WITH GREAT freedom COMES . great RESPONSIBILITY
WITH GREAT freedom COMES . great POWER
WITH GREAT freedom COMES . great ADVANTAGE
WITH GREAT freedom COMES . great CONFUSION
WITH GREAT freedom COMES . great QUALMS
WITH GREAT freedom COMES . great DUTY
WITH GREAT freedom COMES . great EMOTION
WITH GREAT freedom COMES . great INSIGHT
WITH GREAT freedom COMES . great FEAR
WITH GREAT freedom COMES . great REVELATION
WITH GREAT freedom COMES . great UNITY
WITH GREAT freedom COMES . great AWARENESS
CONGRATULATIONS TO OUR 2018 ARTIST RESIDENTS
Girl and Mirror
35mm film scan
Emily Rogers I seek to make my art somewhere between an anthropological study and a confessional diary, constructing an image-maker character who is adrift in a surreal sea of landscapes, building and silhouettes. She exists seemingly without tether in a consumerist mecca that feels at once banally familiar and at the same time dreamlike and otherworldly. She takes snapshots of moments that appear abundantly inconsequential and simultaneously melodramatic, romantic, and even mythological. By isolating banal moments and objects in strangely intimate snapshots, I elevate the personal, private and mundane into something momentous and strange. Utilizing my aesthetic fascination with the banal, I hope to re-conceptualize classical depictions and create images that force viewers to interrogate biblical icons of femininity, and how these icons still exist in the modern world.
tree$ no. 4
pen on receipt paper
20" x 16"
Emmaline Payette Emmaline’s installations and projects question issues of ecology in the Anthropocene. Her work invites humans to immerse themselves in ecological thinking. During my residency at Mary Sky, I will work on projects that explores pharmaceuticals, medicinal plants, fertility, and consumer culture. I am recently diagnosed with Polycystic Ovarian Syndrome, am now prescribed “the pill” for treatment. I am collecting my monthly birth control packaging and will a plant seed in the blue plastic pouches every morning when I take my medication. I will use seeds of native pollinator plants that can live at Mary Sky beyond my stay for a “plant parenthood” installation. The other project I am eager to revisit while in Vermont are my “tree$” drawings. I am collecting receipts to use for creating large sheets of paper, approximately 60”x30”. On each sheet of fabricate paper I will create a pen and ink portrait of a local tree. Hormone manipulation is present in both projects: while “plant parenthood” directly deals with hormones, “tree$” uses toxic receipt paper the contains BPA, an estrogen-mimic chemical.
Polyurethane foam, nylon grass, AstroTurf, Formica, NuPlay Caribbean Blue rubber mulch, marker, flagging tape
6” x 18” x 18”
Collin Richard My artistic practice, through sculpture, installation, and performance, focuses on reshaping our relationship to “nature” by opening up ecological discourse to include human interactions and structures, ultimately pointing towards an understanding that every phenomena is inherently ecological. Through this body of work I hope to explore the ways in which “nature” can be seen as an object that includes human interactions and constructions. This body of work examines the ways in which language acts as the main point of connection between humans and the environment, as well as the ways in which language has historically functioned as the foundation of the social classification system which serves to qualify what we label as “natural” and what we label as “unnatural”. Materials that mimic the semiotics of nature have the opportunity to be viewed as less natural than those which at first glance appear to be the quintessence of synthetic chemical- based production methods; Formica with names such as “midnight stone” and “fantasy marble”, although they appear to be more visually similar to nature, are exposed as static linguistic- biophilic romantic yearnings towards a “nature” which they alienate through their very striving towards the natural. This body of work hopes to posit that through a broadening of our understanding of the narrow lines we have drawn around what we qualify as natural we can move past a dualistic way of viewing the environment to enter a phase of discourse in which we can more logically and holistically understand the current state of environmental affairs, while simultaneously accepting and learning from some of the darker implications of our troubled relationship with the world around us.
More About the Pull of Nothingness than Sex, Really
3D printed plastic, CNC routed foam, gypsum, epoxy, wood, paint
56” x 21” x 6”
Gracelee Lawrence My work is a series of translations and transmutations between the digital and the physical where fragmented bodies, foods, and vessels are juxtaposed in high-relief sculptures, fountains, drawings, and videos. Fruits and bodies, and in particular female bodies, are contra to the hard geometries of the digital. The translation of rounded, organic forms into a series of lines and triangles seems to push against the perceived surface logic of the biological by simplifying it into mathematical terms. This simplification need not be perceived as negative or contrary; instead, it is another way to understand a butt cheek, a hip crease, the cleft of a peach, or the nipple of a tangelo. The 3D scanning and printing of bodies and organic forms is another way that we can attempt know and archive our physical presence in digital space.
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Mary Sky's 2018 Season Catalogue & Artist Chapbook