Participating Artists in Intersections: Made Here
Title: Yarn Bombed Trees
It was love at first sight when I saw my first yarn bombed tree in Fremantle, Australia. My love of knitting and trees came together as one! That Australian tree was a visual explosion of colors and it made me smile every time I saw it. Something familiar turned unexpected; the natural world transformed by carefully chosen colors, yarn, and knitting skill. This profound connection to a tree adorned with a knitter’s beautiful wrapping creation is the constant spark that continues to fire my imagination and the desire to build upon that vision and awaken my city to this whimsical beauty.
I see familiar objects and want to transform them in an unfamiliar way. I want to tickle imaginations as people come upon a tree in a colorful, hand-knit outfit. Let them see something new, something that wasn’t there before, pause and reflect and smile!
For this installation, a rainbow theme came to me. I see it as symbolic not only of the upcoming Gay Pride festival, but also connected to Peace and the essential human need to connect and celebrate diversity, inclusiveness, tolerance and acceptance. Art awakens the imagination, the world reborn and transformed through creativity, beauty, and joy.
Instagram: catherp, Twitter: @catherp
Title: Hive Mind
My ambition is to contrive compelling and puzzling images that evoke the sensibilities of 19th century botanical drawing and vintage book illustration, as well as to explore our compulsion to infuse the natural world with our own sentiments and ethics. I utilize a number of narrative devices to achieve my purposes; folklore, mythmaking, puppet and toy theater, etc. I am both a sculptor and a painter and avail myself of a wide range of materials in any dimension and combination required to satisfy my visual compulsions.
Title: Interventions/Intersections in the Landscape
Interventions/Intersections in the Landscape started out as a way for me to re-imagine the surroundings I occupy on a daily basis. By adding layers in the form of photographs manually placed inside the frame or reflections combining indoor and outdoor settings, a newly created landscape became apparent. The Interventions were color photographic prints I repositioned back into the landscape that they came from. Both sets of images were created in a period of two weeks, heightening and exaggerating the ever-changing nature of the world around us. The Intersections used reflections to show the fine line between inside and out. By combining the private interior domestic with the visible public sphere, we begin to see how those two worlds coexist.
Christopher Selleck has been making photographs for over 20 years. His work has almost always included an interest in people and how they intersect and interact with their surroundings. Using sports and masculinity as a lens to view identity, his various projects of the last few years have focused on this area.
Working with film, instant and digital processes his work has always had a strong affinity for portraits and self-portraits. He received his BFA in Photography from the University of MN Twin Cities, and his work has been published and exhibited both regionally and nationally. He is currently in his 1st year of the MFA Program at the Minneapolis College of Art & Design. His current projects include MMA Fighters, Beards and Ballet Dancers.
I am interested in states of limbo – buildings and houses, tracts of land, cars, objects, intersections, and even people that have been in stasis for years or decades but that may be on the verge of sudden and irreversible change. My photographs seem most successful when subtle signs of impending change find their way into the work. I also try to capture the human desire for stasis, or more accurately the desire for stability, which is often at odds with the equally human desire for change.
Title: Ciudad Maravillosa
I love cities. The complexity and vibrant life of the urban environment has always attracted my photographic eye. Over many years, part of this vision has been focused on graffiti and street art. This worldwide social, cultural and political phenomenon has made the city a canvas for ideas and creative action. I photograph that which draws my attention and speaks to me. Walking down streets and through alleyways I am alert to this visual voice, these ephemeral fragments of personal expression made public - be it provocative, disturbing, or beautiful. I take the picture when I feel a sense of discovery, appreciation, and connection.
