Bau Haus Semi-Annual VI: Hello, World!

Bau Haus in collaboration with Codify Art is pleased to present Hello, World!, featuring work by Jarrett Key, Jon Key, Sharina Gordon, Son Kit, and Wael Morcos. This exhibition will be on view for one night only during the opening reception: Saturday, November 11, 7–10PM.

BH6FB-01.jpg

Hello, World!

@Bau Haus, 516 Bainbridge St. #1L Brooklyn, NY

November 11, 2017

When learning a new programming language, tradition dictates that one begins by writing a “Hello, World!” program. It is a simple script, used to illustrate the basic syntax of the language, and the successful output of “Hello, World!” by the computer marks the first instance of communication between human and machine. 

For writers, artists, or anybody disposed to imagination, world-building contains a similar moment of first contact: one constructs an entrance into a visionary space, and the space offers itself up for introduction. Determining the rules of the world thereafter feels less like an exercise in creation and more an exploratory relationship, in which the roles of architect and adventurer are conflated or confused.

Does one create a world by imagining it? Or does the world precede the imagination, which only allows access to it? In either case, how does one measure agency? 

This question dogs the steps of speculative fiction, so often the venue for playing out scenarios we cannot will into our existence. Is it a concession, a capitulation, to have to escape elsewhere than one’s actual life, one’s physical life, the systems one is born into? Is it, instead, an act of power, where one manifests the world one sees for the rest us to reckon with?

Rather than offering direct answers, the work in Hello, World! is the promised introduction into worlds that engage the questions. In landscapes, soundscapes, artifacts, and ecosystems, Hello, World! examines the ways in which we interpret, navigate, exert control over or are destroyed by the lives we imagine for ourselves.


ABOUT BAU HAUS

BAU HAUS is a live/work project and process space located in Bed-Stuy. Alternately called a studio, an exhibition venue, halfway house, community lab, conceptual incubator, and a great party, Bau Haus is committed to works-in-progress and proofs of concept in the spirit of experimentation, self-exploration, and accessibility. The Bau Haus Semi-Annual Show happens twice a year and features work that has never been shown anywhere else; it is less a culmination of the artists’ work thus far and more an invitation into dialogue regarding works to come. Bau Haus is inhabited and run by Jarrett Key and Son Kit.

The “Bau” in “Bau Haus” is a derivative of “boo” and akin to “darling,” not to be confused with the German school, “Bauhaus.”

 

THRESHELD: final days!

THRESHELD is up for only two more weekends at Underdonk! We at Codify Art were so pleased to be able to curate this group show of wonderful Q/T/W/OC artists. The response thus far has been amazing—whether to the meditative calm of Janaye Brown's video Bather, After Dinner, or the cheeky sensation of the foot massagers in Orlando Estrada's Varied Pleasures, or the surprising greeting of Inhye Lee's motion-sensitive Smile Trio: Who thought of this little song, to name a few. Come by to see the work Sat/Sun until September 10 from 1–6PM, or catch us at our closing event, Friday, September 8, from 7–9PM!

WHITNEY MUSEUM OF AMERICAN ART study sessions

On Friday, June 9, 7:30–9PM, Codify Art will be hosting a Study Session at the Whitney Museum of American Art.

So what is a Study Session? From the Whitney's Public Programs:

Study Sessions is a new, ongoing event series inspired by Fred Moten and Stefano Harney’s notion of study as “what you do with other people.” For each Study Session, an artist, writer, or cultural worker selects an artwork on view in the Whitney’s galleries as a departure point for thinking through an urgent question in our contemporary political landscape. Participants are invited to join in open-ended discussions and engage with creative practice. Study Sessions may take the form of workshops, listening parties, performances, readings, or film screenings.

For our Study Session, we will be responding to the Whitney’s newest exhibition, WHERE WE ARE: SELECTIONS FROM THE WHITNEY’S COLLECTION, 1900–1960. 

