Reception: Friday, July 21, 5-8 pm
Gallery Talk: Thursday, July 27, 6 pm
There is a scientific basis for humanity’s fascination with fruit. All of the resources we need to survive come from flowering, fruit bearing plants: Angiosperms.
In this group exhibition we address fruit as the symbol for knowledge, as a symbol and visual for feminine form, as trade commodity. It will address the literal question of America’s fruit supply coming from other countries, much of it from Mexico. What implications does the wall have on our access to groceries? Will America be without fruit? Will America be without knowledge? This exhibition addresses these questions through a variety of two- and three-dimensional work as well as some video work. It incorporates representation of fruit as well as real fruit after certain preservation processes.
Alyssa Bogdan currently both lives and works in Detroit, MI. She earned her BFA from the College for Creative Studies in 2015.She grew up watching houses built around her, from the ground up. Her work persistently exhibits architecture and interior aesthetics. She explores interior and exterior structures in conjunction with a shifting perception of the memory of dwellings throughout life. Her work creates a circumstance that recollects and responds intuitively to the sincerity of a moment in deep thought and sparks subconscious communication within ones relation to personal memory of belonging, home and architecture.
Statement | Alyssa Bogdan and Ginny Martin
body as architecture
structures that demonstrate
commit confide invest leave with build
and independent responsibility
Mary Eddy was born and raised in Detroit, Michigan and predominantly grass fed. Language and communication have long been inspirations in my life and work. I am interested both in definitions as they evolve and change through use within an environment and in the ways words categorize and signify, shaping our understandings and recollections. Words can have definitions related or dissimilar as can people, having layers and facets, which comprise our unique characters. It is the beauty, utility and ever changing challenge to better communicate with design that I pursue.
May Contain Fruit.
Whether housing or composed of, fruit are vessels of a design specific to a set of advantageous functions to increase the procurement of a next generation.
A three dimensional shape made flat exposes another view we may less commonly see. The choice of where to cut determines the number of cuts required to flatten the shape. A flattened fruit skin’s shape can only influence the reconstructed form.
As a house for new life, fruit functions to aid plant reproduction. As a reconstructed vessel, the next generation of fruit becomes function, the child of design.
Ginny Martin is an artist living and working in Detroit. She was raised in Michigan and Mexico City. Martin has BFA in Fine Arts from College for Creative Studies, 2015. Her work has been shown throughout the Midwest including Chicago and Columbus, and in South Orange, New Jersey and Cholula, Mexico. Ginny has curated group exhibits in Detroit and Cholula.
Martin’s work is casting, fabricating or encasing, gives a weight, taste, or a texture to a sensation or a word that would otherwise lack the specific sensory attribute. It fragments language, mimicking the ways in which conversation and translation do. She is interested in modifying the actual physical interaction with an object, holding, trapping a specific space around it. Placing it in your hand, but it’s written in gelatin, that it could be swallowed. Some part of the work functions or performs, does so precariously, often incorporating a clumsiness in its movements, in the action of attaching or installing, that displays its sincerity.
Statement | Ginny Martin
approach as sustenance
to communicate both the process of accepting it’s necessary to have others, other fruits, other humans
drive to be self sufficient, struggle
even of experienced human, my grandmother, who hates to be photographed
confusion of attraction to the artificial
Manal Shoukair is a Detroit based artist. Soon to achieve her BFA at the College for Creative studies, Manal has journeyed abroad to Zimbabwe, Africa and later the American University of Beirut, Lebanon continuing her creative practice. Performance, video, sculpture and drawing site-specific contexts are the methods of practice that enable Manal to explore themes of identity, essence and the female body. The molding of these multiple mediums help her to investigate and encode existing relationships between the observer, body and the identity held within.
I am the fruit of the fruit and my body is my vessel. The body, my body, and nature are perpetually analogous.
My intuitive and spiritual relationship with Earth is one of comfort and nourishment, guiding me into further exploration of my surrounding environments. The curious nature of life and death embodies the vessel, my root of vessel, and with that an essence of identity.
Friday, September 8, 2017, 5-8 pm
Wednesday, September 20, 6 pm
The WAX exhibition, curated by Jack O. Summers, brings together the encaustic work of seven artists: Nina Caruso, Lynda Cole, Birgit Huttemann-Holz, Candace Law, Chris McCauley, Graceann Warn, and the late Gilda Snowden.
Encaustic painting is an artistic medium which has been practiced by artists for thousands of years, dating back to 5th Century Greece. The Greek word for the art form is “enkaustikos”, meaning “to burn in”. Encaustic incorporates beeswax and pigment, which is heated, layered and fused.
Summers has selected both abstract and representational works by the participating artists, representing an extraordinary range of styles and vision.
