“Influenced by the personal and the political, I draw inspiration from the historical and social landscape of place. Using my own rural community as a starting point, I articulate the complexity and range of the public's relationship with their nearby landscape. I point to the tension between the literal and conceptual values imbued upon a place, and seek to reconcile romantic notions of landscape with a world shaped by humans. My work is firmly rooted in my living in the West, specifically Pacific Northwest timber country. These bodies of work are my attempt at understanding the place I now call home.”
Renee Couture graduated from Buena Vista University (Storm Lake, IA) with a BA in Studio Art and Spanish. She spent the next four years rambling throughout the United States and South America working a wide range of jobs from camp counselor to wild land fire fighter to gourmet goat cheese maker, international backpacker to bank employee. She earned her MFA in Visual Art from Vermont College of Fine Arts in Montpelier, VT. Currently, Couture lives on seven acres in rural southern Oregon with her husband, two dogs and two cats. She works out of a retrofitted 20 foot travel traveler turned studio space located in her garden, and teaches art at a small community college and volunteers at the local arts center.
Jenny M. Chu
When the AC turns off / After the humming
This morning, the center
of a bruised peach.
My dreams layers of an antique
store I've visited before.
A couple bought a goat. The other two
bought two goats.
The season brings pollen
on currents I can't see.
The light in my eyes: the fuzz
of an orange cat sunning itself.
Jenny M. Chu is the daughter of immigrant parents from Saigon and Hong Kong. Older sister to a younger brother. Lives in Portland, Oregon. Finds distance in depth, she is always seeking the possibility of a horizon in a clockless day.
Red Dirt Rug embodies the complicated history of our relationship to nature, particularly in my current state of residence, Oklahoma, where human presence has deeply altered the landscape. Oklahoma’s red dirt contains deep geological memory and the memories of indigenous peoples who have lived on this land for thousands of years, the recent memory of tallgrass prairie and bison, the histories of the violent removal and relocation of indigenous peoples to this land, it contains the memory of the plow that would cause the worst man made ecological disaster at the time- The Dust Bowl. It remembers the hopes of settler families marching across the prairie and the trees and crops they planted and it holds the effects of drilling, fracking, and wastewater injection. The epicenter of red dirt is now the epicenter of fracking-induced earthquakes. There is immense beauty and pride in this place and also profound sorrow.
Rena Detrixhe creates contemplative work combining repetitive process and collected materials to produce meticulous, large-scale objects and installations. Recent work explores cultural relations to the land with attention to histories of injustice. Detrixhe has exhibited across the United States and is the recipient of numerous awards including a two-year studio residency with Charlotte Street Foundation in Kansas City, Missouri and a three-year Tulsa Artist Fellowship.
Sara Fields is an artist and educator from Austin, Texas. She received her Masters of Fine Arts in Photography from the Savannah College of Art and Design. She is an Adjunct Faculty member at Northwest Vista College and the Art Institute of San Antonio. Sara’s work primarily explores the emotional elements of grief, loss, and guilt, and their impact on the human psyche. Her most recent body of work, Previous Acts of Remembering, opens a dialogue about the contemporary understanding of memory and finding new ways the photographic medium can accurately depict how our brains construct, cultivate, and redistribute memories. Sara’s work has been exhibited nationally and internationally. She is currently represented by Photo Méthode Gallery.
Acting as natural boundaries, the brackish bayous of Louisiana are a physical reminder of the barrier between the actual and the ideal. Their bifurcation of the land echoing the bifurcation of groups. In this ongoing series of the bayous that are on the edges of communal spaces, and suburbia in Southeast Louisiana, I am negotiating the symbiotic relationship and role that land has in the formation of collective memory and how collective memory acts a social construction of political power, race, class, and gender, here in the south.
Originally from Long Island, Eddie has called New Orleans home since 2007, and has been teaching photography at Xavier University of Louisiana since 2010. She is a Salzburg Global Seminar Fellow, and is the educational board chair for the New Orleans Photo Alliance. As an artist her work explores the how memory, and conditional realities are used to construct identity. Complex Magazine named her one of the top 20 artists from New Orleans that you should know, and recently British Airways working with New Orleans Convention and Visitors Bureau, named her one of the 6 artists you have to see when visiting New Orleans. When she is not making art she spends her free time at the barn with riding horses, and show jumping.
“I’ve always felt a deep connection to nature, finding solitude and the ability to collect myself in the woods. Walking deep into a thick forest, wading in cool running water of mountain streams, or squatted on a remote beach, the natural world envelops me with a sense of peace and confidence that is unattainable indoors. Richard Louv describes this phenomenon in The Nature Principle as fulfilling our deficit of nature, our intense and physical need for connection to the earth. This made me question, how do I curtail my "nature deficit" in a technology-rich, work-driven world when life requires me to be inside for a majority of the day? How do I connect to nature when when the wilderness in inaccessible or gone altogether?