Where We Are "traces how artists have approached the relationships, institutions, and activities that shape our lives. Drawn entirely from the Whitney’s holdings, the exhibition is organized around five themes: family and community, work, home, the spiritual, and the nation." 

War Series: Shipping Out by Jacob Lawrence

War Series: Shipping Out by Jacob Lawrence

Codify Art will facilitate a conversation around the themes of Nation and Work with Jacob Lawrence's War Series (1947) and Elizabeth Catlett's I am the Negro woman linocuts as our departure points. Framed as a writing and zine-making workshop, our Study Session examines the work as each artists' effort "to create her or his own vision of American life" and invites you to share your own contemporary reimagining. Bring a pen or pencil!

THE SURVIVAL LIBRARY at The Whitney Study Sessions

ICYMI, Codify Art is working with Pioneer Works' School of the Apocalypse to bring you The Survival Library, a project that:

...aims to consolidate and contribute to an ongoing collection of publications and media works centered around the personal narratives of W/Q/T/POC. We respond to the hostility of American society by amassing the knowledge gained in the course of our individual navigations into a shared archive. The Survival Library does not seek to replicate pre-existing nexuses developed for concrete resistance actions, which are invaluable and already available. Instead, it seeks to create an analogous resource for emotional responses: a confirmation that You Are Not Alone in your experiences, a torch warded against this gaslighting world of “alternative facts.” The [works are] available online and/or in-person—depending on optimal channels of dissemination—as a guerrilla hub of valid, examined feelings.

Physical works from this archive will be on view at our workshop! Be inspired, feel seen, and connect with folks from your community. Our goal for the Study Session is that you leave with the beginnings of a zine that tells your story. We hope that you'll contribute to this ever-growing collection of QTPOC voices and works. See you soon. 

STANDARD STANDARD FEATURE: JARRETT KEY

Last but certainly not least in our SPRING / BREAK Art Show artist feature is our very own Jarrett Key.

Born and raised in Seale, Alabama, Jarrett Key is a multi-disciplinary artist who integrates movement, music, and heightened language in his work. Graduate of Brown University, he is currently the Assistant to the Associate Producer at the Public Theater and has produced, performed, and curated many art pieces and performances during his time in NYC. 

Jarrett's hairpainting series marries performance and visual art through codified movement, tempera paint and a ponytail, straightened with a hot comb. This literal “hairbrush” transcribes the movements and gestures of the embodied tool. Each mark on the canvas is a signature of identity, a relic of performance. Each endeavor is a recorded dance-like performance, with a resulting hairpainting object. 

Hairpainting No 14 is set to a score of Jarrett interviewing family members about his late grandmother. They discussed what was she like, what she wore, her daily rituals. These memories combined with a set of 4-5 choreographed movements birth the full performance. The deliberate use of Black hair - an intensely charged symbol of respectability politics, workplace discrimination, and beauty standards - as the mark-making tool is key in the series. It underscores the personal and political nature of Jarrett's work. 

Stop by 4 Times Sq, Fl 23, Room 24 to see the beautiful and arresting work of Jarrett Key. We'll be there today and tomorrow from 11am - 6pm.

STANDARD STANDARD FEATURE: EMILY OLIVEIRA

As we end the fourth day of our exhibition STANDARD STANDARD at SPRING/BREAK Art Show, this evening’s feature is no other than Emily Oliveira. You have never seen anything like their Labor-In-Vain series, so come to room 2324 on Sunday or Monday, March 5th and 6th!

Labor-In-Vain is a series of embroidered pillows and banners featuring women bodybuilders. The work highlights the connection between the domestic labor of women’s crafts, the invisible labor of outsourced black and brown women textile workers, and the labor of women bodybuilders. The assemblage materials used on the pillows interrupts their utility and rejects the misinterpretation of the handmade as a charming relic of the past. Instead these materials place the act of the handmade in the present and visceral world of global labor and materials culled from dinner scraps. Labor-In-Vain touches upon the ways in which feminized labor is marginalized both when it aligns with the desires of men/the market, and when it directly opposes and seeks to subvert those desires.

