Etty Yaniv
Artist Statement
At that Moment All Spaces Change depicts an abstracted urban landscape in the form of a large-scale horizontal wall relief. This installation is loosely based on Italo Calvino’s description of Morazia, one of the fantastic cities depicted in Invisible Cities, an urban space in constant change, where surprises lurk behind cracked walls and gestures are enough to transform the city like a crystal. Consisting of assorted repurposed paper pieces, this landscape draws upon patterns from natural phenomena and urban architecture. It specifically refers to Bushwick, where my studio is located, but its fragmentary and layered nature makes it more of a mindscape, where the lines between actual and imagined places blur. My process begins by integrating hundreds of torn pieces of paper which accumulate and assemble into intricate and textured layers. Assembling two-dimensional fragments into three-dimensional compositions involves building and excavating, covering and uncovering, marking fresh paper and scavenging material from former installations. The materials include scraps of my drawings, ink marks and fragments of photos depicting urban life from my daily experiences, which altogether evoke the feeling of found objects or trash, as if layered by chance. Like ephemeral cloud formations or the strata in sedimentary rock, each layer documents a distinct moment in time and suggests a hidden narrative.
Bio
Etty Yaniv was born in Tel Aviv, Israel and currently works on her art and art writing in Brooklyn. She holds BA in Psychology and English Literature from Tel Aviv University, BFA from Parsons School of Design, and MFA degree from SUNY Purchase. She is integrating mediums such as drawing, photography and painting to form immersive environments. Her work has been printed in publications such as The New York Times, Village Voice, Newsday Magazine and The Nation. She exhibited in solo and group shows at galleries and museums nationally and internationally, including The Haifa Museum of Art, Israel, Newark Museum of Art, NJ, Monmouth Museum of Art, NJ, Torrance Art Museum, CA, Storefront Ten Eyck, Brooklyn, Life on Mars, Brooklyn, AIR gallery, Brooklyn, Sheen Cultural Center, NYC, R jampol Projects, NYC, Long Island University, Brooklyn, City without Walls, Newark NJ, The Gateway Project, Newark, NJ, Purdue University, IN, Schema Projects, Brooklyn, Drawing Rooms, Jersey City, NJ, Millersville University, PA, UCONN University, Stamford, CT, White Box, NYC, Austin State University, TX, Delta College, CA, Helen Day, VT, Art Gallery of St. Albert, CA, Armstrong Atlantic State university, Ga, Target Gallery Torpedo Factory, VA, Zero1 Biennial in San Francisco, University of Western Illinois, Ort/Place, Croatia, WestpolA.I.R., Leipzig and Leipziger Baumwollspinnerie, Halle 14, Leipzig Germany. Art residencies include School of Visual Arts, Vermont Studio Center, One Sided Story, Leipzig.
http://www.ettyyanivstudio.com/
At that Moment All Spaces Change depicts an abstracted urban landscape in the form of a large-scale horizontal wall relief. This installation is loosely based on Italo Calvino’s description of Morazia, one of the fantastic cities depicted in Invisible Cities, an urban space in constant change, where surprises lurk behind cracked walls and gestures are enough to transform the city like a crystal. Consisting of assorted repurposed paper pieces, this landscape draws upon patterns from natural phenomena and urban architecture. It specifically refers to Bushwick, where my studio is located, but its fragmentary and layered nature makes it more of a mindscape, where the lines between actual and imagined places blur. My process begins by integrating hundreds of torn pieces of paper which accumulate and assemble into intricate and textured layers. Assembling two-dimensional fragments into three-dimensional compositions involves building and excavating, covering and uncovering, marking fresh paper and scavenging material from former installations. The materials include scraps of my drawings, ink marks and fragments of photos depicting urban life from my daily experiences, which altogether evoke the feeling of found objects or trash, as if layered by chance. Like ephemeral cloud formations or the strata in sedimentary rock, each layer documents a distinct moment in time and suggests a hidden narrative.
