Monday, August 29, 2016

Rachel Zollinger: Plotting the Decontextualized

Gamut 1

Landsat imagery, custom software, paper
14” x 23”, 2016

Gamut 2
Landsat imagery, custom software, paper

14” x 23”, 2016

Gamut 3
Landsat imagery, custom software, paper

14” x 23”, 2016

I create decontextualized, derivative landscapes in sculpture, altered digital media and installation. I often leverage open source data as research and catalyst, and explore ways of manipulating and subverting maps, satellite images and their metadata in reimagined parameters and functions.

These works began as an exploration into our preoccupation of gathering and storing information about our world, each iteration engendering new knowledge and relevancy. Interested in how this vast archive informs our perceptions, I grabbed screenshots from Landsat and Google Earth and processed them through custom software. The software separates the red, green and blue color channels of the image and replaces the comprising individual pixels with their representative alphabet letter, R, G or B. Further manipulations emphasize the content and terrain. I focused on imagery that captures striking contrast in the landscape; in my homeland of the Southwest, below the rugged mountains, agriculture plots flourish in the arid desert.

I was compelled to push the process further, taking the emergent discretized array of pixels and rendering each one by hand on paper with a sharp instrument. The process is labor intensive and necessitates a meditative, systematic approach. The images are produced by the pinnacle of human ingenuity and technological advance, and finally returned to the simple and primitive act of mark making on a surface.

Gamut 4
Landsat imagery, custom software, paper

14” x 23”, 2016

Gamut 5
Landsat imagery, custom software, paper

14” x 23”, 2016

Open source satellite imagery, custom software
Dimensions variable, 2016

B Detail

G Detail

R Detail

Rachel Zollinger lives and works in Albuquerque, New Mexico. She received her BFA from the University of New Mexico and will be returning to study this fall with Land Arts of the American West. She is an interdisciplinary artist whose work is a confluence of experiential and critical meditation on human impact. She may often be found wandering the mountains and deserts of the West. Her work has been exhibited across the country, including RedLine Contemporary Art Center, Denver, CO, Page Coleman Gallery, Albuquerque, NM, FSU Museum of Fine Arts, Tallahassee, FL and one person exhibitions at Fort Worth Community Arts Center, Fort Worth, TX and ARC Gallery, Chicago, IL. In 2015 she completed a residency in Olafsfjordur, Iceland. She teaches elementary school sculpture, ceramics, painting and drawing.

Monday, July 25, 2016

Kerry Downey: Orientations

As a multidisciplinary artist and teacher, my diverse practice supports an ongoing investigation into how we interact with each other physically, psychologically, and socio-politically. My videos, drawings, prints, and performances reimagine the possibilities and limitations of gender, intimacy, and relationships in late capitalist America. I am interested in how private feelings bleed unpredictably into the public space of the community and surrounding landscape. My work is influenced by my own experience of top surgery and gender queerness, my commitment to queer and feminist collaborations and pedagogies, as well as my role as a caregiver and teacher of people with Alzheimer’s and other disabilities.

My work presents a series of haptic encounters with people, objects, spaces, and histories, shifting between the intimate and remote, the slippery and stable, the poetic and political. I am interested in moments of recognition and the processes by which we experience an “other,” or come to know or love them. The handle, a recurring image in my work, is a literal representation of something we reach for, hold onto, or lean on for support. The handle is also a metaphor for our connection to the outside world. Exploring what is at stake when we interact with the world, my work contemplates these areas of contact—suspended possibilities that arise between one action and the next—and the ways we contain or expose ourselves in precarious, yet quotidian situations.

See more of Downey's projects at and Downey's website is

Kerry Downey (born Fort Lauderdale, 1979) is an interdisciplinary artist and teacher. Downey’s work explores how we interact with each other physically, psychologically, and socio-politically. Encompassing video, printmaking, drawing, installation, and performance, their work is influenced by Downey’s personal experience of top surgery and gender queerness.

Recent exhibition venues include the Queens Museum, Flushing, NY; Los Angeles Contemporary Exhibitions, Los Angeles, CA; the Center for Curatorial Studies at Bard College, Annandale, NY; the Drawing Center, New York, NY; Taylor Macklin, Zurich, Switzerland; and Franklin Street Works, Stamford, CT. ARTforum selected Downey’s work as a “Critic’s Pick” at a recent exhibition at REVERSE in Brooklyn, NY. In 2015, Downey was awarded the Joan Mitchell Foundation Emerging Artist Grant.  Artist-in-residencies and Fellowships include SHIFT at the Elizabeth Foundation for the Arts Project Space, the Drawing Center’s Open Sessions, Real Time and Space in Oakland, CA, the Vermont Studio Center, and the Queer/Art/Mentorship Fellowship. Downey currently works in Education at the Museum of Modern Art, and recently taught at Hunter College and Parsons School of Design. ​ They hold a BA from Bard College and an MFA from Hunter College.