The SC will host a gallery talk on Wednesday, September 20th, at 6 pm. The participating artists will address questions related to the medium of encaustic while leading an informal tour of the exhibition.
Nina Caruso is a Detroit based artist whose work spans many mediums but her primary focus has been abstract encaustic and oil painting as well as mixed medium sculpture. These encaustic paintings are the results of a repetitive process of adding and removing layers until imagery reveals itself, creating a space for the viewer to enter into a calming or meditative state if even for a moments time, revealing the transformative power of art. The work is intentionally untitled, allowing viewers to make their own associations.
Lynda Cole received a B.S. in Textiles and Clothing Design from Michigan State University after which she lived and worked in New York City. She moved to Ann Arbor and attended the University of Michigan for two years to study Botany. For 14 years she ran her own landscaping company. For five years after that she lived in London, England where she spent most of her spare time visiting museums, galleries and studios, experimenting with 3D forms made of new materials and developing her art. Since 1996 she has been making and exhibiting the products of her studio work.
Birgit Hutteman-Holz is an abstract artist deeply rooted in the German Romantic tradition, where everything is connected in a kind of universal underground. Her work recites mythology, religion and poetry.
She has exhibited in the UK, Turkey, Germany, the Netherlands, and extensively in the US including New York City, Santa Fe and Detroit. Her book “Enkaustik- Das Grundlagenbuch zur Wachsmalerei” was published April 2015, Christopherus Verlag, Germany.
Candace Law’s recent work crosses mediums: printmaking, drawing and encaustic. Drawing the figure in charcoal is a recurring interest for me, creating an organic form that changes continually. Rust printmaking is a wonderful freeing experience, taking whatever color and pattern are captured and working further with it. Then mixing these images and forms in with wax offers a layering and visual depth that is compelling. There is an atmospheric feel that comes from interleaving the different materials, which helps to communicate or evoke the response I desire.
Chris McCauley is a Chicago born artist who attended Columbia College for her BFA in studio arts, a Post-Baccalaureate Studio Certificate from the School of the Art Institute of Chicago, and her Master of Arts at Cranbrook Academy of Art. She teaches at the College for Creative Studies.
Gilda Snowden (1954 – 2014) was a graduate of Cass Technical High School, Detroit and Wayne State University, Detroit, where she received a Bachelor of Fine Arts, Master of Art and Master of Fine Arts in Painting. She was Interim Chair and Professor of Fine Arts at the College for Creative Studies, Detroit and also Gallery Director of the Detroit Repertory Theatre. Snowden’s works have been exhibited throughout the United States, as well as in Mexico, Canada and West Africa. Her works are featured in a number of publications, as well as private and corporate collections, including Post/Newsweek, the Neiman-Marcus Corporation, Ameritech, Blue Cross/Blue Shield, and The Detroit Institute of Arts.
I paint and I construct. Both my paintings and assemblages use the metaphor of excavation. My formal education in landscape architecture and classical archaeology provides structure to artistic flights of fancy
that always seem to revolve around some form of revelation:
The attempt to unearth an object or solve a mystery.
Image: Candace Law, Gemini, Encaustic/mixed media, 17″ x 17″, 2017
Lounge | A WOMAN’S JOURNEY: A SOLO EXHIBITION by VASU TOLIA
July 12-August 19, 2017
Reception: Friday, July 21, 5-8 pm
My subjects are timeless, both modern and traditional—inspired by regular women who pass through stages of being a daughter, sister, friend, student, lover, wife, mother and grandmother. I am steadfast in my belief of empowering women to be the best in whatever we do. Despite the progress we have made, modern culture can still be very hostile for women. Our political, cultural and professional beliefs aren’t as well respected. We need to stand together and fight the gender bias and challenge antiquated work structures to create equality for women.
Vasu Tolia started to paint after her retirement from the medical profession. From her academic world of research, teaching and patient care, she has emerged a newly invigorated person in terms of thinking about paintings and poems instead of papers. She wants her paintings to tell an enchanting story by drawing the viewer into the wonder of the subject. She hopes that you get lost it it again and again. She works mainly in acrylic, mixed media and occasionally oil. Experimenting with newer techniques continuously reinvents her vision, to provide pleasure, tranquility, and serenity through her subjects and colors.
In the historic room, you’ll find works from the Scarab Club’s permanent collection, including an original Robert Hopkin. Hopkin was one of Detroit’s leading painters in the mid to late 19th century in Detroit, producing seascapes, landscapes and decorative works, including the interior of the Detroit Opera House (1869). In 1907, the Detroit Museum of Art held an exhibition in his honor, at which time his fellow artists founded the Hopkin Club, which later became the Scarab Club.