Title: Joy of Seeing: The Beatific and Banal
The “Beatific and Banal” celebrates seeing; what I call “Joy of Seeing,” exemplified by my works displayed in the Made Here MN INTERSEC+IONS exhibit. This tact prods one’s eyes to look closer. In re-examining incidental elements that surround us, a lot of intriguing visions crop up. A basic tenet of my focus is simply there’s so much to see, and when we embrace looking, the commonplace begins to dance. Forces of nature and the trails of human activities innately weave a rich tapestry. The industrial, the celebrated, the organic and a massive unheralded milieu undeniably intermingle in our world. I employ happenstance and those things methodical recombined; at times butting heads – and at other times aching with a beauty of compliance and mutuality. I simply extract these elements, affect them occasionally, and then reconstruct to amplify an unspoken, visual language. As much as I’m using words in this statement to support my work, and it’s important for critique’s sake, what I’m striving to tap is a wordless place where the eye feeds the mind and nurtures the soul: a symbiosis as broad and as varied as life itself. Art should not be difficult or foreign, it’s underfoot and smack dab in front of our noses! This is my aesthetic – once you enter the previously held mundane with such precepts, everything takes assembly without a caste system. I’m not opposed to what is commonly held as, let’s say “pretty” or pleasing, whatever that is, but the hierarchy of such deserves a rewrite. I prefer to compel rather than mollify the viewer.
Title: Digital Dreams of Where You Are
In my artwork I layer photographs of our world and compose them into images of new places and realities. I draw a lot of my inspiration from cyberpunk novels where characters often find themselves existing in a digital reality that is based on places in our world, but contains layers of other times, location, and information. A place that could only exist digitally. My hope is that these images make people think more about how the world is constantly connected through each other, through our history, and through digital technology.
Title: Seed of the Soul
Glass and textile art are two intensely different mediums; glass being a defined solid form, while textiles are a movable texture, with the ability to be manipulated easily, draped, and woven into thick or thin creations. Along with the materials, the piece alone is a nod to the theme of intersections. Pinecones are, in a way, the epitome of natural beginnings; they are the seeds of forests. Forests are few and far between the limits of a city. By bringing a natural form into a city space, we are intersecting environments.
Title: PRIDE Art Show Best of Show
Twin Cities Pride is a 501(c)(3) nonprofit Minnesota corporation that brings the greater GLBT community together to commemorate our diverse heritage, foster inclusion, educate and create awareness of issues, and celebrate achievements in equality. We create events that are open and inviting to everyone in the community, providing a safe environment in which individuals feel free to celebrate their relationships.
Title: Talking Suitcases*: Journeys Towards Home
1) Marie Simcox: Escaping Belgium before the Nazis invaded; a new land, a new language…leaving childhood behind.
2) Susan Armington: Marrying Yuichi Kubota, and joining two strands of families that 40 years before had been at war.
3) Teja Willis: What feels like home – relaxing outdoors with books; the people she is closest to nearby.
4) Niko Kubota: Finding home in Japan, age 5: Learning to speak & read Japanese, collect insects, grab snakes, love Pokemon.
5) Nhia Vang: Childhood hours spent playing in her bathroom under her grandmother’s care… Home now: a house she dreamed of & just bought!
6) 3 Artists in a Minneapolis shelter from domestic violence (Asian Women United’s House of Peace): a) A memory of home with her 3 children, drinking cocoa, watching a movie together, sleeping in their sleeping bags. b) A favorite childhood memory – fishing in her home village. c) A memory of home - sitting on the hillside with her dog & the sun setting around her. d) A vision for her future – going to school and learning English.
7) Susan Armington’s art -Anne Maguire’s story of home on the Lac qui Parle River in Dawson – sitting on a rock at age 7, dreaming of being out on the river, rowing.
*Talking Suitcases ™ is an art & story project directed by Susan Armington.
Title: Gravity of Stars
Merging painting with sculpture, Minneapolis-based artist Megan Patry assembled wooden panels to create an installation that intersects its surroundings. Each star emits light outward and each square crisscrosses on the ascent activating negative and positive space. Although gravity pulls this work to the earth, the stars reach upward back to their natural resting place. This series of highly texturized star paintings began in 2013. Using a limited color palette and metallic paint, the stars came to life radiating light through piercing diagonals. The stars are symbolic of finding direction and hope in the divine. Currently Megan is the Creative Arts Director with the Twin Cities House of Prayer and a freelance artist.
