Residency Projects Part II
The Kala Gallery is proud to present the second of our two-part exhibition series, Residency Projects, featuring work by our 2008-2009 Fellowship artists. The artists were selected by the Kala Directors in association with juror René de Guzman, Senior Curator at the Oakland Museum.
Nichole Maury came to Kala from Kalamazoo where she teaches printmaking at Western Michigan University. Maury’s printmaking practice extends well beyond the traditional as seen in her wall-based installation titled Connected. Her labor-intensive monoprint process employs a grid structure to juxtapose precise diagrammatic hand-drawn structures with screen-printed textures. Maury’s experimental yet systematic process of abstracting and restructuring of images explores the dualities of order and chaos in her elegant works on paper.
Yasuaki Onishi has been in residence at Kala during his first trip to the United States. Onishi is an installation artist from Osaka, Japan, noted for his thoughtful use of simple, low-tech materials. Through thoughtful combinations of black lights, fluorescent paint, plastic bags and fans, his sleight-of-hand works draw on natural phenomena, magic and a bit of whimsical humor. His memorable installations shift viewers’ attention from the reality of his mundane materials to the larger perception of air, gravity, space and light. For his first show in the United States, Onishi is creating a sculptural installation from black melted, dripping glue.
Ali Richards has traveled from the United Kingdom for her residency at Kala. Richards is known for her works in a photo-documentary format that comment on our social and physical interaction with the environment. During her stay at Kala, Richards began work on a new series titled Jesusita Summerland, a photographic exploration of California’s summer fires that have recently ravaged areas such as Santa Barbara. Her tragic yet stunning photographs present the aftermath of the violent and fiery destruction of formally luxurious mansions and the charred remnants of the so-called “good life.”