Emily is a Brooklyn-based performance artist, sculptor and costume designer. They are a graduate of the Rhode Island School of Design and studied performance at Brown University. Outside of their visual art practice, Emily’s performance works include I Am One of Them and So Are You (Brown University), DELILAH (What Is Love? Baby Don’t Hurt Me) (Hot! Festival of Queer Theater at Dixon Place), Everything Happens for a Reason (Judson Memorial Church), So Thick That Everybody Else in the Room is so Uncomfortable (Cloud City), Do You Ever Long for True Love From Me (Judson Memorial Church) and KINGS AND QUEENS OF LOVE (Ars Nova). Their work uses transcribed text, original and popular music, dance, and full-body costumes to subvert the despotism of white femininity and examine narratives about love, sex and race in American popular culture. Their costumes have been shown at The Judson Memorial Church, Invisible Dog, The Center for Performance Research and Theatre for the New City.

Emily’s pieces are such a satisfying complement to the strong QTPOC narratives found in STANDARD STANDARD. 4 Times Sq. Don’t miss out!

STANDARD STANDARD FEATURE: YVES-OLIVIER MANDEREAU

Today we're featuring Yves-Olivier Mandereau from our SPRING / BREAK Art Show exhibition STANDARD STANDARD. We're lucky to have Yves-Olivier in New York for this exhibition, so be sure to swing by room 2324 from 11am-6pm daily through March 6 to say hey!

A native San Franciscan, Yves-Olivier quickly became fascinated by clay's materiality and historical significance. This was seed that later grew into his project "Porncelain," a reappropriation of fine china as a means of confrontation and conversation between tenets of ‘the christian home’ and his queer identity. Yves-Olivier subverts these classic heirlooms and claims them as his own by inserting floral-like images of gay pornography. 


Yves-Olivier purposefully uses ‘found’ chinaware in order to broaden the discussion beyond his own sexuality. He invites the viewer to contemplate homosexuality and its oppressors at the hallowed hearth of Family—the dinner table. Yves-Olivier complicates the traditional narrative of familial inheritance by shining a spotlight on the queer community's absence of a formal transference of material culture. As queer people are often pushed to create their own Chosen Families, the viewer is forced to confront what inheritance looks like outside of a heteronormative structure.  

We're thrilled to have Yves-Olivier's elegant and provoking "Porncelain" pieces in STANDARD STANDARD. We hope to see you at 4 Times Sq soon!

STANDARD STANDARD FEATURE: MARTINE GUTIERREZ

We had a great first day at SPRING / BREAK Art Show! Be sure to check us out at 4 Times Square, Floor 23 in Room #24. We'll be here March 1-6, from 11am-6pm daily. 

Next up in our artist feature is Martine Gutierrez.

Sitting down with Martine was such a pleasure. The conversation about her work began with her name: Martín to Martine.

Hands Up was kind of the first music video. I guess I made a few music videos in high school, but this was kind of the beginning of this pop star persona I started cultivating. And at that time also, my name was spelled Martín—with an accent over the “i,” no “e.” And no one could say that—especially in Vermont in high school—And they would just add the “e,” like a French girl, Martine. That kind of switch of gender, that fluidity of gender… it was such a gift that I really didn’t fully appreciate until college. And then in college I thought I should play with it as this pop star character. So I gave that pop star that name, and it’s funny because now that’s the name I’ve adopted in my real life.
— Martine (edited)
martine_2.jpg

Interested in the fluidity of relationships and the role of genders within them, Martine offers mannequins in her own stead to explore the diverse narratives of intimacy. Acting as a conduit, Martine supplies a framework that facilitates a dialogue requiring the viewer to question their own perceptions of sex, gender, and social groups.