Title: Acorn, Adder Ash
Acorn Adder Ash considers our lived experience of nature within the words that we have to describe that experience. There is a power in words, a raw knowing of human experience. Of course, the cycles of nature continue without labeling by humans; a robin does not need to know its taxonomy in order to carry out its evolutionary imperatives. However, when we are given words to describe the world around us, we are granted access to the ability to notice, pay attention, and wonder.
beech bluebell buttercup
The world around us is literally defined by the vocabulary we have at our disposal. “Smeuse is an English dialect noun for “the gap in the base of a hedge made by the regular passage of a small animal”; now I know the word smeuse, I notice these signs of creaturely commute more often,” writes author Richard McFarland for The Guardian (1).
catkin conker cowslip cygnet
The lush, dense forest in the papercut before you contains magic: it is the secret knowledge of words. Visible amongst the detritus on the forest floor, between the trunks of the trees, and throughout this narrative are the beings which the Oxford English Dictionary recently removed from their Junior edition.
dandelion fern hazel
These words were replaced with entries like blog, chatroom, and celebrity.
heather heron ivy
We are in an era of nature-deficit disorder. What happens when children are removed from unstructured play
kingfisher lark mistletoe nectar
I hope, through my showcase, to provide a small sense of the wonder and imagination inherent in the natural world as seen through a child’s eyes, and to celebrate children’s innate ability to connect to nature if given half the chance. Children’s identity with and love for nature is vital for the health and wellbeing not only of children, but of the earth itself.
newt otter pasture and willow.
I embrace the force of a connection with nature through rewilding our language, weaving deeper the web of
interconnection between human and environment.
Title: Exploring Transcendent Territories
In 2012 I took a digital camera and created paintings that looked at the landscape between the Minneapolis Impound Lot and where the Bike Path intersects with Interstate 394. I explored the Harrison Neighborhood, looking for more visual language to use in my work. Exploring Transcendent Territories, is a project that takes another look at the same space through the eyes of myself and the youth that live in the Harrison Neighborhood of North Minneapolis.
My intention is to begin to show both the youth in my area as well as our audience the history of painting and photography by way of Abstraction and within the context of the urban landscape of North Minneapolis with the main focus on the Harrison Neighborhood where I live and serve my community.
Title: Jay Walking
City intersections are a unique part of our society. Millions of people a day interact in multiple ways, whether that is in the car or at the corner waiting to cross. There are signs that tell us when to go and when to stop. Some of us cross the street when we are told so by green lights, some of us choose to cross at the red light. Some of us create our own intersections and cross half way in the block. Those who cross at the red light and in the middle of the block take on the risk of coming into contact with crossing danger. The decisions we make at these intersections can have profound effects in our lives. We could meet a new friend by helping someone cross the street or by saying hello. We could come into contact with danger crossing to early or at the wrong spot, or we could get to our destination sooner. The worst thing that could happen at these intersections would be not to make a decision at all and get lost in rush hour. This is similar to the metaphorical intersections that we encounter at different periods in our lives and if we do not make a decision then we fade away into the crowd. Or we could stand out by crossing when we want to or turning what would be just another passerby into a meaningful relationship.
I’m interested in examining and exploring existing nodes of systems around us. I use photography, interviews, drawings, projections and real time activity for my research and to study locations, systems and get inspired by their human history. Through large installations, digital drawings and placemaking experiments I strive to connect community and place. I believe in assisting community organizations utilize these instruments to creatively claim and transform public spaces. As a transplant from India, I struggle to make home and often notice similar struggles among different demographics of Twin Cities. It drove me to create public art projects like Devices for Aerial Investigations (2012), Forward/50 (2013 onwards) and Take The Field (2014 onwards)where passersby can come together to make, relate and participate, and create loops of the process overtime at multiple occasions.
Meena Mangalvedhekar is a visual artist, projectionista and photographer. She received GD-Art from Abhinav Kala Mahavidyalaya and BFA from University of Minnesota, and has participated in over 15 group shows and public art projects in United States and India. She is currently residing in Minneapolis, MN. Her works appear as fusion of tangibles and intangibles in which meanings shift, past and present merge. Time, place and memory always play a key role. By creating situations and breaking the passivity of the spectator, she wants the viewer to become part of the art as a kind of added component. By applying a poetic and often metaphorical language, she tries to approach a wide scale of subjects in a multi-layered way. Her works are being considered as aesthetically resilient, thematically interrelated material for memory and projection.
