Lizzy Taber - “Gradients: Exploring Rising Tides”
As the level of the sea slowly rises Lizzy Taber begins to question time. She think about what does it mean to be slow? How does something so subtle and slow creep up and effect land, humanity and future generations? These questions can be examined through poetic responses from the community and creative output.
Her ON::VIEW residency project conveyed and expressed not only Taber’s response to, but visual data of sea level rise. Sea level rise is one of the biggest threats to coastal cities, and Savannah is subject to many detriments due to climate change. In the four weeks at Sulfur Studios, Taber utilized the space to work on a new series of paintings that address these issues.
Joseph Malson: Piecing Starland (Queer)
During his residency Malson created a small body of work that is regionally specific to the Starland neighborhood. As an artist who uses found and thrifted objects, media, and textiles in combination with handmade materials, Malson tries to make work that creates new possibilities of interpretation and experience through material decontextualization and re-assemblage. Historically, queers and queer communities create new identities, new families, and new realities out of what is available to us. Joseph’s work and methods in the studio echo these models. Using materials that have been procured from second hand stores and from personal collections in combination with disrupted versions of traditional craft techniques, the intention is for viewers to see some of our stories, disrupting the repeat patterns of heteronormativity.
Nina Farryn - Looks for Life in America
This is a project born out of Farryn’s simultaneous obsession and frustration with Instagram and social media culture in recent years. Since her adolescence, she has experienced a kind of life on the internet. The unique humor and aesthetics of strange corners of the web inform all Farryn’s work. However, with this particular series, she hopes to push forward frustration towards the superficial ‘wokeness’, misinformation, and escapism in regards to politics that exists in social media. Through satire portraits of the very millennial group she belongs to, she pushes individuals to take their activism and opinions off screens and into their communities.
Maggie Hayes - Unconditional love will break down the hierarchy of oppression
This residency centered around the benefits and necessity of moving towards a global community that must be founded on the basis of non-judgment and unconditional love, allowing us to move into horizontal relationship with one another and eliminating the need for the current vertical hierarchy that can only continue to exist through systematic discrimination, injustice, and exploitation. Hayes also underwent a personal transformation towards more deeply embodying my own loving nature as well, through the process of a 7 day silent meditation and fast, which took place as a performance inside of the ON::VIEW Residency space.
Guests were encouraged to visit the space throughout, including during the meditation period, in which they were welcomed and invited to interact with the installation. To receive ourselves as worthy of love, despite whatever flaws we may perceive ourselves to have, despite whatever trauma and abuse we have experienced, despite whatever mistakes or misguided actions we have taken, is truly transformative. When we can extend this generosity of spirit to ourselves, we are then able to share that generosity with the rest of mankind and all life forms.
Jennifer Lee Hallsey - Body out of Order
To be ‘relational’ can only be understood in terms of the connected interactions between individuals or groups of people. In this context the art form takes on a different connotation and becomes a relationship between individuals around an object. ‘Art’ is a vehicle and the objects themselves become the language for an encounter to occur. When discussing the function of art, art should not only be assessed aesthetically as object. It should be considered in terms of the relationships it establishes through these encounters. The value lies not in the material itself, but rather in the connected interactions we have around the objects; the form itself.
Hallsey’s work exists as a discussion of and about process. . She is captivated by what is lost, what is gained, and what changes. The work created during the residency program explored a poststructural analysis of appropriated text, water-based mixed media, and the significance of scale with the human body as a standard of measurement. Small, prayer-style books were constructed of cut-up method prose and the subsequent text was be transferred to the residency window using vinyl decals, building and degrading over time.
Kevin Clancy - Worth Dying For
The use of flags in artwork remains controversial. Clancy believes reactions to seeing the flag used in this way derive less from a change to the physical object and more from the change in our perception of it. By physically manipulating the United States flag, a more complicated narrative can be brought to bear upon the viewer. Through a multiplicity of processes, the flag is physically and metaphorically reoriented to draw out new questions and interpretations.
The serial production of the United States flag has killed its unique aura. Its use in advertising and propaganda have eroded and limited its meaning. The conceptual ideas that underpin much flag art stem from this history and its use by both state and non-state actors. My time here at ON:VIEW is an opportunity to engage the public on their thoughts and feelings regarding this symbol. I encourage all questions, comments and concerns.