Hands Up, reflecting old Hollywood glamour, was the first time that she had collaborated with many people. It also features her first unreleased single, which was selected by Saint Laurent Paris for their Cruise Collection 2012 video editorial. Her music has since been featured by several other fashion houses, including Christian Dior and Acne Studios.

Don’t miss a chance to check out Martine’s iconic installation at STANDARD STANDARD.

STANDARD STANDARD FEATURE: JON KEY

Key_Jon_01.jpg
2_JonKey_ManintheVioletSuitNo3Red.jpg

Today is the first official day of SPRING / BREAK Art Show! We'll be featuring the individual artists in our curatorial project STANDARD STANDARD throughout the exhibition. Be sure to check us out at 4 Times Square, Floor 23 in Room #24. We'll be here March 1-6, from 11am-6pm daily. 

First up is Jon(athan) Key. Jon is a Black Artist, Designer, and Writer. Raised in rural Alabama, Jon started visual art and design at an early age. At 10, Jon taught himself HTML and Java Script. Design became a major tool for his artistic expression. It wasn’t until high school that he began to focus on developing a strong traditional art practice. After summers spent at SCAD and RISD in pre-college programs, Jon matriculated to RISD for his formative art years.  

Jon’s work explores the tension and fragmentation of identity. Through collage, installation and painting he creates intimate spaces that recount the experiences of confronting his own queerness, blackness, southerness, and family. He has two pieces from his Man in Violet Suit Series showing at Codify Art’s booth in SPRING/BREAK Art Show. He sold his first painting, Man in the Violet Suit No 3 (Red), during yesterday's press preview! The Man in the Violet Suit series plays on the assumption of self-portraiture. The collaged elements are painted, claiming the verisimilitude of photography in role but embodying the ambiguity of pictorialization in form; the Man, who may or may not be the artist, explores how distance from perception cannot fully negate the gradation between the viewer and the self.

Building upon queerness and blackness as themes in his work, Jon’s installation Cotton and Magnolia focuses on family and southerness. This series forces the viewer to reflect on the past and present burdens of the Black Family in the South. Harkening on bourgeois home aesthetics, the Cotton and Magnolia wallpaper signifies the historical and transgenerational trauma built within the foundation and walls of our society. With a statue cast from his own hands and a collage film based on images created for his zine WE, Jon builds strong narratives that immerse the viewer in a breadth of perspectives and ideas.

We are so proud to have Jon's work as a part of our show STANDARD STANDARD. Check it out, before it’s too late!

 

STANDARD STANDARD at SPRING/BREAK Art Show 2017

Codify Art is thrilled to present STANDARD STANDARD, a new exhibition of work by QTPOC artists at SPRING/BREAK Art Show to coincide with Armory Arts Week in New York City. The sixth edition of SPRING/BREAK Art Show will take place in the former corporate offices located at 4 Times Square, with our curatorial project in room #24 on the 23rd floor of the building. The show will run March 1–6, 2017, from 11AM to 6PM daily, with a VIP Vernissage on Tuesday, February 28 from 5–9PM. Passes can be purchased at springbreakartshow.com.

"Man in the Violet Suit No. 3 (Red)" by Jon Key

"Man in the Violet Suit No. 3 (Red)" by Jon Key

Between December 2012 and May 2013, Time magazine went from declaring “selfie” one of the Top 10 Buzzwords of the year to lambasting “The Me Me Me Generation” on their front cover. Since then, the battlefield designated by these two poles has been tread flat with skirmishes. Selfie apologists weaponize the language of empowerment and entrepreneurship while detractors raise concerns over inauthenticity and surveillance. What seems to be the crux of both arguments is power: are we are setting the terms for our presentations, or are we simply arming a malicious ether with our likenesses?

The black mirror, or Claude glass, is similarly a tool of power. In its facade, all of nature is distilled and composed for the artist’s gaze. However, consider: who held these mirrors? In the 18th and 19th centuries, who could walk freely through a picturesque landscape? Who had the time and means to decide to paint it? Who was allowed the distance necessary to observe? Now, as we speak of a generation enraptured by our reflections, can we say the glass has passed hands?