Incorporated in August 1992, Asian Media Access, Inc. (AMA) is a comprehensive, multimedia based, community advocacy agency. AMA recognizes that multimedia and technology are essential for advocacy, communication and education, in order to mobilize communities, and young people; to engage in understanding and communicating of Pan Asian issues; and to arrive at a participatory decision making process for a safe, supportive environment for all. By unleashing the creativity of youth through multimedia arts and channeling their risky behaviors and vulnerability into leadership potential, Asian Media Access creates community-based responses to improve cross-cultural & cross-generational understanding, challenges stereotypical beliefs, and builds a society that values arts to inspire young people’s healthy transition into adulthood, and improve the world around them.
Title: No Loitering!
No Loitering! is an intersection between human and bird; earthly and mythological worlds, daydreams and nightmares. The absurd spikes on the bench, which render it useless, recall not only bird deterrents but also current anti-homeless efforts - from actual spikes on public grounds, to iron obstacles on benches which prevent stretching out, and concrete barriers in underpasses. Instead of surrendering to the corners of our consciousness, to the physical edges of our city, the illuminated figure boldly sleeps above the spikes, demanding an intersection with us.
For the Made Here INTERSEC+IONS Youth Edition, artist Rebecca Bullen worked with Perpich Arts High students Satya Varghese Mac, Jackson Dungan, Max Hart, Astraëa Smart and Ashley Brewer to explore identity and relational connections. Through the utilization of video projection, layering and still and moving images, their window display explores the personal connection to identity as well as the cross section that occurs through the choices we make in intersecting. The piece explores how we know what we know about others and ourselves, how we connect, and how we share the elements of ourselves without losing the essence of who we are.
Roseville Firebears Robotics
The FireBears, team 2846, is the Roseville Area High School’s official FIRST robotics team. Our team has a history of building robots that are both functional and beautiful. We won the 2014 imagery award for our robot’s aesthetic appeal at one of the regionals we participated in last year, on the U of M’s Twin Cities campus. We chose this display to show the intersec+ions of where STEM meets creativity. Our team is made up of about 30 teens and about 10 adult mentors. We build our robot from the ground up. In January of every year we get the new assignment for that year’s robot, which is basically the new rules of the game and what functions and tasks our new robot needs to accomplish. As a team we work together to build a robot that meets the required specifications. Although we need to follow specific guidelines, there is a lot of room for creativity. We decide the design and functions we want to focus on. There are many sub-teams, marketing, CAD, computer programming, mechanical, electrical… Each subteam can put a creative spin on whatever they are designing/building to make a beautiful and functional robot. Our display shows our actual competition robots at a crossroads along with information about FIRST Robotics and how our team intersects creativity with STEM (Science, Technology, Engineering, and Math). Enjoy!
Teresa Hichens-Olson is a current Bush Fellow in Arts Integration for the state of Minnesota. She is passionate about creating art experiences for children of all ages. Teresa was recently featured in Americans for the Arts for her work with children living in poverty in Minneapolis. She is a writer, photographer and sculptor but no matter what the medium, she is an artist teacher who cares deeply about giving the next generation of artists opportunity & voice. She will be working with High School Students from Great River School in St. Paul, Minnesota around the theme “intersections.” Great River School is an urban Montessori learning environment, which prepares students for their unique role as responsible & engaged citizens of the world. Great River is also the backyard to one of the largest train hubs in the nation. Students will create photo transfers on reused wood panels and investigate the points in which the school, neighborhood, and transportation intersect.
Alan Palazzolo is an interactive developer based in Minneapolis-St. Paul, focused on open source software, data visualization, and mapping. He currently works for WNYC and is active in the civic technology community. He is collaborating with artists and designers from Juxtaposition Arts, including apprentices from the JXTALabs: young people ages 14-21 who work on projects in environmental design and urban planning, graphic design, screenprinting, and contemporary art.