Jane Lackey: Shifting Space

My art practice shifts between creating drawings and building site-specific installations. In both formats, perception is filtered through transparency, accretion of materials, choreography of movement and participation. Drawings on translucent paper take on abstract characteristics of architecture and landscape schema. They articulate spatial relationships or systems that mirror the intricacy of the interior body. Looking at them, you see through the surface, sensing a place remembered or imagined. Map-like, their scale and delicate materials demand intimacy and time. Aspects of these drawings are starting points for three dimensional built environments in which you can walk – explore – respond. Translucent scrim walls demark space for sitting and interaction. An enveloping atmosphere reduces exterior awareness and provokes a gestalt of participation: writing, marking, tracing, thinking in silence and unexpected calm.

Interstices 05, paint on kokos paper, 19 x 25 inches, 2015

Interstices, paint on kokos paper, 25 x 38 inches, 2015.

Interstices 7, paint on kokos paper, 25 x 38 inches, 2015

Interstices 8, paint of kokos paper, 25 x 38 inches, 2015

Jane Lackey is a visual artist based in Santa Fe, NM. Whether sensual, biological or spatial, her works trace illusive aspects of information and communication. Mapped schema on paper expand to immersive installations. Intimate and hand held, or large scale and ambulatory, her works evoke self-reflection, scrutiny, comparison and interaction. Exhibition venues include the Wellcome Trust, London; I Space, Chicago; Exit Art, NYC; New Mexico Museum of Art, Santa Fe and Tang Museum, NY. She has received grants from Artist Trust, Seattle, NEA, Illinois Arts Council and Grand Arts, Kansas City. Artist residencies include Camargo Foundation, France; La Napoule Foundation, France and the JUSFC/NEA Creative Artist Exchange Fellowship, Japan. Lackey earned her BFA from California College of the Arts and MFA from Cranbrook Academy of Art. Lackey was Professor at Kansas City Art Institute and Artist-in-Residence at Cranbrook Academy of Art.

Amie Rangel: Observations on Location

2905 Apt. A and B

Windows 2905 Apt. A and B

Windows 2905 Apt. A and B

Nothing in Life is Free


2905 Apt C Side

Vacancy Windows II

Vacancy Windows III, IV, and V


What Remains


I am an observation-based artist rooted in traditional methodologies that is informed by the location where I reside.  I explore inhabited or functioning interior and exterior spaces of our modern society, often requiring permission and cooperation with property owners and abiding by facility regulations as a means to gain access.  My work is expressed through large-scale charcoal drawings on linen, mixed media drawings on paper, and traditional stone lithography.  
My new body of work, “Dwelling”, is in response to relocating to Albuquerque New Mexico in 2013.  All of the drawings and prints in this series depict select moments in time at an apartment complex located near my home.  This work builds on previous bodies of work, “The Whey (way) n: to Center” and “From the Observation Room”.  However, both of these series are that of interior research institutions or commercial agricultural facilities where I obtained access.  “Dwelling” is a slightly different approach in that I am not entering the spaces of the apartment units I am depicting.  I have become the voyeur or spectator witnessing the subtle changes of the various occupants arriving and departing, the changing of window coverings, graffiti painted-removed-painted again.  I am captivated by these moments, with an anthropological approach, silently watching its subject from a distance. I am compelled to passively observe, translating moments and nuances through perceptive and expressive drawings.
The drawings hold great attention to structural details like that of historical architectural renderings often juxtaposed with the surrounding environment translated through expressive mark making or completely stripping it away, leaving little trace. Revisiting a specific site over long periods of time builds a relationship and a perceptual connection, which often results in drastically editing structural details and shifting perspective.  Additionally, to validate or solidify a place I emphasize objects and forms that serve as artifacts or attributes of a specific space like that in religious iconography found in 13th and 14th century altarpieces.  However, in all of my work the attributes are that of mechanical, electrical, or operational components. 
My experience in each type of location presents a delicate balance of the sacred and the secular, restriction and protection, confinement and efficiency, authority and submission.  The organization of the different structures and how they are presented in my work is to raise awareness of spatial and social constructs within modern human society.  

