Artists Redefine Identity
November 6 - December 12, 2015
Marketview Arts Building
37 W. Philadelphia St.
First Friday receptions: 5-9 pm
Public artists' reception: Sat., Nov. 7, 2-4 pm
Exhibition hours: Tuesday/Thursday/Saturday: 10:00 am - 3:00 pm
How do artists really see themselves? In "Mirror, Mirror" seventeen artists selected from an open call by Baltimore artist Laure Drogoul wrestle with that question as they use art to expose themselves to their viewers.
Virginia Maksymowicz's "She Can't Bear to Look", is a cast of the artist's face covered by her hands in a futile effort to ignore the ravages of time.
In Elizabeth Mackie's two artworks, "A String of Little Stories" and "Bitch", the written word is woven into soft organza fabric to make strong statements about societal roles and perceptions of women.
In Lynden Cline's "Self Portrait", links of steel chain are disgorged from her contorted mouth to form mounds on the floor.
In Melinda Houvig's "Do-Over: A One-Time Debt Forgiveness Project", pejorative language and shackles created by debt serve to redefine an individual's identity.
Julia Ballaron's "Ibuprofen" encases actual ibuprofen tablets in sterling silver to create jewelry.
In "Monkey Mind" and "Good Intentions", Holly Smith uses humor as a way of confronting states of worry and negative self talk as she projects those onto her mischievous surrogates.
Olivia Jones' "No Title" combines woodworking and fabric in a nod to the traditional gender distinct activities promulgated throughout her family history.
Ron Lambert's "Hidden Ship Sinking" portrays the decay and deterioration that can erode our sense of security and comfort.
James Fuhrman's It could happen to you uses reflective steel wrapped in barbed wire so the viewer can not just "reflect" but to become an actual part of the work.
Milt Friedly's Reflections on an Atomic Baby addresses a nuclear world where scientific advances bring both gains and the possibility of destruction.
Karen Brown acknowledges our existence within a post-industrial landscape in Examined Life # 1 and #2, holographic self - portraits framed by what appear to be old, deteriorating TV screens.
Stephanie Cayer arranges prickly, pointed sweet gum pods to form Exoskeleton, a hollowed out, hinged figure lying on the ground.
Leslie Kaufman's carved wood sculpture Dissolving into the Forest Floor, connects human, personal loss to the continuing loss of our natural world.
The artists in "Mirror, Mirror" present work that is both self reflexive, and reflective, allowing viewers to see through the artists' eyes as well as through their own.