Juxtaposition Arts (JXTA) started in 1995 as a summer enrichment workshop in public housing, before expanding into a year-round afterschool program. Today, JXTA anchors a commercial corridor in North Minneapolis, where we are advancing a long-range vision to activate the creative genius of an abundant population of youth—our neighborhoods’ greatest and most underutilized asset. Our mission is to develop community by engaging and employing young urban artists and designers in hands-on education initiatives that create pathways to self-sufficiency while actualizing creative power. We are the only youth-focused visual art and design organization in North Minneapolis, and the only organization providing year round employment for youth in multi-disciplinary art and design enterprises in the Twin Cities.
Young artists and designers from Juxtaposition Arts and programmer Alan Palazzolo have collaborated to create a storefront window installation that visualizes real time bus arrival information in creative ways that push beyond simple lists of routes and times. Participating artists from Juxtaposition include Adrienne, Akhil, Alaija, Canaan, Dara, Jahliah, Kristen and Tenzin.
Title: Street and Sky
There are many people, including myself , who for years have been uncomfortable using the Minneapolis skyway, finding them disorienting and difficult to navigate. Many prefer the street, and often lookup and see the people from all different walks of life marching through during the busy work week. The figure in the loop that walks through the skyway is actually a motion study of several types of persons combined into one morphing continuously walking human silhouette. The film is continuously morphing and changing, and the loop is multiplied and permutated for 6 hours, never repeating itself, each moment a completely new combination of color, shape, form and visual noise (the movie is silent, no sound required).
Title: Brick by Brick
I originally began printing faces on bricks when I was working a documentary project about life in former Yugoslavia in the 1990s. I wanted my photos to embody the dislocation and dark humor of post-war life, but they seemed pretty lifeless when compared to what was happening around me. I started to experiment with a silver-based photographic emulsion that can be painted on a variety of materials, and bricks--which were common at the time in Croatia and Bosnia, as rubble--was a material that carried some weight. I began making close-ups of Yugoslav friends and colleagues, printed them on bricks, and worked the faces into walls or stacked them on piles of rubble. This work became the centerpiece of a series of "documentary installations" that used found objects and domestic artifacts, as well as images and video, to speak about life along the cease-fire line.
Since that time I've began to recognize the metaphorical richness of brick, and its associations with life (we all come from clay) and the very beginnings of civilization in the Mideast. A single brick doesn't amount to much, but ten thousand form a wall or a foundation. In a similar fashion, human beings find their ultimate expression in family, community, and culture. When confronted with faces on bricks, people seem to intuitively get these associations, along with the idea that human identity is a work-in-progress, always under construction.
In this installation I've used a combination of Yugoslav faces along with more recent work culled from a series of commissioned family portraits. This is a relatively new approach for me. Perhaps the work loses an edge without a thematic focus; the trade-off is, hopefully, something more contemplative and universal.
Title: Alien Cow Abduction
This lighthearted, fun filled installation comes from my fascination with light, color, flow of energy in life and the mysteries of the universe. The power light and color have to influence our well-being, along with a rich history of imagination that form our cultural images of the unknown come together in this playful window display to lighten and brighten up your day. Wishing you all much laughter, happiness, friendship and joy!
Mary Jane Mansfield is a Minneapolis based artist working in sculpture, installation, performance and public art. Her work incorporates environments that facilitate social interaction and personal contemplation. Ms. Mansfield has been a practicing artist for the past 35 years. Currently she is completing her BFA at the University of Minnesota with support from the Brown-MacKenzie and Carol E Macpherson Scholarship funds. In 2011 she received an Artist Initiative grant from the Minnesota State Art Board and was a 2010 recipient of an NEA fellowship at Franconia Sculpture Park.
Title: The Multiples
The Multiples explores individuality, family, and community; ultimately expressing the complexity of how we build ourselves, how we create new configurations of family, and how both intersect within our larger community. The lines break apart into images of individuals who overlap. The shapes created by these intersections are filled with colors that represent the landscapes of imagination, emotions, and the world that we live in. The Multiples is a project which works to analyze our characteristics, and recognizes how a person builds self-definition in relation to those around us. We are intertwined. Each painting represents a family. Or a portion of what one might consider family. The hands that enter the composition symbolize the help we receive everyday from strangers, whether we realize it or not. In Multiples, the shapes created by the space between us are full of color; they are solid. Even as such, the space between us has meaning. Lines that seem to divide us actually make up the communities we walk in.
