setting of my work."
Rae Taylor
Hot Ramen
Paint on wooden panel
2021
$215
Susan Feinberg
Magnolia Leaves
Mixed media on canvas
2021
Price available upon request
Jackson Jalomo
Banned Blood
Mixed media
2021
$750
Faith Belt
Volume 1
Shadow puppetry film
2021
NFS
Adarian Johnson
In Moonlight Black Boys Look Blue
Digital photograph
2021
Price available upon request
Natalia Mahan
Growing from the Shadows
Oil painting
2021
Price available upon request
“My painting captures women rising up after near-deaths of their souls.”
Diana Dalton
Antithesis to Lomography
Digital photograph
2021
NFS