Where mountains once were, named after a chapter in Louv's book, is in response to consoling my nature deficit when being in the land isn't — or potentially won't be — a possibility. The images come from endless hours of watching nature documentaries, attempting to consume nature in an indirect way, prodding for some semblance of the emotional recharge I receive from being in the wild. More than a simple snapshot, it’s about that extended moment of stillness. It’s my attempt to still feel connected to the land that gives me breath and life.”
Crystal McBrayer grew up in the Appalachian mountains where she discovered her relationship with the land running through grass with bare feet, fishing the narrow creeks with sticks and twine, painting with flower petals, and digging her hands in the rich, black dirt. Following her love of science and art, she earned an MFA in photography from the Savannah College of Art and Design in Savannah, GA . Crystal has exhibited nationally and internationally, given lectures, and taught workshops throughout the country and is currently a working artist in Boise, ID and is the Director of Creative Services at Boise State University.
My work is constructed by a collection of experiences of an inexhaustibly transforming landscape. The visual language is built by exchanges of motion, momentum and observations of hyperactivity and accumulation.
There is summer frost in Northern Iceland, where time seems to move slower. Quiet, nestled in a small valley, these paintings challenged the Anthropocene. We know the world through interactions. Our understanding of the whole, is a transformative condition in combination with risk and curiosity.
I live in Brooklyn and work between New York and Akureyri, Iceland.
In Attrition I think about the darkness of silence the implication of hiding, of secret, of repression, quieted and suppressed; of persisting to exist while also disintegrating. And yet, there is also peace in silence. There is stillness, calm and a healing solitude. The subtly in quiet can be a beautiful thing.
Samantha Bates’ repeated marks form and un-form nature before the viewer’s extended attention; building an unfolding experience into perception, memory and seeing. She grew up surrounded by the wilderness of Washington state. The land permeates her work in form, concept, representation, and practice. Bates earned a 2D Master of Fine Arts at Massachusetts College of Art and Design. She completed a Bachelor of Fine Art in painting and drawing at the University of Washington. Her work has been shown in group shows at Alpha Gallery, Momentum Gallery, Jacob Lawrence gallery, Arnheim Gallery, Sandpoint gallery, The University of Washington Club, Student Life Gallery, Doran Gallery, as well as Bakalar and Paine Galleries. She has appeared in solo shows in Washington state at STAR Center, Parnassus Cafe and Gallery and the Spokane Transit Authority Plaza. Recently, her work was featured in The Boston Globe in Cate McQuaid’s article “Expect to See More in the Future Form These Up-and-Coming Artists.” She currently lives and works in Tacoma, Washington and is represented at Momentum Gallery in Asheville, North Carolina. For more information, view her website
“I want my work to inhabit the threshold between vastness and intimacy. I am interested in working with the dimensional space of photography in new ways by combining traditional photographic techniques with painting, printmaking, and small sculptures. My images begin with black and white film exposed through antiquated lenses. The old optics allow the light and atmosphere to impress themselves on the silver of the film. With the steel and lead sculptures, I am working in collaboration with the sea and earth to patina the objects. The work is about light, the elements, the alchemy of nature, and chance.”
Danielle Dean is an artist and educator based on San Juan Island in Washington State. She recently completed her MFA in photography at Massachusetts College of Art and Design. Her work is included in public and private collections and has been exhibited throughout the country including the San Juan Islands Museum of Art, Bakalar and Paine Galleries, Center for Fine Art Photography, Blue Sky Gallery, and Foley Gallery in NYC. She is currently preparing for a solo exhibition at Gallery BOM in Boston, MA opening in May, 2018.
Fari Mah Eshraghi
Fari Mah Eshraghi is an Iranian visual artist currently living in the United States. Using photography and video she explores issues around femininity. Her work is concerned with current social and political issues that affect female body, particularly how the established patriarchy benefits from these constructs. Her work is linked to the past, using history and culture to demonstrate her ideas. As a woman raised in traditional Iranian society, her recent immigration to the US gives her an unique perspective on the bodily experience of female refugees. The images here are stills from an multi-channel installation entitled, Lullabies, that weaves together all the different layers of her life experience.
Lauren Pellerano Gomez
BLUE is a collection of 24 poems exploring color as feeling. Poems and fragments present a non-linear narrative recalling: a sentiment, a loss, an expanse of time, a possibility. Written between 2010 and 2017 by Gomez, the text was illustrated by Mixed Greens and printed on acrylic as functional postcards. Product design by Close Enough Labs; published by Creative Differences, 2017.
