Pontus Gunve

Crossfade


This piece is based on audio recordings taken from February -September 2009. While listening through my collection of everyday audio samples, I realized I had been to three different weddings in that time span - and all from different cultures. The first wedding was in Kolkata, India - the second was in Sweden, and the last was a Jewish wedding in Massachusetts. Each place and each ceremony had its own sonic quality - but within that the same anticipation, anxious, nervous and joyous energy can be captured, despite the absence of visual cues.

Performance of John Cage's Aria 2009
Studio 1.1 London

Fletcher Boote


More than colors and forms, it is sounds and their arrangements that fashion society… in noise can be read the codes of life, the relations among men: clamor, melody, dissonance, harmony - Attali

I am a composer investigating nuances of social, psychological, political and emotional environments as they manifest in arrangements of sound. I often use my own body and voice as a starting point for this exploration. My compositions push the boundaries of language and association and challenge hierarchies that define music as one thing and noise as an other. My compositions are experimental, sometimes improvisational, and often initially realized as a set of drawings or instructions that then take the form of a performance, installation or video.

http://fletcherboote.com/

Untitled-detail of installation (work in progress) , 2010

Lauren Rumley

My work involves a process of gathering, arranging, placing, altering and modifying small hand-held everyday objects that are usually considered to be ordinary, trivial, unimportant, and useless. I collect items like: half of a piece of candy, a flattened empty can that had gotten tossed on the ground, discarded, and run over by a truck; and a 2-inch piece of thread. I take these kinds of items and place them next to other sorts of small everyday objects, ones that are of utility, things that can be used, are functional, and serve a purpose, such as: a spool of thread, rubber bands, some wire, nails, a bobby pin, a safety pin, a staple, and a piece of tape. Also in this juxtaposition can be found, (but only if paid very close attention to) small items considered to be highly valuable and rare, and other items too, that are vital for human nourishment, survival, and well-being. These sorts of items include: a pearl, money, vitamins, water, food, and medicine.

Living in a material world where there is a tremendous amount of importance placed upon objects and items, where people work so hard at their jobs, and then attempt to find a sense of happiness or satisfaction by spending their paychecks on stuff, things, items, and objects, this work is contemplative and it is about questioning: What is useful? What is essential? What is truly valuable? And what is not?

I am hugely influenced and inspired by the teachings of artists Rose Shakinovsky and Claire Gavronsky.

Flew to Town 2009.

Maya Pindyck


Maya Pindyck

For me, making art is an act of connection and, therefore, of shifting mental structures that divide and categorize. Through words, marks, images, and sounds, I find ways to connect with the subject—whether a rolling hillside, a wild horse, or my grandmother—and attempt to realize its spirit. A combination of observation, feeling and imagery drives my work, which often grasps for unconditional compassion in the face of conflict.

http://mayapindyck.com/

lover
vinly, 6 x 12 inches, 2009

Kiran Chandra

Dividing my life living between Calcutta and New York, and my education in Delhi, Florence and Boston has influenced my work. This movement of place has made me sensitive to the politics, economics, and policies of both where I am and where I am coming from.

I make interventions in and on language, spaces and images. By intervening in language, I make text drawings. Words like L(OVER), S(LAUGHTER), B(LACK), or GALLE(R)Y allow me to point to nostalgia, cruelty, systemic racism and commercialism in the art world.

www.kiranchandra.net

Everyday monument
10 x 12 inches


Tessa Sutton


My work investigates relationships of time, personal and collective history, and psychological structures focusing on themes of displacement and transition. Starting from a point of personal experience, I research, gather and integrate subject matter from disparate sources that extend to science, history and archaeology, and synthesize them into painting and drawing.

The newest works are monuments to states of change and shifting. Recently I participated in a workshop, “The Everyday in Art Practice” which focused my current body of work on an investigation of the idea of transitional monuments encountered in daily life. These homages to the in-between moments of life mark the space of an absence, transition, failure, or a simple act of being, such as listening or looking. Through painting and drawing, mediums themselves made monumental through the lineage of art history, I play with the idea of memorializing mundane states of life.

http://www.tessasutton.com

On Any Given Day
White Jade, glass, silk thread, silver findings 2007, dimensions variable


Angela Rose Voulgarelis


My work aims to reveal a common thread between meditation and everyday life.I am interested in re-visiting notions of the domestic and (often mundane)aspects of the every day in order to transform personal history into cathartic acceptance. With this as a measure, I hope to correlate repetitive daily activities with the discipline of spiritual practice. What is the stain of memory? What underlying principles of compassion and empathy exist in the simple act of sweeping the floor?

I employ repetition as a way to visually articulate this inquiry. As an example, I create highly ornamental beaded installations using Morse code to translate various texts. Considered “three-dimensional drawings”, the texts – ranging from Nelson Mandela’s presidential acceptance speech to poems that underscore personal accountability - are methodically beaded with the same care as someone cradling a rosary. The completed pieces become the physical remnants of a meditational process.

www.angelavoulgarelis.com