Bio
Etty Yaniv was born in Tel Aviv, Israel and currently works on her art and art writing in Brooklyn. She holds BA in Psychology and English Literature from Tel Aviv University, BFA from Parsons School of Design, and MFA degree from SUNY Purchase. She is integrating mediums such as drawing, photography and painting to form immersive environments. Her work has been printed in publications such as The New York Times, Village Voice, Newsday Magazine and The Nation. She exhibited in solo and group shows at galleries and museums nationally and internationally, including The Haifa Museum of Art, Israel, Newark Museum of Art, NJ, Monmouth Museum of Art, NJ, Torrance Art Museum, CA, Storefront Ten Eyck, Brooklyn, Life on Mars, Brooklyn, AIR gallery, Brooklyn, Sheen Cultural Center, NYC, R jampol Projects, NYC, Long Island University, Brooklyn, City without Walls, Newark NJ, The Gateway Project, Newark, NJ, Purdue University, IN, Schema Projects, Brooklyn, Drawing Rooms, Jersey City, NJ, Millersville University, PA, UCONN University, Stamford, CT, White Box, NYC, Austin State University, TX, Delta College, CA, Helen Day, VT, Art Gallery of St. Albert, CA, Armstrong Atlantic State university, Ga, Target Gallery Torpedo Factory, VA, Zero1 Biennial in San Francisco, University of Western Illinois, Ort/Place, Croatia, WestpolA.I.R., Leipzig and Leipziger Baumwollspinnerie, Halle 14, Leipzig Germany. Art residencies include School of Visual Arts, Vermont Studio Center, One Sided Story, Leipzig.
http://www.ettyyanivstudio.com/
Keisha Scarville
Artist Statement
Photography is a mode through which I satisfy my desire to deconstruct reality and connect to my past. I engage in a process of visual excavation, exploring both landscapes and the body to address questions of belonging in the midst of negation. My work speaks to how these devices activate the imagination, inscribe our identity, and trigger what is hidden in memory. The images I create serve as visual meditations on loss, belonging, and obscurity.
In my recent body of work, I explore the experience of absence and the camera's role in visualizing that which cannot be seen but felt. I explore the paradox of abundance within absence and the phenomenology of space. I present my body cloaked in my mother’s clothes, which act as a residual surrogate skin. In the series, I am looking at ways I can facilitate and construct a visual place where I can conjure her presence while using my body as a medium.
Bio
Keisha Scarville is a photo and mixed media artist based in Brooklyn, New York. Her work has been included in exhibitions at the Studio Museum of Harlem, Rush Arts Gallery, BRIC Arts Media House, and The Brooklyn Museum of Art. In addition, her work has appeared in publications including Vice, Transition, Nueva Luz, ARC, Small Axe, Oxford American, and The New York Times where her work has also received critical review. She was awarded a grant through the Brooklyn Arts Council’s Community Arts Program. She has participated in artist residencies at the Center for Photography at Woodstock, Lightwork Artist Residency Program, Lower Manhattan Cultural Council Workspace Program, and will participate in the Skowhegan School of Painting and Sculpture, as well as, the Vermont Studio Center in the coming months. Currently, Keisha is an adjunct faculty member at the International Center of Photography.
http://keishascarville.com/home.html
Photography is a mode through which I satisfy my desire to deconstruct reality and connect to my past. I engage in a process of visual excavation, exploring both landscapes and the body to address questions of belonging in the midst of negation. My work speaks to how these devices activate the imagination, inscribe our identity, and trigger what is hidden in memory. The images I create serve as visual meditations on loss, belonging, and obscurity.
In my recent body of work, I explore the experience of absence and the camera's role in visualizing that which cannot be seen but felt. I explore the paradox of abundance within absence and the phenomenology of space. I present my body cloaked in my mother’s clothes, which act as a residual surrogate skin. In the series, I am looking at ways I can facilitate and construct a visual place where I can conjure her presence while using my body as a medium.