Emily Laychak - Judgment Day Circus
Drawing from archetypes, myths, symbols, and dichotomies, “Judgment Day Circus” is a puppet production inspired by the chaos and reigning spiritualties of our times. During this residency, multi-media artist Emily Laychak created and directed a theater of clowns performing a poetic review of our collective process from Genesis to Judgment Day. A variety of local artists are cast in holy roles of revelation, along with a diverse range of puppet styles including marionette, carnival, shadow, and moving toys, framed by custom constructed scenery and stages.
Jemma Castiglione - TinType Portrait Studio
During her residency, Jemma expanded her experimentation of tintype portraiture. Community is one of the most rewarding parts of the photographic medium. People are connecting over mutual visual interests daily. We are united through the camera as a device of capturing reality. There is an interest in older photographic methods like tintype but the education just isn’t around or practiced by enough people to be readily available. Throughout the length of this residency, Jemma created around 30 tintypes portraits of members of the community in pursuit of spreading the importance of traditional photographic art.
Sabine Remy - Analog Collage Collaboration
Sabine Remy is Dusseldorf, Germany based analog collage artist collaborating with other (collage) artists all over the world / in each continent in different projects. She continued to develop her open collage studio practice at Sulfur Studios, working specifically with American paper material for herself, and hosted a workshop initiating collaborative projects which that ended up in an exhibition in the studio at the end of the residency - kind of assembling a magazine with contributions of all participants.
Nicholas Silberg - Dearest Savannah
The power of the printed word, deliberate in nature, takes time in its revolution. Handwritten letters are personal and tangible because of the time and intimate process of drawing out each and every character. Handprinted ephemera much like handwritten letters can provide the same genuine experience.
“Dearest Savannah” is a adlib patchwork of words, phrases, and sayings about our community, printed by the artist and walk-in community participants. The prints were assembled and reassembled as the living letter to our dearest Savannah growing over the course of the residency. The studio was be transformed into a letterpress print shop complete with woodtype, presses, ink, paper and other printing accoutrements. The space provided an opportunity for participants to engage with the artist and equipment to find the words to express how we feel about our community. Participants built upon what has already been said bring to light common themes of what we say about the place in which we live.
Craig Deppen Auge - INTERVALS
The book and collage can be metaphors for life’s journey; pages and layers conveying time experienced. INTERVALS expanded on Auge’s existing collage practice, utilizing rhythmic, coded and abstracted vocabularies to explore alternative book art. During the 4-week residency, simple bookmaking techniques were distilled and/or deconstructed to produce sculptural forms. These forms, along with 2D work incorporating collage, drawing, painting and print processes, developed into a cohesive installation. Playful experimentation between color, texture, pattern and geometry merged with subtle, narrative photographic elements. Within these combinations, INTERVALS examined concepts of personal and universal journey. Works pondered the intersection of ethereal dreamscape and architectural landscape, highlighted inner spaces and interspaces, individual moments and the places in-between, that constitute a collective sense of reality.
Annika Pettersson - Remix Resolution
This project took its inspiration from the remix culture that was first developed by end of the 20th century and has evolved ever since. "Remix" generally refers to the practice of recombining pre-existing media content.
Remix, in whatever form or medium in which it is implemented, is concerned with recordings. It is founded on the appropriation of existing media content and it manipulates this recorded data to fabricate new products or content.
Every element in a remix has been derived and copied from something else, it is a process requiring the act of copying. The result is not just a faithful reproduction but somewhat different and original in its own right.
Pettersson aims to produce new and interesting products by recycling already existing media and content. The “Remix resolution” project examines concepts of originality, innovation, authority, simulation, plagiarism, repetition, and inauthenticity.
Lisa D. Watson - Antidote
During her On::View Residency at Sulfur Studios, Watson combined her current professions of garden design and fine art to transform the residency studio into a green space.
Roadways, bridges and sprawl are common themes in Watson’s artwork. She has been concerned with vulnerable natural habitats and human encroachment since she was a child as she watched roadways cut thru neighboring woodlands. Artwork can reflect these issues, native and drought tolerant gardens along with landscape education may just be the antidote to these sprawling problems, one garden at a time.
Michele Quick - Shoemaking Demystified
The globalized production of fashion objects has disconnected many consumers from the traditional crafts that used to be highly visible in the production process. During her Residency Michelle Quick will use the ‘on-view’ aspect of this residency as an opportunity to demystify the process of shoemaking and educate viewers about how an object that they interact with every day– shoes - are made.