As cultural conversations turn to the proliferation of self, the question of whether art should ‘hide the artist’ should not be removed from the question of power. Some artists simply cannot hide. For so long as the black mirror is held by the institution, the marginalized artist remains the subject on view. In the glass, her reflection is diffused—not the sharp specificity of the individual but the simplification of a (skin) tonal range. As Hannah Black writes, “the identity artist has to exemplify a race/gender category, but as soon as she steps into the institution’s embrace, she becomes an example of universality.” What does it mean that entire artistic designations are delineated by the artists’ categorical identities rather than the content, the medium, the form of the works? 

The artist of color (and all its intersections), is familiar with this conflation. There is never an individual; it is always “all of us.” If the artist hides, it is less her decision and more an erasure, a disavowal. For a subject on view, all of choice swings on the fulcrum of identity, and there is no escape from the omnipresent eye.

Martine Gutierrez: “Hands Up”

Interested in the fluidity of relationships and the role of genders within them, Martine Gutierrez offers mannequins in her own stead to explore the diverse narratives of intimacy. Life-size props blur into a discourse about what it means to be ‘genuine,’ where interpretations of dichotomous constructs such as ‘gay’ vs ‘straight,’ or ‘reality’ vs ‘fantasy’ are revealed as subjective and mutable. Acting as a conduit, Martine supplies a framework that facilitates a dialogue requiring the viewer to question their own perceptions of sex, gender, and social groups.

Jarrett Key: “Hair Painting No. 11” and “Hair Painting No. 14” 

Jarrett Key’s Hair Paintings are as personal as they are political, and political because they are personal. Scored with an oral history of Jarrett’s late grandmother, these choreographed performances recount their family’s specific rituals through the use of their black hair—an intensely charged symbol of respectability politics, workplace discrimination, and beauty standards—as the mark-making tool. Though the resulting paintings can exist within a European abstract art historical context, Jarrett’s black body on view carries the weight of their difference, serving to ingratiate or alienate the audience in turn with their history, personhood, pathos, and joy.

Jon Key: “Man in the Violet Suit No. 2(Green)” and “Man in the Violet Suit No. 3 (Red)”

As abstractions of the Queer Black Man, a category whose members already walk society as caricatures, Jon Key's “Man in the Violet Suit” series plays on the assumption of self-portraiture. The subject of the paintings is simultaneously flamboyant and flattened, provocative and subdued. The frame stifles, but the eyes accuse elsewhere. The collaged elements are also painted, claiming the verisimilitude of photography in role but embodying the ambiguity of pictorialization in form; the Man, who may or may not be the artist, explores how distance from perception cannot fully negate the gradation between the viewer and the self. 

Yves-Olivier Mandereau: “Porncelain”

Yves-Olivier Mandereau’s “Porncelain” reappropriates fine china as a means of confrontation between ‘The Christian Home’ and his homosexuality, staged on the most hallowed locus of the family hearth—the dinner table. Yves-Olivier subverts the heirloom, a beacon of traditional values, with gay pornography, a personal utopia in which he had found himself unafraid. “Porncelain” is both cheeky and traumatic, a preemptive strike at ‘The Conversation’ that also raises questions of a legacy for the queer community, which stands as the only classified social grouping without any generational inheritance of material culture.

Emily Oliveira: "Labor-In-Vain"

With “Labor-In-Vain,” Emily Oliveira draws a thread between the domestic labor of women’s crafts, the invisible and outsourced labor of black and brown women textile workers, and the physical labor of women body builders. Their utility interrupted by the assemblage materials, the embroidered pillows reject the notion of the handmade as a relic of the past and instead place themselves in the visceral present of global labor, economic disparity, and food security. “Labor-in-Vain” examines the ways in which feminized labor is marginalized—both when it aligns with the desires of men and market, and when it directly subverts those desires.