Bio
Keisha Scarville is a photo and mixed media artist based in Brooklyn, New York. Her work has been included in exhibitions at the Studio Museum of Harlem, Rush Arts Gallery, BRIC Arts Media House, and The Brooklyn Museum of Art. In addition, her work has appeared in publications including Vice, Transition, Nueva Luz, ARC, Small Axe, Oxford American, and The New York Times where her work has also received critical review. She was awarded a grant through the Brooklyn Arts Council’s Community Arts Program. She has participated in artist residencies at the Center for Photography at Woodstock, Lightwork Artist Residency Program, Lower Manhattan Cultural Council Workspace Program, and will participate in the Skowhegan School of Painting and Sculpture, as well as, the Vermont Studio Center in the coming months. Currently, Keisha is an adjunct faculty member at the International Center of Photography.
http://keishascarville.com/home.html
Ellie Murphy
“Comb” was created specifically for this space at The Foundations Center. I began with the idea of a long fiber sculpture where one color slowly blends, combines and fades into the next. Where the color strands are parallel individuals standing beside each other, but who also work together, braiding and merging their textures and efforts to contribute to the collective whole.
Artist Statement
"I explore the relationship of personal and cultural nostalgia in subject matter, material and method. My work straddles the line between childhood and adulthood while questioning the borders of fine art and traditional craft forms. Personal biography is an influence having a child and fixing up and moving into an abandoned house in Queens in New York City with my partner made me look at the everyday and ordinary that surrounded me from a different perspective. My art also combines references to doll hair, crafts, folk motifs and Americana from my 1970’s childhood in Kansas. I see interdependence between the multiplicities of cultures in our world and make sculpture as a way of recognizing and playing with the unintended and humorous connections between them."
- Ellie Murphy
Bio
I was born in Urbana, Illinois, in 1964. When I was 4 years old, we moved to Lindsborg, Kansas, where I grew up with my younger sister. My father taught mathematics at Bethany College where my mother also worked as a nurse, heading the college student health office. After graduating from Lindsborg High School, I attended college at Washington University in St. Louis, Missouri, and received a BFA in Sculpture in 1987. Then, I traveled around Europe and the Middle East for five months visiting more than twenty countries. When I returned, I attended graduate school at Yale University School of Art in New Haven, Connecticut, earning my MFA in Sculpture in 1992. I have lived and worked in New York City ever since. I live now in a house in Queens which was abandoned when we purchased it from HUD (Housing and Urban Development) then fixed up to be habitable. This is where I keep my studio and live with my husband and our son.
I have exhibited my work over the past twenty years in many group and solo shows throughout the United States including Franconia Sculpture Park Minnesota, Brooklyn Public Library, Usdan Center Bennington College, in New York City at The USB Gallery, Lesley Heller Fine Art, Participant, White Columns, Outpost, Storefront, Norte Maar and Schema, in Los Angeles at Artist Curated Projects and LACE, Drawing Rooms in Jersey City, and Mount Airy Contemporary Artists Space in Philadelphia.
Honors received include a Greenwall Foundation Grant, a Jerome Fellowship and The Susan Weadon Award. My work is also in the collection of The BCA, Minneapolis, Minnesota, and I am currently working on two upcoming solo shows at St. Thomas Acqinas College and The Birger Sandzén Memorial Gallery.
http://ellie-murphy.com/
Artist Statement
"I explore the relationship of personal and cultural nostalgia in subject matter, material and method. My work straddles the line between childhood and adulthood while questioning the borders of fine art and traditional craft forms. Personal biography is an influence having a child and fixing up and moving into an abandoned house in Queens in New York City with my partner made me look at the everyday and ordinary that surrounded me from a different perspective. My art also combines references to doll hair, crafts, folk motifs and Americana from my 1970’s childhood in Kansas. I see interdependence between the multiplicities of cultures in our world and make sculpture as a way of recognizing and playing with the unintended and humorous connections between them."
- Ellie Murphy
Bio
I was born in Urbana, Illinois, in 1964. When I was 4 years old, we moved to Lindsborg, Kansas, where I grew up with my younger sister. My father taught mathematics at Bethany College where my mother also worked as a nurse, heading the college student health office. After graduating from Lindsborg High School, I attended college at Washington University in St. Louis, Missouri, and received a BFA in Sculpture in 1987. Then, I traveled around Europe and the Middle East for five months visiting more than twenty countries. When I returned, I attended graduate school at Yale University School of Art in New Haven, Connecticut, earning my MFA in Sculpture in 1992. I have lived and worked in New York City ever since. I live now in a house in Queens which was abandoned when we purchased it from HUD (Housing and Urban Development) then fixed up to be habitable. This is where I keep my studio and live with my husband and our son.