Title: The Crowd Slowly Lists with their Eyes in the Air
Erik Pearson is a Made Here alumni from Fall 2013 and our Brilliance! winter activation 2014/2015. For Intersections: Made Here Erik is our first artist in residence and will spend the summer in a vacant commercial space in City center building on his Brilliance! display which featured a large scale tightrope walker from his "Roughnecks and Roustabouts" circus character series. Erik intends to build three more characters on site, inviting the public to observe as the creative process unfolds.
Erik was born and raised in Superior, Wisconsin, by the shore of Lake Superior. He received a Bachelor of Fine Arts degree, with emphasis in painting, from the University of Wisconsin-Superior. In 2001, he was awarded the first Artist in Residence of Cornucopia Art Center in Lanesboro, MN. This experience has inspired him to quit his job and pursue art full-time.
Erik regularly shows his paintings through galleries and private shows in the Midwest and the Pacific Northwest. He has also completed nine public murals, working with city officials, community groups, and business owners. The largest mural was a 2,500 square foot outdoor painting for the Bloomington Center for the Arts in Bloomington, Minnesota, in 2007. During the fall of 2010, Erik worked with Superior Business Improvement District and local business owners to complete three outdoor murals as part of the local arts development program. In the summer of 2011, he created a 30’ x 35’ mural in downtown Indianapolis as part of their city wide mural project in preparation of hosting the Super Bowl.
Erik’s work can be found in private collections nationally and internationally.
Title: Home Street Home Minneapolis
St. Stephen’s Human Services’ mission is to end homelessness. The zAmya Theater project serves that mission using community-based theater to create awareness and understanding between people who are housed and people who are homeless. The idea for our window display is inspired by the poster for our recent production “Home Street Home Minneapolis” which tells stories of people - homeless and housed - who live, work, play and pray downtown. While some have no permanent residence, all are residents of downtown and therefore neighbors. With the display and the production that inspired it, we aim to shift the perspective about homelessness downtown from nuisance to neighbor. The intersection of Home Street and Home Street is featured on the poster as a metaphor for the intersection of homeless and housed. It also charts the path for many who experience homelessness: going from street to shelter to home to shelter to street to home.
Home Street Home Minneapolis was created with the Downtown 2025 Committee to End Street Homelessness. Downtown 2025 is a plan created to increase live-ability in Downtown Minneapolis including doubling the number of residential units downtown. A positive turn in the economy is bringing 11,000 new apartments in Minneapolis development since the recession ended. 10,000 of those units will rent for $800 a month or more. At the same time, 50% of Americans have incomes of $35,000 a year or less, meaning, at most, they can afford $750 per month in rent. We advocate for affordable housing downtown.
zAmya Theater Project was founded in 2004 by Lecia Grossman, a life coach who wanted a deeper understanding of homelessness and to be part of community solutions. With support from theater professionals and homeless advocates, she devised a process for bringing homeless and housed together to create theater, learn from one another and share with the broader community. After operating independently for 5 years, zAmya merged with St. Stephen’s Human Services.
zAmya is a Sanskrit word that means, “aiming at peace”. zAmya supports St. Stephens’ mission to end homelessness by increasing awareness, understanding and advocacy through community-based theater. The vision for zAmya Theater Project is to be a primary source for homeless education and dialog and a leading edge method for instilling creativity and self-efficacy in organizations, communities and the homeless population.
zAmya is run by Maren Ward (of Bedlam Theatre) with a troupe of actors, most of whom have experienced homelessness and who are engaged in the creation of the work and the direction of the company. Our Made Here window display is conceived and created by Ward and the troupe under the visual design direction of Caroline Mannheimer, zAmya Troupe Member. Caroline is a visual artist, musician, writer and performer who studied at The School of Visual Arts in Manhattan and has a BA in Anthropology from The New School for Social Research in NYC. She has a background in window displays and was on an artist team that won “1991 Best Window in Philadelphia”.