Lauren Pellerano Gomez creates text-based work(s) exploring the limits of language through various media. Lauren earned a BA from Boston College in English Literature and an MA from Parsons School of Design in Design History and Theory. Lauren lives in Cambridge and works in Boston, MA.
"My art-making process involves examining the wonders and heartbreaks of my own life and childhood, however I’ve realized that my personal history stretches back much further than 1994. If we think of my DNA as my story, I have been written and rewritten over thousands of years, and all that information has finally culminated into me, here, right now. I am incredibly lucky because unlike any other generation, I can visually engage with long-gone versions of my loved ones (and myself) through pictures and videotapes. Now, at twenty-two, I can listen to my Uncle Shawnie’s voice and see the way he held me as a child. He died a few days before the Twin Towers went down.
"We exist in this constant and perpetual state of flux, unraveling into an inevitable, impending doom. I don’t mean to sound negative - perhaps after doom comes paradise! -I just understand death as factual. For some slice of solace, I grip to artistic mediums that have the capacity to hold small moments in high regard. Through text and imagery, I transform my dissolving memories into relics while simultaneously creating my own inconspicuous truths. These are stories in limbo. They emerge from my past, my present, my future, and from the bottom of my grave."
Marissa Iamartino (b.1994) is a New England-based photographer, writer, and painter. In 2016, she earned a BFA in Photography from the Massachusetts College of Art & Design, and was a recipient of the Abelardo Morell Thesis Prize. Her work has been exhibited at Flash Forward Festival Boston and the Griffin Museum of Photography, as well as featured in online publications such as The Latent Image and Nope Fun Magazine. Marissa currently works as a Pediatric Hospital Artist for a Connecticut based non- profit.
My steps along this street
Along another street
I hear my steps
Resound along this street
Only the fog is real
These images are a part of an endless dialog of silence with Paris. When in Paris, I speak with no one; I silently speak with the light, with objects, colors and water.
Noa Kastel (b.1990) is a creative photographer making work that deals with subjects related to the Israeli society, creating conceptual-documentary projects . Kastel earned a B.A in Photography, Hadassah Academic College, Jerusalem. She currently lives and creates in Tel Aviv, Israel.
you were the light i never saw.
it begins with honestly and ends with masochism, but all of a sudden i’m back there.
lying on the cold white porcelain floor, with you.
we were falling, together a hurtling contorted mess of endings and beginnings and for the all light i could not see, the trail of blood and blame you left in your wake was unmistakable.
Remnants is an exploration of the successes or failures of the reactionary structures that are responsible for engaging victims of sexual and domestic abuse. The photography I am creating ranges from sites of sexual and domestic assault, the sexual assault evidence collection kits survivors have to endure, to the backlog of rape kits in police evidence rooms, the crime labs in which this kits are tested, and finally the survivors themselves. All of these aspects create a complicated and intimidating maze of steps a survivor may maneuver if they choose to rely on the justice system for assistance. This work does not serve to trigger or create a negative response, but exists as photographic evidence of the reality many face when assaulted.
Melissa Kreider (b. 1993) is an MFA student at the University of Iowa and holds a BFA in Photography from the University of Akron. Melissa’s work examines sites of sexual violence against women and how the justice system archives these reports as well as the evidence that is collected. Her work has been exhibited and published nationally and internationally. Melissa Kreider is a Graduate Teacher of Record at the University of Iowa, in the Art and Art History Department. She reads more books then she should and owns two cats; a hardened street cat named Asphalt, and a cat with thumbs named Valentino. Melissa is the founder and curator of Don’t Smile, an online space dedicated to showcasing photography by women artists.
Making art is the way I process being alive. Using my hands grounds me in the physical reality of my materials, granting respite from the otherwise constant brain chatter. The studio provides a space untouched by societal norms where I get to be as I want. Time spent there serves as release, as play, pleasure, intuition and impulse reign supreme. Engaged with my mysterious and messy body, experiential memory, internal conflict, and idealogical identity, my humanness is on display. Narcissistic culpability and dark humor fuel my pursuit of the unexpected. I don’t attempt to express who I am through my art, but my art does express how I think and feel. Delighted by synchronicity and randomness, I rub against my domesticated self, craving freedom.
Courtney Stock is an artist and educator based in Boston, Massachusetts. Stock was raised in Newton, Massachusetts, studied at Bowdoin College and San Francisco Art Institute, and recently completed her MFA at Massachusetts College of Art and Design. When not in her studio in Hyde Park, Stock works as an Academic Advisor at the Massachusetts College of Art and Design.