INDIANA GREEN 2012

INDIANA GREEN is a regional art exhibition, which takes place in Sheboygan, WI. This exhibition was inaugurated in 2010 and has been organized by Frank Juarez. INDIANA GREEN is a curatorial exhibition by Melissa Dorn Richards and Frank Juarez.

Introducing our 2012 INDIANA GREEN poster designed

by Gregory Martens. 

EFFJAY PROJEKTS Gallery is pleased to announce that INDIANA GREEN, a regional art exhibition, will be hosted at its new location. This year’s featured artists are:

Pamela Anderson | Wauwatosa, WI

Pamela is a Wisconsin Native. She likes to say she came into this world with crayons in her hands! Her bold and colorful strokes are created from the conscious and unconscious. Daily connections with the world affect and transform the flow of her creativity. Pamela’s work owes something to the Abstract Expressionist’s yet it feels more modern.

Pamela’s work has been described as “Pure joy on canvas” and an “Explosion of emotion.” She hopes her use of color stimulates your imagination. 

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Brandon Bauer | De Pere, WI

My art practice involves an engagement with products of the media, experimental mapping projects, and collaboratively produced work. It is rooted in the critical notions of observation and spectatorship, realized through conceptual strategies of collage, montage, and appropriation across a range of mediums and media platforms, as well as between traditional and new media forms. I explore the contextual relationships between the written word, images, and objects, as well as how these relationships create meaning. My work often explores the tension between multiple or serial production and the unique or handmade. I work with mixed media, video and projected work, painting, drawing, photography, and print based mediums on various two dimensional surfaces, with installation and direct drawings in space, as well as combinations of these methods. I am interested in ideas above objects, yet I seek both a rawness and sensuality in the production of my work. I often employ expressive mark making, utilize tactile qualities of mediums, object surfaces, and consider materiality as well as concept.

I attempt to cultivate a practice that is honest, uncynical, unironic, and unpretentious, albeit often with a little humor. I seek to make political work that addresses contemporary issues in a way that does not fall into easy categories. My work seeks to address and recognize the grey areas that fill the space between polarizing ideologies echoed throughout our mediated culture.

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Daniel Fleming | Milwaukee, WI

What is it to be human? Is it our present? Our history? Our greatest Achievements? Our lowest plummets? Are we human because of what makes us up or because of what we have done? Are we human because of our similarities or because of our glaring differences?  I deconstruct the subject of being human, the circumstances you find yourself in every day, and create a visual language through expression, symbolism, and mark-making that not only portrays the subject itself, but all aspects involved. Emotion, history, thought, belief…all contribute to the true picture of the world we live in and each is essential to transferring that moment to canvas. My work seeks to display all aspects of what it is to be human in today’s world, and much like being human, each piece is viewed differently depending on the person viewing it. Each symbol may connect to a specific memory, each mark my trigger a different reaction. In creating work that expresses the essence of being human, the work itself becomes part of that human experience, ever-changing in its meaning, ever-adaptive to its surroundings. It is, in effect, not a modern painting or a history painting, but a painting of our lives as we continue to move through the world. 

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Jenie Gao | Milwaukee, WI

There is an ever growing obsession with place and identity that arises from a world that grows more connected while its neighborhoods grow farther apart, where people are torn between comforts of home and longings for the universal. We seek tangible things and places as ways of anchoring us, from saving yearbooks to living close to our families. Yet we also seek tangible things as means of escape, such as traveling to places we have never been.

But we miss a vital point in the midst of these searches—that our dissatisfaction does not stem from where we are but why we choose to be there. What keeps us where we are, or what chases us away? What makes a home intolerable enough to move, a relationship bad enough to end? We want long-term love and instant gratification, slim waistlines and chocolate cake; some wait for new romantic interests to pursue, others for a heart attack to give the wake-up call about health. We live on thresholds, waiting endlessly for an outside force to break them.

The subjects in my work exist in this tension. Animals collide together, violent yet intimate, or appear alone, pointedly aggressive without a scapegoat. The drawings themselves are reminiscent of old fable illustrations, yet in our adulthood have none of the straightforward simplicity of the moral lessons that children’s books and parents once preached to us. These are interrupted conversations, incomplete construction that neither continues nor ends. My processes of pen and ink and woodcut are imbued with history; there is something decisive about putting things in ink and carving pieces out, forever. But as we depart from the basics of our teachings, we learn that change, not stability, is constant, and that process, not conclusion, is permanent.

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Frank Juarez | Sheboygan, WI

The work I create are based on visual and written recordings of people, places, and/or things I find interesting and in someway, feel a connection to. In my studio I transform and reduce those thoughts and feelings into paintings that reflect on those experiences. I work in mixed media, which gives me the freedom to create layered, transparent, and textural surfaces that allow me to engage the viewer in not only the colors, lines, and shapes, but also to create a connection between the viewer and my work. Abstraction allows me to explore, adopt, adapt, and reflect on life experiences through documenting specific moments in time. 