Amie Rangel has a BFA in Drawing/Painting and Printmaking (Magna Cum Laude) from
California State University in 2005. She then received and MFA (Magna Cum Laude) in
Drawing and Intermedia program at the University of Alberta in Edmonton, Alberta
Canada. During her thesis research she was awarded an international award from the
Elizabeth Greenshields Foundation in 2008, as well as, scholarships from the Alberta
Foundation for the Arts and Florence Anderson Friedman Foundation in 2007 and 2008.
She has taught at the University of Alberta, College of the Sequoias in Visalia CA,
University of New Mexico and currently teaches at Central New Mexico Community
College in Albuquerque. She has been honored to receive the Graduate Student
Teaching Award for the University of Alberta as well as a nomination for the Hayward
Award, California State Community College Educator of Excellence on behalf of College
of the Sequoias. Rangel has exhibited at Vane Gallery in Newcastle, England; Banff
Center for the Arts in Banff Alberta; Art Gallery of Alberta; Bakersfield Museum of Art,
California; Appleton Museum of Art, Florida; Denver, Colorado; Kansas City, Missouri;
Nashville, Tennessee; and Oakland, California.
See more of Rangel's work at

Thursday, July 14, 2016

Seamus O'Rourke: Censorship and Loss

Missing Works

Missing Drawings

In this work, I emphasize a critical moment in the History of Modernism with a corresponding process on paper:I examine ideas of censorship and loss,in relation to the destruction of Artwork termed ‘Degenerate Art’ or ‘Entartete Kunst’ by the Nazis in 1939. It is estimated that 1,004 paintings and 3,825 works on paper were destroyed. In this ‘Dark Inventory’ series, I examine the empty spaces left behind after these Artworks were confiscated from German Museums and which were burned in Berlin by the Reich. This annihilation of Modernist paintings is the conceptual basis and context for these ink ingrained works on paper. These blacked out drawings critique the act of censure and the curtailment of expression. In these drawings, I engage with politicizing the space between what is visible and what is absent. Subsequently, this challenging act of scrutinizing loss, creates the engagement for communicating to an audience,the constant vigilance required to protect freedom of speech.

Empty Hall
Lost Collection

Burnt Moderns

Missing Pictures

Seamus O’ Rourke Born in Co. Wexford ,Ireland, in 1964. Studied at Waterford School of Art ( 1985 - 89), Limerick School of Art( 1991 - 92) and the University of Ulster at Belfast, M.A. in Fine Art (1993-4). 

Solo Exhibitions: Entoderweder Galerie, Germany 1992, 1996 and 2000. Galerie Tendenz, Sindelfingen, Germany 1997. Limerick City Gallery of Art at the Hunt Museum 1997. Galerie Sanjo, Kyoto, Japan 2003. The Workroom, Dublin 2003. Broadstone Studios,Dublin 2008.Broadstone Studios,Dublin 2013. Pallas Projects,Dublin, Ireland 2014. ARC Gallery,Chicago,USA 2016 

Group exhibitions: Belfast Young Contemporaries 1994, Guinness Hops Store 1994, EV+A 1995, 1998, 1999, 2005, “ First Look “ at the RHA Gallagher Gallery and the Butler Gallery, Kilkenny 1999, Cheltenham Open Drawing Exhibition 1999 . 15th International Triennale of Drawing, Moderna Galerija, Rijeka, Croatia, 2000. 1st International Drawing Biennale, Melbourne, Australia (Award Winner), 2001. Galerie Voelcker & Freunde, Berlin; Jan - Apr 2003. Goethe Institute, Dublin 2003. ‘Full circle’, Templebar Galleries 2004, 5th International Biennale of Drawing, Pilzen, Czech Republic 2006. “Schwarzweiss” , Galerie Inga Kondeyne, Berlin, 2007. ‘ Process Visible’, Monster Truck Gallery, Dublin. 2009.’All colours Black ‘(two), Cross Gallery,Dublin.2010. ‘Horizon Sprawl’ Ormston House, Limerick 2012. 5th International Drawing Exhibition,Museum for Architecture,Wroclaw,Poland.2012 Catalyst Arts Gallery,Belfast ,2014.’Over the Edge:Paperworks Unbound’,WAH Center,Brooklyn,New York 2014. Manifest Gallery,Cincinnati, USA 2015.’Drawing never Dies’, Redline, Denver, USA 2016. 

Awards: Has received Arts Council of Ireland awards in 1992, 1996, 2000 ,2003 and Cultural Relations Committee Awards 1992, 1997 and 2000. Culture Ireland Award 2016. His work has been reviewed in Suddeutsche Zeitung in 1992, 1996 and 2000. The Sunday Times 1994, Kreiszeitung Boblingerbote 1997, The Irish Times 1999 and EV+A 1999 (catalogue essay), Circa issue 81,Chicago Magazine 2016. Website: Lives in Dublin.