I have exhibited my work over the past twenty years in many group and solo shows throughout the United States including Franconia Sculpture Park Minnesota, Brooklyn Public Library, Usdan Center Bennington College, in New York City at The USB Gallery, Lesley Heller Fine Art, Participant, White Columns, Outpost, Storefront, Norte Maar and Schema, in Los Angeles at Artist Curated Projects and LACE, Drawing Rooms in Jersey City, and Mount Airy Contemporary Artists Space in Philadelphia.
Honors received include a Greenwall Foundation Grant, a Jerome Fellowship and The Susan Weadon Award. My work is also in the collection of The BCA, Minneapolis, Minnesota, and I am currently working on two upcoming solo shows at St. Thomas Acqinas College and The Birger Sandzén Memorial Gallery.
http://ellie-murphy.com/
Katya Grokhovsky
Artist Statement
My interdisciplinary process based practice combines painting, drawing, collage, sculpture, installation, performance, photography, text and video and explores issues of gender, labor, alienation, displacement and the self, often employing the body as a tool to weave together the personal and the political.
Utilizing various found materials and objects, I cut and juxtapose them, exposing the absurd in the societal constructs of femininity and masculinity. Scrutinizing the idea of the binary in the everyday, I research the histories of beauty and aesthetics, whilst staging the bodies of the historically oppressed, in relation to the social order.
Attempting to invert the ephemeral nature of live performance, versus the object, post-performance residue is frequently re-constructed as evidence of the event, in a sculptural form. Painting, applied to flat surfaces, as well as objects and installations, acts as bodily stand in, evoking visceral response. Drawing, collage and photography, are utilized as mediums of capture, often rearranged to create grotesque beings, inviting the viewer to re-imagine the world.
Bio
Katya Grokhovsky was born in Ukraine, raised in Australia and is based in New York City. She is an artist, independent curator, educator and a founding director of Feminist Urgent. Grokhovsky holds an MFA from the School of the Art Institute of Chicago, a BFA from Victorian College of the Arts, Melbourne University, Australia and a BA (Honors) in Fashion from Royal Melbourne Institute of Technology, Australia.
Grokhovsky has received support through numerous residencies and fellowships including Atlantic Center for the Arts, FL, Studios at MASS MoCA, MA, Brush Creek Foundation for the Arts, WY, Paul Artspace, MO, SOHO20 Gallery Lab Residency, NYC, BRIC Media Arts Fellowship, NYC, VOX Populi AUX Curatorial Fellowship, PA, New York Studio Residency Program Visiting Artist in residence, NYC, Residency Unlimited, NYC, Kimmel Harding Nelson Center for the Arts, NE, APT Institute Residency, NYC, Saltonstall Foundation for the Arts, NY, NARS (New York Residency and Studio Foundation) Partial Fellowship, NYC, Santa Fe Art Institute Residency, NM, ChaNorth residency, NY, Watermill Center International Summer Residency, NY, PAF (performing arts forum) residency, France and more. She has been awarded the Dame Joan Sutherland Fund, APT (Artist pension trust) Membership, Australia Council for the Arts ArtStart Grant, NYFA Mentoring Program for Immigrant Artists, Chashama space to create grant, Freedman Traveling Scholarship for Emerging Artists, Australia, Maude Glover Fleay Award, Australia and others.
Her work has been shown in venues such as NURTUREart, NYC, San Francisco International Arts Festival, Hudson Valley Center for Contemporary Art, NY, Lesley Heller Workspace, NYC, Judith Charles Gallery, NYC, HERE Arts Center, NYC, EFA Project Space, NYC, Art in Odd Places Festival, NYC, Dixon Place, NYC, Governor’s Island Art Fair, NYC, New York City Center, NYC, IDEAS City, New Museum, NYC, Movement Research, NYC, Soho20 gallery, NYC, Watermill Center, NY, Gallerie Protege, NYC, Ukrainian Institute of America, NYC, Grace Exhibition Space, NYC, Defibrillator gallery, Chicago, Margaret Lawrence Gallery, Blindside, BUS Projects, Melbourne, Australia among others.
