Deborah Dancy is a multimedia abstract artist whose paintings, drawings, digital photography, and small sculptures play with the shifting intersection between abstraction and representation. Her many awards include a Guggenheim Fellow, a Yaddo Fellow, the American Antiquarian Society William Randolph Hearst Artist and Writers Creative Arts Fellowship, and the National Endowment of the Arts NEFA award. Her work is in numerous collections, including the Museum of Fine Arts, Houston; the Kemper Museum of Contemporary Art, Kansas City, MO; 21c Museum; the Baltimore Museum; the Museum of Fine Arts, Boston; the Birmingham Museum of Art; the Hunter Museum; the Detroit Institute of Art; the Montgomery Museum of Art; the Spencer Museum of Art; the Hunter Museum of Art; Vanderbilt University; Grinnell College; Oberlin College Museum of Art; Davidson Art Center; Wesleyan University; and the United States Embassy, Harare, Zimbabwe. She is represented by Kathryn Markel Fine Arts, NYC; Robischon Gallery, Denver; and Marcia Wood Gallery, Atlanta.
Lia Dostlieva (Лія Достлєва) is an artist, cultural anthropologist, and essayist, born in 1984, in Donetsk, Ukraine. She is the recipient of several scholarships, including the Gaude Polonia Scholarship Programme for a Foreign Cultural Professional and a Visiting Fellowship for work on Ukraine in European Dialogue from the Institute for Human Sciences in Vienna, Austria. Her exhibitions include Emplotment, featured in the Ludwig Museum in Budapest, Hungary, and Difficult Pasts. Connected Worlds in the National Gallery of Art in Vilnius, Lithuania. Her forthcoming exhibition, Black on Prussian Blue (with Andrii Dostliev), will be displayed at the Malta Festival in Poznań, Poland. She is the coauthor of Licking War Wounds, published by 89books in 2022.
Liliana Zavaleta is a visual artist who was born in Lima, Perú. She grew up in the United States and has lived and studied in Europe, the Near East, and South America. Zavaleta obtained her university degrees in French and Latin American Literature. She also studied at Parsons School of Design and was an award-winning art director before dedicating herself to her art work. Today she works full-time on her two- and three-dimensional visual work, dividing her time between Upstate New York and South America.
Kelin Perry is an artist and architect born in Charlotte, North Carolina. She graduated with a Bachelor of Architecture from SCI-Arc in 1979 and has since practiced architecture in Atlanta, Georgia, where she currently lives. Perry’s art centers on found materials, which she uses to evoke a sense of the fragility of beauty and the passage of time. She has cultivated a reverence for the unseen, discarded, and forgotten. Perry uses paint, paper, and other media as well, but the use of reclaimed materials is central to her work. Perry has been in group shows at Lowe Gallery as well as group shows and a solo show at Hathaway Contemporary in Atlanta. She has also been included in several shows and residencies at M. David & Co. in Brooklyn, where she is currently represented.
Angyvir Padilla lives and works in Brussels. In her practice, she invites us to take a closer look at the places we inhabit. By examining how we embody memory, she proposes that, in the journey between immanence and transcendence, the traces of our past seep into a persistent present. The environments Angyvir creates alter our perception of reality. As our presence enters into the dialogue, the sense of otherness we encounter reveals the essence of her work. Master with distinction, Fine Arts department, Luca School of Arts, Brussels (BE), 2018, Master with distinction, Sculpture department, ENSAV La Cambre, Brussels (BE), 2015, Bachelor, Art in the public space, ARBA, Brussels (BE), 2012, among other distinctions.
Elegy and Observation is an environmental requiem. Drawing on ancient and modern texts, the piece leaps and lurches among perspectives from intimate to global, tender to catastrophic. So too, our perceived relationship to the natural world is constantly shifting, from the poet’s tension between fear and delight, to scientific observation, biblical prediction of catastrophe, the unassailable truth of species extinction, and the poetry of those who have experienced natural disaster.
Jacqueline Shatz’s work has been included in exhibitions at the June Kelly, Monique Knowlton, and Kouros galleries in New York City, and she has curated and organized many exhibitions, including CollageLogic which was last presented in 2012 at Hampden Gallery at UMass in Amherst. She is a recipient of a NEA Individual Fellowship, a Craft Alliance New Techniques grant and several NYFA SOS grants. She has been artist-in-residence at the Kohler Arts/Industry program, where she created a series of music box sculptures and collaborated on sound and sculptural installations for Glyndor Gallery at Wave Hill and on Governors Island. She had a show at The Garrison Art Center in 2015.
I was born in 1948, on Finnøy, an island with two hundred inhabitants. My family was living close to the factory where my father and grandfather were mechanics, making and installing engines for the fishing boats. During my childhood, there was an abundance of herring fishing going on every winter. The herring were caught in large nets and hauled up in smaller ones. When the weather was bad, the harbor was packed with boats, and big bunches of fishnets were hanging to be dried. Every summer holiday I spent with my grandparents, living on the tiny island Notholmen (not=net) on Hustadvika.
I want to stay a little naïve and desperately in touch with my emotions rather than become anxious and angry. It’s not easy to understand society at this moment. It’s not easy to be reassured when “fake’ is a new derivative of reality. It’s not easy to trust people when power games go beyond understandable limits, and when polarization is more recognizable than union in diversity. It’s not easy to stay in touch with your own nature during a pandemic and other natural disasters… But I’m trying.
The songs comprising my October 2020 release, Ghosts of Our Former Selves, including the two presented here, were deliberately composed in a confessional mode. They form a forty-minute sonic memoir that draws on everything I have spent my six-plus decades learning as a composer of contemporary classical music (especially computer music) with deep roots in jazz and popular music traditions.