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AC Klein | Milwaukee, WI

I am curious about the mythological underpinning of cultural beliefs. Recently, my attention has been drawn specifically to the associations with and characteristics of insects. This series is related to socially constructed ideas of anthropomorphized behavior. Isolating and magnifying these bugs turns them into symbols, and in this way they carry deeper meanings. By enlarging the bugs I am able to expose specific traits of each bug, and I want to invite the viewer to make comparisons.

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Dale Knaak | Sheboygan, WI

Time passes, yielding deterioration and decay; renewal. History’s drama is created by the weight of time on the environment.  The most everyday spaces can passport us to mysteries of an unseen world.  The ordinary that goes unnoticed.


My work explores my fascination with these conventional spaces of the everyday. I see them as a point of contemplation, a contemporary statement on past and present, kept. Our future is the prevailing mystery, bound by our vision, ambition and industry. 


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Tiffany Knopow | Burlington, WI

Although the impetus for my work comes from various sources, I am interested in creating systems to capture fleeting phenomena.  Cataloging, record keeping, and archiving become important parts of preserving objects with temporary life spans.  Methods or recording information practiced by different disciplines (archeology, mathematics, and information technology) become part of my own system of recording.  Eventually, the objects and/or the record of the objects become part of an archive to preserve the item for examination in the future.

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Mary Overman | Milwaukee, WI

My content is derived from bioethical discussions based on the pursuit of perfection as well as identity construction within biomedical advancements. My sculptures create a dialogue for what Gerald Gruman, author of A History of Ideas About the Prolongation of Life, described as the “underlying psychological and social determinants of longevity and humanity’s longing for its attainment.” 

Within bioethics I emphasize issues of perfection and perception through either existing or conceivable biomedical technologies created to enhance human performance or extend life. The apologist perspective often rejects biomedical enhancement for the reason that death is natural and must occur. This view is compelling not only because it is often poetic, speaking of the rise, fall and movement of life, but also because it demands that we accept our own end. However, I am compelled towards new technologies that work towards the amelioration of an imperfect human body. My work is meant to compel the viewer to question their place in and interaction with biomedical advancements, notions of perfection and the evolution of self-perception within these ideals.

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Melissa Dorn Richards | Milwaukee, WI

Melissa’s current work focuses on creating bold, abstract oil paintings. On the surface, they are simple, strong shapes and confident colors; to look deeper into her work is to discover her warmth, depth and humor. Dorn Richards has introduced shapes cut from “recycled” black velvet paintings, most found on eBay, into her work. She enjoys the feeling of collaboration with the unknown artist, and the repetition and texture of the cut pieces. There is rarely angst in her work. More likely you’ll find a gestural almost human quirkiness in her shapes and a certain pleasure in their simplicity.

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Sara Risley | Milwaukee, WI

I have had a lifelong love affair with light and color.  As a child I was drawn to the spot on the floor where the sun shone through the window.  I was fascinated by the play of light and color in the shadow box at our favorite Chinese restaurant and in the colorful “fishy light” which lit my childhood bedroom at night.

After seeing a show of the work of Andrew Wyeth I knew I wanted to be an artist. After less than successful attempts at representational painting and drawing as a teenager, I tried photography in college and I knew I had found the medium for me.

Post college I studied with photographer John Grady in Elgin Illinois and explored adding movement to my images with camera tilt, movement and zoom.  Unfortunately the demands of rent and heat usurped my ability to explore my artistic vision further and I began work as a portrait photographer in a series of busy studios.

There I honed my use of light to make a dramatic statement about my subject or to flatter them.  When I started teaching lighting to new trainees I began to understand the importance of light in my artistic vision.  I realized how much I was subconsciously aware of how light fell upon what I was seeing.  I became fascinated with the glass art of Dale Chihuly and realized it was because of the play of light with the color and reflectivity of glass.  I had found another way in which to continue my romance with light.

Once I bought my digital camera and wide zoom lens, my artistic life took off.  I have become obsessed with light and color and movement.  The way color and light blend when moved to create colors that aren’t really there or images that are deeper and richer than a still life.  Through long shutter speeds and camera movement and zoom I can create an energetic dance between light and color creating form and substance from the ethereal.  My subjects are often pieces of colored glass but can be anything with color and depth including flowers, retail displays and even tissue paper.  I love that even the most mundane objects can become beautiful art through my vision.

In recent discusions of my images during my mentorship with photographic artist Valerie Christell the word “painterly” kept popping up to describe my work. I realized the pull that painting still had on me so I took up painting again. I painted colorful abstracts primarily to use as source material for my photographic art.  In Photoshop I began layering the images of these paintings with movement with straight shots of the paintings for a very unique effect.  The images I am sharing with you for Indiana Green will include both the photographic creation and the painting I used as a source for it.  

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Rafael Francisco Salas | Ripon, WI

The Midwestern landscape has come to be one the greatest influences on my artistic research. It conjures a sublime beauty, almost terrifying in grandeur.  However, it can also be pedestrian and bland at the same time.  The landscape of the Midwest is harsh, and reflects the bitterness of seasonal extremes, but displays moments of beauty to match.