Title: You are Here
This installation has its focus on the urban environment, shining a light on a mundane and urban landscape, buildings, power lines, fences, and trees that all serve as a roosts for large numbers of crows. Although humans have focused on making cities and developing the natural landscape, crows can adapt to almost any situation knowing how to navigate new landscapes, survive and thrive. American Crows congregate in large numbers in winter to sleep in communal roosts. These roosts can be of a few hundred up to two million crows. Some roosts have been forming in the same general area for well over 100 years. This work is the intersection of mediums and 2D and 3D work and the intersection of the things that make up our city, things constructed from wood, concrete and metal, meet the trees and birds that will continue to hold space in cities.
Title: Defining Spaces
My work is the intersection of various disparate elements and processes: bending and welding steel, traditional fiber handwork, functional hardware, wirework and beading. Building lacy organic forms with a gridded surface, I transform handfuls of washers and beads into uplifting sculptures through vivid color and textile technique.
Title: Visible Bodies: Transgender Narratives
We believe it is important to subvert the common narrative told about trans* people through mainstream media and popular culture. Visible Bodies is about trans* voices telling trans* stories. Oftentimes, the common narrative contains images and stories that are over simplified and stereotyped. Our goal is to show the diversity, complexity, and beauty of our community. This project is empowerment. We are making space for people to hear trans* voices and see trans* bodies.
*we use the umbrella term trans to include all people who identify outside the cisgender experience.
What We Do
Visible Bodiesis a trans* community art initiative. Every participant in our project has had a photo or video taken in a way that represents their gender or transition -- whatever that means to them. In addition, each participant has written a short personal piece as a caption to their photograph or video. Our goal is to provide a platform for trans* people of all different walks of life to tell their stories. We seek to empower our own community, and educate people outside of our community.
Who We Are
Visible Bodies: Twin Cities is made up of Queer volunteer organizers in Minneapolis/St Paul. Some of the organizers involved are:
• Adja Gildersleve (videographer) - an empowered brown&queer activist/videographer shooting for Justice.
• Ethan Turcotte (graphic designer) - an East Coast transplant doing volunqueer work for reproductive justice and queer/trans liberation with a constant side eye to white privilege and systemic oppression.
• Garrett Drew (organizer/administration) - a trans and queer academic, organizer, and rabble-rouser.
• Jie Wronski-Riley (lead photographer) - a student, photographer, and community organizer.
• Rebecca Lawrence (photographer/lighting/administration)- a queer professional photographer and community organizer.
Title: Hope and Dreams: The Minneapolis MOSAIC Commission
These portraits, created for the Minneapolis MOSAIC Commission, and entitled Hopes and Dreams, were done in and around the Midtown Global Market in south Minneapolis. In its microcosm of diversity they show, in part, that of the city as a whole. Participants were asked to write and draw their literal and figurative hopes and dreams while thinking of the changes from Martin Luther King to Barack Obama. They were then photographed using a camera from each era: a digital SLR made its exposures off the scratched and pitted focusing glass of a 4x5 press camera. Layered with the writings and drawings of participants and other sourced materials, the portraits are a personal and geo-political meditation on individuality, diversity and the forces between them.
Title: Aunque la mona se Vista de seda, Monsa se queda (How does it fit?)
I am a young emerging visual artist. I studied Industrial Design with a minor in Mexican Folk Art. I was born in San Diego California, and as a child I lived in the border city of Tijuana before establishing in Mexico City. I feel living in the contrast of cultures gave me a joint perspective of customs and traditions. My recent work speaks of identity, fragmentation and the way it can lead to unity. I incorporate elements of crafts and popular arts into my own work. Papier-mâché flowers, thread, alebrijes, lacquer designs and photography merge into a more contemporary art esthetic.
I believe I am working in the intersection of art, design and communication. I feel a need to create awareness and consciousness of the information we obtain, but even more so, to the way we interpret and store it. I envision continuing to analyze my own idiosyncrasy, traditions and cultural baggage, while addressing questions like, “How do interpretations and misinterpretations affect our learning? How do we adapt to new ideas as we grow up? How do we conserve and respect our past learnings as we encounter new “truths”?”