The artists in STANDARD STANDARD are not monolith but acknowledge the possibility of being viewed as such. Their work confronts, accepts, or simply exists in their responsibility as it relates to their truths. They fly their own standards, aware to which they will be held.

For more information, please visit springbreakartshow.com or contact kat.jk.lee [at] gmail [dot] com.

Donate to Codify Art Today!

Happy 2017 from all of us at Codify Art! With the new year already in full swing, we ask that you consider making a donation to our organization, to support us in continuing to foreground queer, trans, and women artists of color. There's work to be made and work to be done, and we have a lot of plans for both. Help us make it happen.


Codify Art is aiming to raise $10K this year.


We were busy in 2016: maybe you swung by OUTLET Gallery during our show WORK. Or maybe you shared your time and talent with us at our Open Mic Night. Or maybe we caught up at Codify Connects, our community happy hour for QTPOC creators. The creative labor of QTPOC and WOC has always been an underrecognized but vital act of resistance. This year, we are looking to scale our programming to reach an even larger community when it is most necessary. Our work must continue and grow because of—and in spite of—the state of our State.


We encourage a $20–$50 contribution towards our goal
but appreciate anything you can give.

Click Here to Donate


In the interest of transparency, our planned breakdown of uses for our $10k fundraising goal is as follows:

  • $500—Printed materials for marketing and publicity including business cards and posters
  • $500—Projector and Microphone for upcoming multidisciplinary collaborations aimed at community engagement
  • $1000—To cover remaining balance for production costs from 2016 (printed materials, event supplies, etc.)
  • $1000—Two $500 microgrants for QTPOC artists, to be distributed by application
  • $2000—Venue booking and production costs for 2017 events
  • $5000—Codify Saves: A Rainy Day Fund. For costs associated with opportunities that may come up throughout the year including application fees, venue booking, art supplies and materials.

Best wishes and solidarity to you and yours!

Bau Hau Semi-Annual IV: You Are Here

Bau Haus in collaboration with Codify Art is pleased to present You Are Here, featuring work by Jarrett Key, Jon Key, Kat JK Lee, and Kameron Neal. This exhibition is on view for one night only during the opening reception: Saturday, October 22, 2016, 7-10PM.

Cotton and Magnolia Leaves by Jon Key

Cotton and Magnolia Leaves by Jon Key

YOU ARE HERE

@Bau Haus, 516 Bainbridge St. #1L Brooklyn

October 22, 2016

Found on subway maps to mall directories, the words “You Are Here” serve to situate the inquirer in larger spatial contexts. The subway map or the mall directory, through its confident declaration, lays claim to a specific cross-section of “here,” the viewer’s physical body in relation to the bounds of an illustrated territory. Leaving the subway or the mall does not negate your Being Here; Here is moved, or Here moves with You.

In three immersive and participatory environments, YOU ARE HERE invites viewers to situate themselves anew through the transformation of the most quotidian of spaces: the apartment room. The assemblages herein comprise a study in what it means to be present, to have come through the past to reach this point in time. The artists in this exhibition seek to create common contexts in which conversations can occur, each an intensely personal GPS marker that remains beholden to greater communities within racialized society. When You, informed by DNA sequences and collective storytelling from previous generations, navigate a Here built atop structures erected before before your birth, what map traces those collusions? What do you bring in and what do you leave out? What of those divots, protrusions, scars? To reach back for ancestry and find that extant records remember grandmother’s warmth but begin with the Middle Passage; to embody the Bear-Mother of Korea’s mythical founder in the throes of her transmogrification; to traverse a childhood in the plantation south, an adulthood under the police state, and wonder if your home is yet where YOU are home? Opening the doors into these formative intimacies, traumas, and lived realities, YOU ARE HERE is both trespasser and guest in a directory of intra-, inter-, and transgenerational experience. 