Exhibit: Drawing Never Dies @ RedLine Contemporary Art Center in Denver, CO

RedLine presents a contemporary drawing survey in Drawing Never Dies July 9-August 5, 2016. See more details at:

       Image Credit: Clay Hawkley, College Ruled 7, archival inkjet print, 2016 (detail) 

Tuesday, June 7, 2016

Billy Friebele: Drawing the Temporal

Current Recorder
Time is difficult to see. It is constantly flowing around us, yet barely visible. I am interested in highlighting subtle temporal events that occur at the periphery of perception because they allow me to see my surroundings in a more dynamic way.

I am currently developing a series of drawing machines that respond to ephemeral changes in our environment such as human movement and wind currents. I collect antiquated or discarded objects and repurpose them as kinetic sculptures. They are triggered by digital sensors to make marks on paper in response to external stimuli. These drawings evolve in time with us, before our eyes, but only if we slow down and allow ourselves to be in the current moment.

Concurrently, I explore these themes through an interactive project entitled Walking as Drawing. Participants are given maps and asked to walk in the same area for a given length of time, thinking of their path as a drawing. I collect these traces and combine them into digital animations, prints and 3D models. I am developing an archive of contingent paths chosen in cities around the world, including Cuzco, Peru; Jatiwangi, Indonesia; Santa Cruz, Bolivia; Amsterdam, Netherlands; New York, NY among others.

Capturing ephemeral motion highlights the difficulty of a direct translation of temporal events into static form. Making the invisible rhythms around me visible gives an appreciation for the fluid nature of our interactions and the fragility of our existence.

Watch videos of drawings @:
Floating World:
Ice Drawing:
Current Recorder:
Walking as Drawing: 

Ice Drawing

Ice Drawing

Billy Friebele is an Assistant Professor of Fine Art at Loyola University Maryland. His artwork examines expanded notions of drawing utilizing digital tools such as GPS, microcontrollers, animation and kinetic sculpture. He received a Masters of Fine Arts from the Maryland Institute College of Art and a Bachelors of Arts in Philosophy from St. Mary's College of Maryland.

Past exhibitions include the Baltimore Museum of Art, the Katzen Arts Center at American University, the Orlando Museum of Art, and the Art Museum of the Americas in Washington, DC. He has also exhibited internationally in Sarajevo, Bosnia; Jatiwangi, Indonesia; and Amsterdam, Netherlands, among other places. He is the recipient of the two-year Hamiltonian Fellowship for emerging artists, and is a current Maker-in-Residence at the Martin Luther King Jr. Memorial Library in Washington, DC. 

Friday, May 13, 2016

Dragana Crnjak: Perceptual Shifts

Down the hill by the stomp pass the water pump make right…;
Charcoal, acrylic on wall, dimensions variable, 2011


Slow Reveal; Charcoal, acrylic on wall, dimensions variable, 2008


I am interested in the perception itself, and the processes of sensing in relation to those of understanding.  The process of painting for me always exists between discovery and contemplation, memory and invention. While focusing strongly on the visual presence of the work and the physicality of the mark, I am simultaneously interested in the impalpable.  The surface confronts a viewer physically first while the image gradually opens up spatial depths and triggers new perceptual shifts and dimensions.  The mystery of these interspaces keeps providing inspiration, new visual thinking and potentials. 

House12; Charcoal, acrylic on wall, dimensions variable, 2013

The Day it Rained Silver, Charcoal, acrylic on wall, dimensions variable, 2011

Process – in progress

I Thought I Might Find You Here; Charcoal, acrylic on wall, 2009

Untitled; Charcoal, acrylic on wall, dimensions variable, 2010

Unusual Morning; Charcoal, acrylic on wall, dimensions variable, 2007

Good Timing; Charcoal, acrylic on wall, dimensions variable, 2013


Field; Charcoal, acrylic on wall, dimensions variable, 2009

House; Charcoal on wall, dimensions variable, 2007


Born in 1977 in former Yugoslavia, Dragana Crnjak received her M.F.A. in Painting and Printmaking from Virginia Commonwealth University in Richmond, Virginia. She is an interdisciplinary artist whose work toys with viewers’ perceptions in wall drawings that somehow manage to create impossible illusions even as they seem only fleetingly present. She is a recipient of Ohio Arts Council Individual Excellence Awards in visual art for 2008, 2011, 2015, Research Professorship from Youngstown State University, and Virginia Museum of Fine Arts Professional Fellowship in drawing.  Her work has been exhibited at Urban Institute for Contemporary Arts in Grand Rapids, MI; Gallery at Porter, Art Institute of Boston; Kathryn Markel Gallery, New York City; SPACES gallery in Cleveland; and more.  Her work is represented by Page Bond Gallery in Richmond, VA and Simon Gallery in Morristown, NJ. 

She had taught art at University of Virginia and The Cleveland Institute of Art. She is currently Associate Professor at Youngstown State University, Ohio, teaching painting and drawing.