Amna Ilyas, Pakistan
Anne Percoco, USA
Ariel Elizabeth Churnin, USA
Ciara Foster, Ireland
Charlie Grosso, USA
Christopher Manzione, USA
Chutima Kerdpitak, Thailand/UK
Elaine Woo MacGregor, UK
Erin Lee Benson, USA
Jacqueline Norheim, USA
Jessica Pezalla, USA
Jon Rajkovich, USA
Josianne Ishikawa, USA/Japan
Joshua Haycraft, USA
Leonardo Aguinaldo, Philippines
Lillian Pease, USA
Lisa Iglesias, USA
Liz Jeneid, Australia
Marilynn Derwenskus, USA
Mark Dilks, USA
Natasha Mell-Taylor, USA
Renata Szur, Hungary
Rinaldo Klas, Suriname
Terry Wise, USA
Wendy Morrison Painter, USA
"Pile On Looking"
"Happiness Equation"
"How Does This Figure"
Stuff, piles up, gets lost in a pile.
Unknowingly, we point out the mass and not its parts.
The construction may not be the definition.
Why define?
I want my art to be free of definitions. But, I wonder if that is even possible. Painting,
for example, is bound to art history and has set parameters and biases for creation attached to it. To paint with no expectations must be liberating. I study art and itshistory but art with different origins than mine inspires me.
In art history, DADA excites me because it playfully accepts chance collisions and the equality of all forms of creation. A painting holds as much artistic weight as a collage, table, fork or engine and vice versa. Prior to DADA, being an artist meant being in control of a particular medium or skill. As embodied through their usage of collage, the
Dadaists rationalized the benefits of learning from a lack of control. No single medium, application or style defined DADA. Previous artistic definitions and expectations were intentionally questioned so that new ones could be made. This is inspiring, an object
"Spit"
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