This project brought together all of Quick's skills as a designer, craftsperson, and educator into one thematic body of work exploring the relationship between design, production, and consumption of fashion objects. So often, emphasis is just placed on the final product, but the artist wants to place equal focus on the materials, making process, and final product by physically showing each phase in the final presentation.
Becky Slivinsky - Objet de Desir
Slivinsky's work begins and ends with the act of cleaning. She questions an ideal standard of beauty that is forced upon women within western culture in searching for the correlation between unrealistic beauty expectations and the ways in which women are portrayed in the media. She explores this by purchasing magazines that can be found in common places, whether it be a drug store or a street cart, and flips through to find images of women that are displayed in different ways. Are their bodies being used as a commodity? Is this “fine-art” photography? Is this modeling? What exactly is it that makes one image professional and another “sexy”?
The image of the woman torn from the magazine is digitally manipulated and cleaning products are sprayed over her and I wipe her clean. The artist's response to her objectification is reactionary. Slivinsky is not cleaning the image because the subject is unclean, rather but rather is reclaiming her right to her body and sexuality through the obliteration of her objectification. The image is altered further by gesturally applying, pouring, spraying and wiping more cleaning products across her washed body in an attempt to force the viewer to examine the way women are seen in the world and ultimately subverting the meaning of the original image.
Page Laughlin - Community Coloringbook
For the Month of May Page Laughlin engaged the ON::View residency space as a living laboratory for developing the Community Coloringbook Project. This is the next series in the Coloringbook Portfolio and “Paper Doll” Series, large scale oil and digital ink paintings on sheets of paper. Laughlin works at the intersection between oil painting, photography, and digital drawing. Starting from photographs she takes of people in her community, Laughlin converts the photos into composite figures and generates a line drawing, a coloring book template, for painterly exploration.
Throughout her residency, Laughlin invited the public to come be a part of the coloringbook project by taking pictures of passerbys for the coloringbook and beginning the transformation from image to line drawing.
Anya Mitchell - Reflections on Desire
Inspired by the neighborhoods and culture of Savannah, Georgia I've been thinking about the way we divide ourselves into living a diversity of ways--thinking about how all our ways of living--for all the differences that exist--are all part of one community--though they feel worlds apart. I've been reflecting on our common desires: desires for a safe place to call home, for our children to be educated, to have access to food.
Reflections on Desires embodies these reflections. Places of intersection in Savannah--homes, schools and grocery stores-- are woven together where patterns in the environment across images reflects the one reality in which these seemingly separate places exist.
Rob Hessler - Hindenburg (Shared Experiences)
On May 6, 1937 the German zeppelin Hindenburg was destroyed in a spectacular fire captured live on radio by Herbert “Herb” Morrison. The event “went viral” as it spread across newsreels and newspapers, and as Morrison’s “Oh the humanity!” proclamation was re-broadcast on radio stations across the country.
The resonance of this event has sent waves into The Other Side of the World, an alternate universe created by artist Rob Hessler. There it created a self-contained “island” where the after-effects play out on a landscape populated by elements familiar to the incident and with things as they were in our real world at that time. The One in the Duck Feather Cloak, a sentient explorer within this alternate reality, has come to explore this island, experiencing it for us in the present day, and sending back images so that we might understand the Hindenburg’s place in our history.
For this project artist Rob Hessler recreated the Hindenburg disaster at the point where it intersects The Other Side of the World. Leading up to the April 6th First Friday Art March, the space will act as a slowly changing installation piece, set in 1937 during the weeks leading up to the history-altering event. On the evening of the reception, the window on Bull Street turned into a portal to The Other Side of the World, with Hindenburg coming alive as a performance art piece including video, sound, and live actors.
Additional collaborative elements to be provided by videographer Drew Hunt and director/improvisationalist Chris Soucy.
Friendship Magic Collective - Greg Eltringham and Honor Bowman Hall.
Our current ongoing collaborative project titled, “Homecoming,” is an investigation into our immediate environment, focusing on elements found in Savannah. We are interested in creating visual narratives that reflect our experiences in a deeply personal and imaginative painterly language. Our project is a conversation between our own points of reference. At times in synch, and at times tense, we create a dialogue about our lived experiences in Savannah. We employ specific painting strategies utilizing landscape, portraits, and narratives that touch on place, personal context, and transformation. This work is our response to the complex relationships and social dynamics that develop in this confined space. The ultimate goal of this project is to create and record our own visual diaries, evidence of our existence here at this moment in time, and to foster a lasting artistic dialog and friendship.