She has been working as a mentor in NYFA (New York Foundation for the Arts) Immigrant Artist Mentoring program since 2014 and has been a visiting artist at New York Studio Residency Program, Hunter College, School of the Art Institute of Chicago, University of Virginia, University of Central Florida, Latrobe College of Art and Design, Australia, Victorian College of the Arts, Melbourne University, Australia and CAE(Council of Adult Education), Melbourne, Australia.
http://www.katyagrokhovsky.net/
My interdisciplinary process based practice combines painting, drawing, collage, sculpture, installation, performance, photography, text and video and explores issues of gender, labor, alienation, displacement and the self, often employing the body as a tool to weave together the personal and the political.
Utilizing various found materials and objects, I cut and juxtapose them, exposing the absurd in the societal constructs of femininity and masculinity. Scrutinizing the idea of the binary in the everyday, I research the histories of beauty and aesthetics, whilst staging the bodies of the historically oppressed, in relation to the social order.
Attempting to invert the ephemeral nature of live performance, versus the object, post-performance residue is frequently re-constructed as evidence of the event, in a sculptural form. Painting, applied to flat surfaces, as well as objects and installations, acts as bodily stand in, evoking visceral response. Drawing, collage and photography, are utilized as mediums of capture, often rearranged to create grotesque beings, inviting the viewer to re-imagine the world.
Bio
Katya Grokhovsky was born in Ukraine, raised in Australia and is based in New York City. She is an artist, independent curator, educator and a founding director of Feminist Urgent. Grokhovsky holds an MFA from the School of the Art Institute of Chicago, a BFA from Victorian College of the Arts, Melbourne University, Australia and a BA (Honors) in Fashion from Royal Melbourne Institute of Technology, Australia.
Grokhovsky has received support through numerous residencies and fellowships including Atlantic Center for the Arts, FL, Studios at MASS MoCA, MA, Brush Creek Foundation for the Arts, WY, Paul Artspace, MO, SOHO20 Gallery Lab Residency, NYC, BRIC Media Arts Fellowship, NYC, VOX Populi AUX Curatorial Fellowship, PA, New York Studio Residency Program Visiting Artist in residence, NYC, Residency Unlimited, NYC, Kimmel Harding Nelson Center for the Arts, NE, APT Institute Residency, NYC, Saltonstall Foundation for the Arts, NY, NARS (New York Residency and Studio Foundation) Partial Fellowship, NYC, Santa Fe Art Institute Residency, NM, ChaNorth residency, NY, Watermill Center International Summer Residency, NY, PAF (performing arts forum) residency, France and more. She has been awarded the Dame Joan Sutherland Fund, APT (Artist pension trust) Membership, Australia Council for the Arts ArtStart Grant, NYFA Mentoring Program for Immigrant Artists, Chashama space to create grant, Freedman Traveling Scholarship for Emerging Artists, Australia, Maude Glover Fleay Award, Australia and others.
Her work has been shown in venues such as NURTUREart, NYC, San Francisco International Arts Festival, Hudson Valley Center for Contemporary Art, NY, Lesley Heller Workspace, NYC, Judith Charles Gallery, NYC, HERE Arts Center, NYC, EFA Project Space, NYC, Art in Odd Places Festival, NYC, Dixon Place, NYC, Governor’s Island Art Fair, NYC, New York City Center, NYC, IDEAS City, New Museum, NYC, Movement Research, NYC, Soho20 gallery, NYC, Watermill Center, NY, Gallerie Protege, NYC, Ukrainian Institute of America, NYC, Grace Exhibition Space, NYC, Defibrillator gallery, Chicago, Margaret Lawrence Gallery, Blindside, BUS Projects, Melbourne, Australia among others.
She has been working as a mentor in NYFA (New York Foundation for the Arts) Immigrant Artist Mentoring program since 2014 and has been a visiting artist at New York Studio Residency Program, Hunter College, School of the Art Institute of Chicago, University of Virginia, University of Central Florida, Latrobe College of Art and Design, Australia, Victorian College of the Arts, Melbourne University, Australia and CAE(Council of Adult Education), Melbourne, Australia.
http://www.katyagrokhovsky.net/
Jennifer Williams
Artist Statement:
My large-scale photographic installations investigate, deconstruct and interpret “the city,” both as its physical self and as an idea. The work is dually site-responsive; the location of the exhibition space determines content while the size and shape of the exhibition space determines form.I “gather" architecture by shooting scores of images during repeated neighborhood walks, capturing flux from a pedestrian point of view. Research into past and present zoning, landmarking, and development help guide my eye and provide a conceptual base for the work, while my real time, feet on the pavement, gut reaction to the physical make-up of space influences composition. Impossible to take in with a passing glance, the grand scale of the work halts the viewer in their tracks, forcing them out of their complacent gaze, demanding they reconsider their relationship the city.