[dot]COM: A Codify Open Mic Night

[dot]COM, or [dot]Codify Open Mic, welcomes members of our community to share their talents at 440 Studios in the East Village! The first half of the night will be scheduled programming featuring dance, music, and poetry, after which we'll open it up to interested performers. 

Get excited for this very excellent lineup, and click through the links for a what-to-expect on May 31 in the room where it happens:

Whitney C. White — Music (Indie)

Odera Igbokwe — Dance

MJ Batson — Music (Indie)

Jeffrey Velez — Music (Jazz)

Jess X. Chen — Spoken Word

Marcus Bedinger — Music

Yaya McKoy — Spoken Word

Paco Salas Pérez — Poetry Reading

When and Where
May 31, 2016, 7-9PM
440 Studios
440 Lafayette Street
New York, NY 10003
$10 Suggested Donation

See you there!
 

Bau Haus Semi-Annual III: SOURCE MATERIALS

Codify Art presents SOURCE MATERIALS, a show of new work by five artists, at Bau Haus, a Brooklyn-based live/work studio, community art space, and Codify partner. This show marks Bau Haus' first anniversary! Come celebrate with us at our opening and afterparty.


SOURCE MATERIALS

@Bau Haus

Artists: Jarrett Key, Jonathan Key, Kat JK Lee, Kameron Neal, Hannah Lutz Winkler
Presented by Codify Art

April 30, 2016

The idea of the artist as solitary genius, working alone in their studio under the frenzy of sublime inspiration, has [mostly] been dethroned by the realities of contemporary practice. Removed from such a pedestal, artists have utilized a wealth of materials beyond those traditionally purposed for art-making—found objects, archival documents, other artworks—to create in a manner reflective of society’s holistic experience of the world. But this development introduces a complication. When the components comprising an artwork bring with them pre-existing utilities, purposes, and histories, does the artwork subsume them? Transcend them? Celebrate or fail them? Where are the edges of a composition? 

Through various mediums and from diverse directions, the five artists featured in SOURCE MATERIALS engage these questions and explore the potential for an ambiguity that enriches, rather than confuses, a finalized piece.

Jarrett Key’s paintings explicitly insert themselves into a specifically black (art) historical dialogue. With references ranging from Glenn Ligon to primary source diagrams of slave ships, Jarrett’s work does not pretend at an end in itself or an existence within a vacuum. Instead, it acts as a conduit, actively engaging in an existing conversation and leaving the door open for continuation.

Collage is an art form with an inherent tension, simultaneously a single piece and many pieces together. Jonathan Key utilizes this form to connect highly personal narratives to the nameless faces in civil rights photography. In this juxtaposition of vivid memory and the forgotten, a contemporary tableau revives that which was relegated to the archives, a second life that extends the half-life of both sides beyond their expected spans.

Drawing from such existing Internet phenomena as K-pop boy bands, fanfiction, and “mukbang” Youtube videos, Kat JK Lee creates their own canon of Korean-American Speculative Fiction in a process that directly confronts the accusations of derivativeness in South Korea’s fledgling sci-fi literary scene. This “creation-by-inference” method parallels Kat’s patchwork navigation of their racial and ethnic identity, where in every state, they find themselves as, at least partially, alien.

Kameron Neal shoots his own footage, but his videos denature completely the expected product of these filmings. Glitchy and often tongue-in-cheek, Kameron’s pieces highlight the frame as the primary unit of measure and splice the original shots in such a way as to antagonize his own material.

In Hannah Lutz Winkler’s paintings, art canvas and recycled fabrics occupy the same space in seeming disregard of their constructed differences. However, the intent is not to “elevate” the found scraps and old T-shirts. Rather, the presence of these fabrics recalls the physical intimacy and attachment humans have to textures/textiles and asks for a second look, a reconsideration, of the painting itself and painting as a form.

SOURCE MATERIALS endeavors to expand the edges of “composition” with work that showcases the histories of its components as much as the final art object; it seeks an engagement that arises from entering a dialogue as a player instead of a judge.