My recent paintings describe the landscape and its moods that I have observed in Wisconsin.  They include natural occurrences, as well man made events and architecture which complement and conflict with the land in ways that I find interesting. The intersections of the natural and created world define contemporary life in the Midwest.  How we view ourselves and the landscape is quickly transforming as development and land use changes in the 21st Century.  Our architecture and habits rub up against what is native or wild, and those conversations become important parts of how we define ourselves.

My artwork also contains elements of abstraction, nonrepresentational moments that allude to the legacy of abstract expressionism in art history, but in a greater sense have other connections- the “noise” we see in digital imagery, or an emotional response that can be laid upon the landscape itself.  My use of abstraction can also begin to take the shape of a human presence and become a sort of universal “portraiture.”

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Jessica Z Schafer | Milwaukee, WI

Light paints these past, present and future daydreams. Quiet stills of life – they transform fractured moments into short soliloquies and treasured memories. Each celebrates the pure beauty evident in nature while exalting our instinctive tether to the natural world.

Series: Märchen

Our forests offer an ancient world beyond our own, a respite secreted with nature that adjoins to our contemporary reality. These images are  “little tales” – an Old German phrase describing a longstanding oral tradition of folkloric stories where magic and morals are passed down in a theatre of fantasy among the trees. These photographs seek recapture awe, so often blurred by the accelerated temporality of modern life.

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Leah Schreiber | Milwaukee, WI

My work is engaged in the long-standing relationship between art and science. Through manipulation of found materials, and techniques associated with painting and drawing, my diverse artistic practice investigates the gap between physical experiences and scientific certitude. Using medical instruction as a point of reference, I create artworks that emphasize experiential observation, sensation and fantasy.

Recently, my work has focused on medical methods of testing physical balance. The in-progress series is based on a collection of filmstrips I found in a medical textbook from 1918. My research unveiled that these strips are some of the earliest films intended for medical education, and the first films associated with research of the vestibular system — the organs of balance. The strange and unexpected methods for engaging patients, with rotating chairs and aggressive head and torso movements at the hands of a faceless doctor, creates an inherent tension. But while the original filmstrip simply expresses the motions of the subject, my work brings attention to imagined sensations generated by the physical ordeal.

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Becky Tesch | Milwaukee, WI

My lifelong fascination with ephemera, found objects, and passion for re-purposing is the basis for my pieces. It disheartens me to see the immense waste that defines our modern lives. Garbage cans, curbside trash heaps, discarded items from friends and family, and rummage sales provide potential art supplies and inspiration for my pieces. Interesting color combinations, beautiful patterns, and objects that have been worn down by the world so much that they are a painting in itself catch my eye, each telling a story of the past. The patinas and incidental shapes make them Objets d’art in their own right – sculptures that the world has randomly forged. I see this beauty, save these things, alter them, thereby leaving my mark by combining them together and displaying them so others can also see their beauty when I send them off into the world.

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Christopher Willey | Milwaukee, WI

When domesticated animals fight there is a problem. Is it simply in their nature, or is it provocation. Canaries don’t willingly sit in their cages, waiting for a silent death. These digital paintings are a new exploration both in content and in medium.

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William Zuback | West Allis, WI

When I create my photographs I am reminded that everyone comes to life experiences differently. I’d like the viewer of my work to come away feeling visually satisfied but intellectually curious. I feel most successful when I’ve connected with the viewer on an emotional level yet leave room for interpretation.

Objects of my Desire is a series in it’s infancy. The premise of this series is the exploration of ones personal or familiar objects that are near and dear to them but in the obscurity of shadow. Shadows convey a sense of mystery and darkness that can be representational of ones own past. Our memories, like shadows can often times play tricks on the eye and mind. The strength of an object is it’s shape the legacy of an object is ones memory.

When I am creating a photograph, whether it is work I am doing for magazines, commission, or my fine art; I am reminded how much it still excites me. The smallest most subtle things can make it all worth it. A glint of highlight in just the right place, how I bring out the texture on a certain object, or how re-cropping the image in the viewfinder, can turn an average image into an extraordinary one. These are the little victories that fuel my desire as an image maker. I find each of my photographic fine art themes a journey of discovery and learning. I enjoy taking new paths that challenge my comfort zone. Whether I am pushing those boundaries with the subject matter I have chosen or the material or technique that I am using, it is always more about the journey and not the final destination.

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> special music project by Steve White | Milwaukee, WI

Themes in the visual world have musical counterparts. But this doesn’t imply standards set in stone. Understanding the narrative and working with other artists connects the context of their work to the emotion of my music.

I create music to complete a picture by communicating and supporting the work’s emotions. When I add to a work, whether it’s hanging in a gallery, being danced on stage or acted in film or video, my music is there to bring depth to the emotions of the scene.

Steven White is a composer, sound designer & bassist. His work has been placed in short films, theater productions and dance pieces. He also performs live improvisational and free jazz. His latest compositions draw new inspiration and energy from his live performances. Steven recently performed with and composed music for a production by DanceCircus. He is currently working on an album of music composed for 6-string fretless bass using looping technology to be released on Bandcamp as well as be sold as boutique physical artifacts. He can be found online atstevenjwhite.tk.