Technical Statement:
My compositions are created from photographs I've taken myself. Most of my projects include images shot over a specific period of in time (like a summer), but others incorporate self-generated archival materials covering a span of years. The photographs are edited and cut out in photoshop, and then composed into sketch compositions on the computer. I build a model of the exhibition space, print out the computer sketch, and install it in the model. I then photograph the mock installation, moving the sketch around until it interacts with the space in a transformative way. Once I feel the composition matches the space, I scale up my sketch and print it out in multiple sections, onto a sticky backed removable inkjet paper called Phototex. The images are then cut out by hand and “collaged" onto the walls of the gallery one by one.
http://jennifer-williams.com/home.html
My large-scale photographic installations investigate, deconstruct and interpret “the city,” both as its physical self and as an idea. The work is dually site-responsive; the location of the exhibition space determines content while the size and shape of the exhibition space determines form.I “gather" architecture by shooting scores of images during repeated neighborhood walks, capturing flux from a pedestrian point of view. Research into past and present zoning, landmarking, and development help guide my eye and provide a conceptual base for the work, while my real time, feet on the pavement, gut reaction to the physical make-up of space influences composition. Impossible to take in with a passing glance, the grand scale of the work halts the viewer in their tracks, forcing them out of their complacent gaze, demanding they reconsider their relationship the city.
Technical Statement:
My compositions are created from photographs I've taken myself. Most of my projects include images shot over a specific period of in time (like a summer), but others incorporate self-generated archival materials covering a span of years. The photographs are edited and cut out in photoshop, and then composed into sketch compositions on the computer. I build a model of the exhibition space, print out the computer sketch, and install it in the model. I then photograph the mock installation, moving the sketch around until it interacts with the space in a transformative way. Once I feel the composition matches the space, I scale up my sketch and print it out in multiple sections, onto a sticky backed removable inkjet paper called Phototex. The images are then cut out by hand and “collaged" onto the walls of the gallery one by one.
http://jennifer-williams.com/home.html
Lawrence Mesich
Titles (left to right)
Highest and Best Use (111 Lawrence St.)
Highest and Best Use (388 Bridge St.)
Highest and Best Use (100 Willoughby St.)
2015-2016
Archival inkjet prints on polypropylene film
84"H x 18"W x 15"D each
Artist Statement
Highest and Best Use wryly examines the ongoing effects of the 2004 rezoning of Downtown Brooklyn. A rash of lucrative residential developments have pushed out long-time residents and businesses and overtaxed area resources at an alarming pace, while the need for new commercial space continues to be underserved. The opening of the area's air rights has set off a height race among developers, with each successive new building breaking the height record of the one built immediately before it.
The digitally manipulated photographs in this series extend the facades of each newly built residential tower that breaks the current height record for the borough. The title of the piece, a real estate valuation term describing the optimal use of a property which produces the highest possible profit, was invoked by Tucker Reed (President, Downtown Brooklyn Partnership) in a statement to the press while the group was promoting its assessment of the rezoning in 2014. The elongated facades, coupled with poetically oblique industry terminology, produce a counter-narrative to the rezoning's ostensible success.
This is an ongoing series; a new image will be generated for each building that breaks the current height record for the borough.
Bio
Lawrence Mesich was born in Nashville, TN and raised in Chattanooga, TN. His fascination with and exploration of the spaces created by Chattanooga's rapid development and abandoned industrial infrastructure formed a life-long interest in the dialogue between bodies, behavior, and architecture, which continues to inform his work. He received his BFA with a concentration in Video and Performance from SUNY Purchase in 1999, and received his MFA in Digital Media and Performance from Stony Brook University in 2005. Lawrence currently lives and works in Brooklyn, NY and Queens, NY, respectively.
http://lawrencemesich.com/index.html
Highest and Best Use (111 Lawrence St.)
