Bay College in celebration of Women’s History Month announces the Artist Talk/Panel Lecture discussion and Reception for the exhibition, Six Women: Their Stories,
artwork by Julianne Gadoury, Kristine Granger, Alisha McCurdy Holzman, Kathryn Cellerini Moore, and Veronica Pena. The work will be in the Besse Gallery and the Panel Lecture and discussion will be in the Besse Theater.
“I am humbled and comforted by the constant compost, rebirth, and infinite beauty of nature. In art making I try to capture some of this fascination by illustrating the truth I feel about people and place, but also to let go of the truth I think I know and be open to new realities that develop.”
"When I was a child and would visit my grandparents I was always intrigued with the bookshelf behind my grandpa’s chair. The shelves held books such as “The World Encyclopedia”; big pictures and words for such a small child. I would go through all of these books, but my favorites were the ones that held the human form in transparent pages. These pages could be lifted to show the skeleton, muscles and the separate organs, all of the layers of the human form. It fascinated me that they broke down the body into layers and that you could simply lift the pages to discover another layer, one that was just as important as the first for the function and completion of the human. I saw this as a greater picture, and this concept of layering has intrigued me throughout my life. I struggled growing up about the notion of what made me and where I belonged. I struggled to accept all the facets of myself. I struggled to understand that events, whether positive or negative, had to be accepted and seen as creating my existence. It is a theory that I have continually nurtured and dissected. The layer of living: the construction and destruction of self that is necessary for growth. This is a process that is articulated for me best through the creation of my work.”
Alisha McCurdy Holzman
“I am a coal miner’s daughter, granddaughter and great granddaughter. The stories, hardships and triumphs that these coal miners and their families have experienced are the driving influences of my work. Craft media and techniques have used within my work as empathetic gestures to those that the work is about. My choice of materials and media is a way for showing respect to lives and the Appalachian region that the artwork is made for. The stitching, weaving, and sewing are skills that are familiar to Appalachia. The locus of the artwork is to tell the stories of a region that has sacrificed so much to fuel the rest of the United States. While I approach this body of work from a local perspective I am aware of the broader political, social, environmental and global implications of the artwork.”
“Within the United States the coal industry is not as integral to the economy as it once was. Consequently, unless one has grown up in a coal region, the industry remains largely unfamiliar. Dirt, grass, and coal have become central materials within my sculpture and installations to give reference a physical site outside of the gallery setting. Used congruously with the earthly materials are effigies of small yellow canaries that were once taken into the mines, when their songs waned and they eventually died, miners knew to flee the mine and the unsafe buildup of toxic gasses. These yellow canaries are representative of the indivi
dual miner’s sacrifices that are often lost in the vastness of the mine industry.”
Kathryn Cellerini Moore
“During the process of creating the artworks in the series Ruby Boots I visited the farmland in rural Oregon where I grew up. Dressed as Dorothy with blue and white gingham and magical ruby boots, I pulled a wagon of yellow bricks along the property to pay homage to the place I consider as the foundation of my yellow brick road. Images of this gesture were captured by photograph in key places on the property where I could recall a specific memory and where I felt an emotional attachment. These places included the platform where my house burned down, to the fence where my family would shoot at tin cans. While working with the photos in the studio I asked myself how the remaining homestead compared to my memory of it. How did my memories of the homestead change over time? How does my brain decide which memories are important to keep and which to discard or skew and how does that effect the artwork? For example, some of the close-up detail images in the landscape were not immediate references to a memory but they still elicited a strong sense of nostalgia and ownership.”
“Harmony and peace are endless human endeavors. I am an interdisciplinary artist and curator. My current practice mixes performance art, painting, sculpture, installation, and sound. My work tries to attain harmony and peace through achieving communion with other human beings, either present or absent. My performances involve very slow motions and having the body fully covered by some type of material. Thus, my performances naturally force the body to be still. This stillness is a natural bodily way of achieving harmony and peace. Since achieving communion is an important part of my work, audience participation, either active or passive, is also a natural component of my work.”
The exhibition of their work can be viewed from February 29- April 7, 2016.
Bay College Arts and Culture and the Diversity Committee in celebration of Women’s History Month sponsor these events.