issue 35 |A U G U S T|

 

a u g u s t c u r a t o r \\

 
Marina G. Guerreiro (A Guarda, 1992) is a multisciplinary artist based in Valencia, Spain. Working mostly through sculpture, installation and video, she plays with the iconography of happiness, paying special attention to phenomena such as positive thinking and stress management therapies. Through an appropriatonist artistic practice, she experiments with the aesthetic of the new contemporary trends linked to personal development (coaching, mindfulness, yoga), often with orientalist influences and generally submissive to the productivity improvement.  IG @marinaglezguerreiro

Marina G. Guerreiro (A Guarda, 1992) is a multisciplinary artist based in Valencia, Spain. Working mostly through sculpture, installation and video, she plays with the iconography of happiness, paying special attention to phenomena such as positive thinking and stress management therapies. Through an appropriatonist artistic practice, she experiments with the aesthetic of the new contemporary trends linked to personal development (coaching, mindfulness, yoga), often with orientalist influences and generally submissive to the productivity improvement.

IG @marinaglezguerreiro

Catalina Tuca  is a Visual Artist, educator and independent curator, born and raised in Santiago, Chile.   After earning a BFA and a degree in Art Education, she developed her career in Santiago, showing her work in solo and group exhibitions since 2004. She worked on several non–profit education projects teaching Visual Arts in middle and high school, and Latin American Film in higher education. In 2012 and 2014 she co-founded and co-directed Oficina Barroca Gallery and CANCHA_Santiago Residency Program in Santiago, Chile. Seeking to amplify her perspective as well as network of collaborators and audience, Tuca participated in several art residencies abroad in Japan, Colombia, and the United States.   Following these experiences, she decided to pursue an MFA at Rutgers University from where she recently graduated. She is currently a resident at NARS Foundation. Lives and works in Brooklyn, NY.   www.thisthingisred.com   IG @solobjectos

Catalina Tuca is a Visual Artist, educator and independent curator, born and raised in Santiago, Chile.


After earning a BFA and a degree in Art Education, she developed her career in Santiago, showing her work in solo and group exhibitions since 2004. She worked on several non–profit education projects teaching Visual Arts in middle and high school, and Latin American Film in higher education. In 2012 and 2014 she co-founded and co-directed Oficina Barroca Gallery and CANCHA_Santiago Residency Program in Santiago, Chile. Seeking to amplify her perspective as well as network of collaborators and audience, Tuca participated in several art residencies abroad in Japan, Colombia, and the United States.


Following these experiences, she decided to pursue an MFA at Rutgers University from where she recently graduated. She is currently a resident at NARS Foundation. Lives and works in Brooklyn, NY.

www.thisthingisred.com

IG @solobjectos

Alison Owen.   Through a process of research that involves observing the environment over a matter of days or weeks, I note the social, architectural, and natural elements that comprise the heart of a space, the heart of an experience. From this initial survey I create installations and objects with a variety of found materials. I use string and tape to trace shadows across the wall, or mimic the forms of windows with snap chalk. I fill shelves, pedestals, and vitrines with found materials, looking for visual resonance and meaning between overlapped or adjacent objects.  Much of what I work with is found on site, gathered during the process of cleaning and exploring an exhibition space. I gather up the fragments and discards of other artists’ practices (often artists who are working with me on residencies or in adjacent studios), recombining them and giving them new life. I’m interested in bringing the periphery to the center- in taking all of the paper scraps, paint rags, to-do lists, source material from the studio spaces and putting it into the gallery, to show a different take on studio practice and art making.  In this way my practice is something of a collaboration, as I allow the marks and acts of another artist to influence my own composition. I’m seeking the poetic possibilities in fragments and cast-offs. There is accidental poetry in the underlined phrases of borrowed books, hints of another person’s sensibility in their detritus. There is a thrifty and ad-hoc quality to my process, but my marks are intentional, quiet responses to the existing materials.  A lot of my practice is based in community connections- I run 30 day art challenges, make site specific installations in people’s homes, send out postcards with text from books that have been recommended to me (sort of a long-distance book club), use materials that I collect from other artists. I am always looking for ways that my own experiences resonate and overlap with that of other people. I would like my art making to be inclusive, to gather in practicing artists and hobbyists, friends, relatives, colleagues, strangers. I ask questions, solicit advice - recommendations, playlists, booklists - in the hopes of allowing the experience of others to accompany me as I make my way through the world.  IG: @alison__owen

Alison Owen.

Through a process of research that involves observing the environment over a matter of days or weeks, I note the social, architectural, and natural elements that comprise the heart of a space, the heart of an experience. From this initial survey I create installations and objects with a variety of found materials. I use string and tape to trace shadows across the wall, or mimic the forms of windows with snap chalk. I fill shelves, pedestals, and vitrines with found materials, looking for visual resonance and meaning between overlapped or adjacent objects.

Much of what I work with is found on site, gathered during the process of cleaning and exploring an exhibition space. I gather up the fragments and discards of other artists’ practices (often artists who are working with me on residencies or in adjacent studios), recombining them and giving them new life. I’m interested in bringing the periphery to the center- in taking all of the paper scraps, paint rags, to-do lists, source material from the studio spaces and putting it into the gallery, to show a different take on studio practice and art making.

In this way my practice is something of a collaboration, as I allow the marks and acts of another artist to influence my own composition. I’m seeking the poetic possibilities in fragments and cast-offs. There is accidental poetry in the underlined phrases of borrowed books, hints of another person’s sensibility in their detritus. There is a thrifty and ad-hoc quality to my process, but my marks are intentional, quiet responses to the existing materials.

A lot of my practice is based in community connections- I run 30 day art challenges, make site specific installations in people’s homes, send out postcards with text from books that have been recommended to me (sort of a long-distance book club), use materials that I collect from other artists. I am always looking for ways that my own experiences resonate and overlap with that of other people. I would like my art making to be inclusive, to gather in practicing artists and hobbyists, friends, relatives, colleagues, strangers. I ask questions, solicit advice - recommendations, playlists, booklists - in the hopes of allowing the experience of others to accompany me as I make my way through the world.

IG: @alison__owen