May 18th - July 13, 2019
Opening Reception: May 18th, 2019
I am a sculptor, printmaker, organic grower and community practitioner from rural Maine. My work reflects concern and fascination with changing practices of food production in a landscape increasingly dominated by corporate farming. Throughout human history we have manipulated and changed the nature of plants, and in turn that manipulation has changed us: our society, lifestyle, culture and even our genetic makeup. This permeable boundary between the natural and manufactured environments where we reside is fertile ground for evaluation of the interplay between nature and artifice, offering glimpses of both beauty and tragedy in their fusion.
For the past sixteen years I have been manipulating gourds during the process of growth, by constraining them in moulds and found objects. The plants often refuse to be subverted by my restrictions and push through the containers establishing their own mutated, yet beautiful forms. After the fruits have been harvested and dried I use them create objects and tableaus. This necessarily slow process has reinvigorated my thinking about my role as an artist and collaborator, and is cause for reflection about the purposes of manipulation, our desire for control and permanence and the destructive tendencies of these proclivities.
Shana Agid is an artist/designer, teacher, and activist whose work focuses on relationships of power and difference in visual, social, and political cultures. His artist’s books and prints combine image, text, and form to explore physical and imagined landscapes and their narratives. Her work has been shown at New York Center for Book Arts, San Francisco Center for the Book, Southern Exposure, Minnesota Center for Book Arts, Hamilton Wood Type Museum, and other venues. His artist’s books are in the collections of the Walker Art Center, New York Public Library, Library of Congress, and the New York City Center for Book Arts, among others. Shana is an Assistant Professor of Arts, Media, and Communication at Parsons School of Design.
Originally created as a dialog on anxiety, depression and the journey of living with mental illness, the Tiny House Project has evolved over the years to encompass a range of viewpoints on the idea of home and what it means to be an individual and family member in our society today.
Trained in printmaking and painting at the University of Maine, Orono, Elise has been working with copper etching and monotype techniques to create layered, dynamic, texture-based imagery fused with classic icons to open a dialog on mental health, interpersonal relationships and societal expectations.