We held a live, Virtual Artist Reception to celebrate the artists in the “Fermentation” exhibition on Thursday, April 8 from 6:30-7:30 pm. Attendees were able to ask questions of the artists, and see a slideshow of artwork while hearing from each of the participating artists.
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ANNUAL EA SHOW:
MARCH 11-APRIL 10, 2021
Each year following graduation, a select group of artists are invited to continue their studies as part of an Educational Associate (Carleton) / Fifth-Year Emerging Artist (St. Olaf) programs. This exhibition features recent works by artists in those programs; the Guild is proud to showcase these up-and-coming artists! Fermentation features the following artists showing pieces created during their EA experience: Eddie Bryson V (painting), Thomas Hardy (painting), Sijin Kim (prints and sculpture), Junyi Min (time-based and mixed media), Paddy Mittag-McNaught (prints and sculpture) and Alekz Thoms (mixed media) in the Main Gallery of the Northfield Arts Guild, 304 Division Street South.
Eddie Bryson V
My hometown of Memphis, TN has deep roots in the history of music, being world-renowned as the “Home of The Blues” and an influential center for soul, rock n’ roll, and hip-hop. Being a proud Memphian often includes having a good ear and a strong respect of the music we grew up listening to. That respect is grown from an important role: Music makes you feel; music makes you move. Movement and feelings are rhythmic, full of ups and downs and plateaus and pace. Brief and static. Forceful and energetic. Prolonged and reflective. Sad and romantic. The works I present are inspired by songs, some originals written by myself and others written and performed by my growing musical inspirations. They seek to share a place in the rhythm of everyday life for us just as music does.
The ecological and climate crises we find ourselves in cannot be fixed with surface-level solutions. It has become abundantly clear that to do anything about them, we must confront their deeper causes: attitudes and practices like the human-nature dichotomy, universal commodification, white supremacy, and the paradigm of endless growth. Unspeakable things become possible when we are made to think in impersonal abstractions rather than engage with the world as something complex and elegant, interconnected and mutually dependent, inscrutable and irreducible.
Violence does not end when the act is over. The affect carries over, in the lives of the people directly involved, and further to the people who experience it vicariously through images and descriptions; the voyeurs. In my works, I am repeating abstracted violence in an attempt to isolate the act of violence from the perpetrators, the victims, and the voyeurs. Thereby, I want to explore the way we view images or descriptions of violence, the way we enjoy media saturated with violence, and the way we now experience violence.
What is “nature” and the “natural” in the age of digital technologies, the anthropocene, and capitalism? The definition of nature to be in opposition to human and human creations may prove to be a moot point in the near future. My works shown in this exhibition can be seen as musings about the rifts between man and nature, physical and digital, the natural and the technological.
After a childhood of stacking blocks and a collegiate study of architecture, I have realized my artwork uses motifs of modularity to explore community. I find within this exploration, I place an importance on space and structure, light and shadow.
Combining the art of darning and the tarot deck, I’ve painted my late mother and her sister as children before methodically and meditatively weaving myself into their absence. The Death tarot card is one of ending eras and new beginnings; holding the tension of gray space, of the good with the bad, new from the old, closing doors to opening windows. Every aspect holds meaning – Death’s five petaled white rose is the purity and innocence of change, the black dress an armor of invincibility and mystery. Death’s boat the journey from one world to the other, from life to death, from here to there. The presentation of the sisters and the second diptych bring the cycle of life, the beauty of death back home, back to the walls where we preserve the keepsakes of the love of grief.
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