Highest and Best Use (388 Bridge St.)
Highest and Best Use (100 Willoughby St.)
2015-2016
Archival inkjet prints on polypropylene film
84"H x 18"W x 15"D each
Artist Statement
Highest and Best Use wryly examines the ongoing effects of the 2004 rezoning of Downtown Brooklyn. A rash of lucrative residential developments have pushed out long-time residents and businesses and overtaxed area resources at an alarming pace, while the need for new commercial space continues to be underserved. The opening of the area's air rights has set off a height race among developers, with each successive new building breaking the height record of the one built immediately before it.
The digitally manipulated photographs in this series extend the facades of each newly built residential tower that breaks the current height record for the borough. The title of the piece, a real estate valuation term describing the optimal use of a property which produces the highest possible profit, was invoked by Tucker Reed (President, Downtown Brooklyn Partnership) in a statement to the press while the group was promoting its assessment of the rezoning in 2014. The elongated facades, coupled with poetically oblique industry terminology, produce a counter-narrative to the rezoning's ostensible success.
This is an ongoing series; a new image will be generated for each building that breaks the current height record for the borough.
Bio
Lawrence Mesich was born in Nashville, TN and raised in Chattanooga, TN. His fascination with and exploration of the spaces created by Chattanooga's rapid development and abandoned industrial infrastructure formed a life-long interest in the dialogue between bodies, behavior, and architecture, which continues to inform his work. He received his BFA with a concentration in Video and Performance from SUNY Purchase in 1999, and received his MFA in Digital Media and Performance from Stony Brook University in 2005. Lawrence currently lives and works in Brooklyn, NY and Queens, NY, respectively.
http://lawrencemesich.com/index.html
Fanny Allié
"Street Characters", 2014-15, fabric and mixed-media, 38 x 72 x 6 inches
Statement
During the winter of 2014 and 2015, I collected lost gloves found on the streets of New York City. Each glove was then torn apart, manipulated, sewn and stuffed, to create a singular character, taking on a life on its own. I believe that in each glove figure remains
an essence, a trace of its former owner. The material, color and texture of the found gloves were dictating the character they will embody. Street Figures was made possible by the passive contribution and participation of 70 people who lost their personal
garment in public spaces. By collecting and manipulating the lost items, I created an exchange, taking one thing and in return, turning it into something else.
Bio
Fanny Allié was born in Montpellier, South of France. She graduated from Ecole Nationale Supérieure de la Photographie (The National School of Photography) in Arles, France in 2005 and moved to New York City shortly after graduating. She was a selected artist for the program, Artist in the Marketplace (AIM) at the Bronx Museum of the Arts during 2006-07. A.I.R Gallery, New York City Department of Parks & Recreation, Roger Smith Arts Space, Chashama and St Eustache Church in Paris, France have organized solo exhibitions of her work. Fresh Window Gallery, Freight + Volume Gallery, Field Projects, BRIC Rotunda Gallery, FIGMENT, Dekalb Gallery/Pratt Institute and The Bronx Museum among others have featured her work in group exhibitions. Her work has appeared in the New York Times, NY Magazine, Brooklyn Magazine, Hyperallergic, Le Monde Diplomatique, DNA Info, Marie Claire Italy and Artspace Magazine. She showed her work with Fresh Window Gallery during Art Basel for VOLTA 12 in Basel, Switzerland in June 2016. Fanny was awarded the 2015-16 AIR Gallery fellowship. In 2017 she will install her new interactive public sculpture Exquisite Corpse in collaboration with DOT in Clinton Hill, Brooklyn. She lives and works in Brooklyn, NY.
http://fannyallie.com/
Statement
During the winter of 2014 and 2015, I collected lost gloves found on the streets of New York City. Each glove was then torn apart, manipulated, sewn and stuffed, to create a singular character, taking on a life on its own. I believe that in each glove figure remains
an essence, a trace of its former owner. The material, color and texture of the found gloves were dictating the character they will embody. Street Figures was made possible by the passive contribution and participation of 70 people who lost their personal
garment in public spaces. By collecting and manipulating the lost items, I created an exchange, taking one thing and in return, turning it into something else.