AUNQUE LA MONA SE VISTA DE SEDA MONA SE QUEDA*
(How does it fit?) This work talks about identity, nationalism, ̈mexicanidad”. It is an ongoing investigation that jumps back and forth on the idea that visual references are only superficial. Are they really? How deep do they sink into us? Are they uniquely ours or shared and passed along for us to do the same? In order to know who we are now and what we want to become, we have to dig deep into our memories, our idiosyncrasy, and paradigms so that we are able to reach our primitive untouched souls.
*Even if the monkey dresses in silk monkey it will stay
Title: Here and There
“From mysticism and mythology to rank in zoological nomenclature, the term ‘kingdom’ conjures many dimensions. The “500 Kings in 500 Kingdoms Manifesto”, of which theses paintings are a part, intends to bolster a global identity of solidarity that transcends nationalism, classism, racism, orthodoxy and sexual nature. It’s meant to illustrate that “the whole is greater than the sum of its parts” and that cooperation and collaboration is essential to our evolution”.
Title: Meet me at the Intersection
My paintings examine unfamiliar spaces and the emotive power of the interplay of forms. I work with the combination of color and form as a visual, abstract documentation of life. Layers of Venetian plaster, raw pigment, and wax troweled onto wood panels build up to create uncanny spaces. I paint to find unexpected beauty in the relationships between rich textures and primitive marks.
I am interested in the way multiple perspectives live, move and shift within the same moment. My paintings explore varied and dispersed points of view simultaneously. Through the interplay of the rich texture of plaster, a limited color palette, and geometrical forms, I create spaces which invite multivarious subjects and subjectivities to interact. The spaces are different snapshots of a day, a minute’s drive on the interstate, a set of lines in the sky.
Title: Our Chorus of Healthy Voices
The project I am showing represents my life in Minneapolis. Each language represents someone I have as a friend or acquaintance. All aspects of the project colors and topic were chosen from discussion and interview. Languages are added when I make a new friend. By inviting people to participate in my process, we connect while building our dreams and our community spirit. The esthetics of my art is not based on seeking perfection, but rather, on providing evidence of the creative process. We are here today and my art attempts to document our presence. We’ve chosen the word health to lead us forward.
Title: Crystalline Pathways
I paint with watercolor on paper, building dense organic structures from meticulous lines and delicate washes. Thematically, I mine memories for places of desire and belonging. Across small sequential pieces and largescaled, multi-paneled paintings, color and form develop intuitively, responding to the surface and medium. Amalgamated shapes move forward and away, twisting and expanding into a pulsating mass. Like memory, my imagery is reconstructed, obliterated, repeated, and layered, appearing in moments surrounded by empty space.
For me, beauty is bound up with the process of making, time and accumulation. I am interested in the immediate intimacy of watercolor, and in the reflection of the hand in the work. The play between micro and macro, memory and place, the fragile line and the crowded physicality of the overall piece, drives the work.
IDS Center Parklot
The IDS Center PARKLOT will provide bench seating, high top standing tables, and a trellis area shaded by greenery. A “little library” will also be incorporated into the design where people can trade books during the summer. The overall vision is to expand social space, activate the imagination, engage the public, and inspire new outlooks. The IDS Center PARKLOT is designed and constructed by Students for Design Activism from the University of Minnesota.
The PARKLOT is a collaborative project involving businesses, educational organizations and other downtown stakeholders. The PARKLOT project is presented by Bank of America.
Peavey Plaza Parklot
Peavey Plaza •The goal of the Peavey Plaza PARKLOT is to create awareness of the iconic park and draw people in to take advantage of what the space has to offer. The unique and iconic architecture allows for many areas of activities such as sports, board games, dance lessons, live music, etc. Vibrant vinyl decals will outline the space and encourage the public to explore and enjoy. The idea is to enhance what is already available. The Peavey Plaza PARKLOT is designed by Stephen Klimek and Peter Randolph.
Mortenson Fence Wrap
Mortenson Fence Wrap features creative graphic design by Bishop/Iverson and Brian Matthew Hart surrounding a new hotel development project at 4th Street and Hennepin.
Made Here, a project of Hennepin Theatre Trust, is a walkable urban art experience that connects people to local art and artists in the West Downtown Minneapolis Cultural District.