Featuring the art of Julia Barello, David Forlano, Jane Lackey, Ted Larsen, and Linda Swanson.
Professor Barello's research focuses primarily on body adornment and the resulting construction of meaning through supplements to the body. She is also very interested in objects that speak to ideas of utility and function. Her notions of what is included within the field of jewelry and metalsmithing is a vast and inclusive definition framed by the above ideas. Metalsmithing attracted Professor Barello as a young artist because she felt there was room to explore these ideas without being limited by form, materials, scale or technique.
Linda Swanson chairs the Art Department and teaches courses that address issues in painting and drawing; her own work reflects these interests. She has shown her work nationally and her paintings are in the permanent collections of the Brooklyn Museum and the Newark Museum. Her drawings are included in And They Called It Horizon: Santa Fe Poems (2010), a collaborative project with Santa Fe Poet Laureate Valerie Martinez.
I think there is a direct influence in my paintings from working with jewelry for over 20 years. The primary reason for the small paintings is a conscious choice to work on the table within the same space that I have been making jewelry. I generally work with the paintings flat on the table and not on the wall. Composing with color has always been a big part of what I do. I would briefly define myself as a "color shape painter." The shapes and forms in my paintings are very much like the vocabulary I worked with many years ago when I was painting on a much larger scale. I have established a more deliberate sense of form and vocabulary in the new work. The interaction of shapes and the composition of the paintings are similar to the way brooch or necklace parts may interact in my jewelry work.
The works I create supply commentary on minimalist belief systems and the ultimate importance of High Art practice. An artist's work usually adheres to the construct of a cohesive direction with the work illustrating a single theme or underscoring a didactic agenda. But such a logical order has no specific place in my studio practice.
Introducing alternative and salvage materials to my own formally driven abstract sculpture, I hope to bring purist shapes and surfaces back down to earth. I quest for new materials, "non-art materials" to create my work. I am constructing bricolage works in order to re-purpose the materials and re-identify their meanings: to re-contextualize and re-label the idea of Ready-mades. It is my on-going experimentation with contexts, hybrids, and scale.
The works keep possession of pleasing formality and visceral elegance while making fun of modernist purity. This is a tribute to anti-triumphalism, the spontaneous, non-hierarchical, un-monumental thematic artistic landscape which offers no specific resolution and no isolation of meaning.
Jane Lackey’s art has long engaged cross-disciplinary intersections of materials and process as active thinking. In her studio practice, conceptual ideas are slowly traced, entwined and materialized in drawings, sculpture and installations. Illusive aspects of movement, communication, and our physical selves surface in a narrative of mapped systems. Intimate and hand held or large scale and ambulatory, these works evoke self-reflection, scrutiny and comparison. Her artwork has recently been exhibited at the Loranger Art and Architecture Center, Detroit; The Wellcome Trust, London; I Space, Chicago; Ashville Art Museum, North Carolina; Beach Museum, Manhattan, KS; Exit Art, and Tang Museum, NY. She has received grants from Artist Trust, Seattle, the NEA and the Illinois Arts Council. She has been awarded residency/fellowships from the LaNapoule Foundation and Camargo Foundation in France and recently received the 2011 Creative Artist Exchange Fellowship sponsored by the Japan-US Friendship Commission and NEA. Her work is included in numerous private, public and museum collections. Lackey earned her BFA from California College of the Arts and MFA from Cranbrook Academy of Art. Head of the Fiber Department at first Kansas City Art Institute and then Cranbrook Academy of Art, she is currently an independent artist based in Santa Fe, New Mexico.