Bio
Fanny Allié was born in Montpellier, South of France. She graduated from Ecole Nationale Supérieure de la Photographie (The National School of Photography) in Arles, France in 2005 and moved to New York City shortly after graduating. She was a selected artist for the program, Artist in the Marketplace (AIM) at the Bronx Museum of the Arts during 2006-07. A.I.R Gallery, New York City Department of Parks & Recreation, Roger Smith Arts Space, Chashama and St Eustache Church in Paris, France have organized solo exhibitions of her work. Fresh Window Gallery, Freight + Volume Gallery, Field Projects, BRIC Rotunda Gallery, FIGMENT, Dekalb Gallery/Pratt Institute and The Bronx Museum among others have featured her work in group exhibitions. Her work has appeared in the New York Times, NY Magazine, Brooklyn Magazine, Hyperallergic, Le Monde Diplomatique, DNA Info, Marie Claire Italy and Artspace Magazine. She showed her work with Fresh Window Gallery during Art Basel for VOLTA 12 in Basel, Switzerland in June 2016. Fanny was awarded the 2015-16 AIR Gallery fellowship. In 2017 she will install her new interactive public sculpture Exquisite Corpse in collaboration with DOT in Clinton Hill, Brooklyn. She lives and works in Brooklyn, NY.
http://fannyallie.com/
Ryan Sarah Murphy
Statement
My creative practice is intuitive and process-driven, prompted by the found ephemera of my daily experience. Responding to the inherent energy within discarded and repurposed objects, I allow for the material to act as the guide, moving through the construction of a piece with no set plan or intended outcome.
My current work consists of wall-mounted collages and works on paper made of found cardboard and hardcover books. There are certain rules and limitations within the making of my work that provide a general starting point. For instance there is never any paint or additional color applied to the pieces; the color is strictly that of the cardboard or book cover. Any text, printing, or graphics are cut/torn away from the cardboard and the remaining material is what gets used. The surfaces are not treated in any way to prevent the material from changing or deteriorating as it naturally will.
These collages, suggesting odd terrains and shifting perspectives, are the result of a subconscious examination of space – both the concrete environment of the city and the interior dwelling of the self. Much like the various landscapes we both inhabit and construct, these structures serve as a tenuous meeting point of architectural and abstract elements.
Bio
Ryan Sarah Murphy is a visual artist living and working in New York. Her collage-based work is process-driven and incorporates the use of found and repurposed materials. Ryan is a 2014 recipient of a New York Foundation for the Arts Fellowship Grant and she has held residencies at the I-Park Foundation (East Haddam, CT) and The Elizabeth Foundation for the Arts. Her work has been shown in solo and group exhibitions across the US including ODETTA Gallery (Brooklyn); Platform Gallery (Seattle); Lesley Heller Workspace (NY); Mixed Greens (NY); Liliana Bloch Gallery (Dallas); and The Holter Museum of Art (Montana). Ryan’s work has been featured in several online and print publications including Artnews, Maake Magazine, Tory Burch Daily, Embark Magazine and the New York Times.
http://www.ryansarahmurphy.com/slideshow
Maria Britton
Artist Statement
From conception to death, the surface of a bed is a place where one both experiences and escapes reality, a physical connection between dreaming and waking life. Using needle and thread, I model shallow reliefs out of used patterned bed sheets. While painting I work intuitively, often referring to remembered floral imagery and the folds and drapes of fabric.
Bio
Maria Britton was born in Florence, SC. Recent exhibitions include SOIL Gallery, Seattle, WA; (harbor), New York, NY; BAM, Brooklyn, NY; The Stephen & George Laundry Line, Queens, NY; The Scrap Exchange, Durham, NC; and Im Ersten, Vienna, Austria. She has participated in artist residencies through the Byrdcliffe Arts Colony, Petrified Forest National Park, and Vermont Studio Center. Her work has been featured in New American Paintings (#82). Maria earned her BFA from Winthrop University in Rock Hill, SC and her MFA from the University of North Carolina at Chapel Hill. She currently lives and works in Chapel Hill, NC and NYC. She is Co-Director of LOG, an experimental art space in Chapel Hill, NC.
http://www.mariabritton.com/