Evan Sahlman is an up and coming artist based out of West Palm Beach. Originally focused on sculpture and ceramics, Evan has pushed to train himself on a broader scale in the world of painting, often mixing of oil and acrylic with graphite and raw materials.
Sahlman pushes the boundaries of representational art as he integrates local plant life and color. His contemporary interpretation of environment and form can be seen in his vibrant interaction of stroke and expression.
This body of work is inspired by a simple idea that affects us all. We are in relationship constantly and with that comes acts or words that drive wedges between us. Evan works through those stages in this series based upon the first relationship; Adam and Eve. In the loose narration that genesis offers, the focus is put on creation and acts that lead to original sin, whereas he is exploring scenes and figures that talk about the first relationship and how it may have looked and felt. This book reads left to right.
Where do we begin and end?
Do Frontiers and Borders define us?
A global series of barrier-breaking, ceramic-based exhibits in Tehran, Paris, Istanbul, Tokyo and Pompano Beach.
The AD Visual Academy of Art in Iran has invited artists and curators around the world to explore these questions simultaneously with them using the ceramic medium, in hopes of spreading understanding and empathetic curiosity. In this politically fraught and tumultuous time, it is imperative that humanity be free to unite and connect to forge dynamic, artistic discourse.
Goals of the project:
• Comparing borders and frontiers in the contemporary world
• Cultivating connection with global artists and their works
• Addressing local, regional, and international concerns
• Utilizing ceramics in its extended field in order to recognize, and apply its potential in the field of fine arts/Push clay past its 'craft' role
In these series of exhibitions, artists are encouraged use mixed-media such as painting, photography, and videography, to compliment the inclusion of ceramics, when creating a piece.
This Academy has held an annual exhibitions featuring ceramics, which aims at attracting the artists’ attention to this medium. The 2017 "Frontier" exhibition was first held in Khaneh-Honarmandan, Tehran, one of the most prestigious art centers in Iran from July 20th - August 3rd.
The Academy has also invited a group of international curators to collaborate on the topic, and called for artists in various countries to hold exhibitions featuring their interpretations of the theme.
List of curators in the international section of the exhibits:
1. U.S.A.: Sarah Miller Benichou, Bailey Contemporary Arts, Sept 1-29
2. Japan: Ruriku & Shigaraki Gallery, date TBC
3. Turkey: Seren Kohen, date TBC
4. France: Jacques Kaufmann, date TBC
The Ad Visual Arts Academy was established in 2014, offering a wide variety of art classes such as theory of art, painting and ceramics in which the latter has been their area of expertise.
July 19 - August 18 | FREE
The Artist in Residence Exhibition is a celebration of the community of working artist that is found within Bailey Contemporary Arts.
The Artists in Residence, while working independently, are inspired by each other and their current projects. Oftentimes, a type of creative synergy develops. Even though this is unplanned, one artist will reveal a project and suddenly another artist discovers he or she has created something as a "spin-off" to that project. The creative process feeds off of each other's ideas and often leads to the creation of work that is launched by the other artist's piece in ways that surprise even the creator him or herself. Thus, even without making the effort to collaborate, a collaboration is inadvertently born between the BaCA Artists in Residence which benefits us all.
Artists Showcased (9):
-Galen Todd Traxler
July 19 - August 18 | FREE
BaCA and the Blooming Bean Coffee Co. present also in June the solo exhibit of Liam Savage: "Shouganai". This exhibit will be up from 07/19/17 – 08/18/17, and can be seen during Blooming Bean Coffee Co. business hrs.
The Japanese concept of shouganai has no direct translation in English, but it encourages one to be at peace and accept life for what it is. Some translate the phrase to “it cannot be helped.” It is human nature to want to be in control, to eliminate uncertainty wherever possible. However; worry will not stop bad things from happening. Holding ourselves accountable for something we cannot control is what creates stress in our lives. Worrying will not improve any situation. Worrying will only stop you from seeing and enjoying the good aspects of life. Every gift comes bearing problems, and every problem comes bearing gifts. When we face difficult situations, embracing shouganai, a foundation of contentment, makes all the difference between harmony and catastrophe.
This art embodies shouganai, crystalizing a moment of beauty that comes from releasing control. The method of pouring paint of varying viscosity, tilting the surface of the panel, laying flow lines that parallel the grain of the wood, and using breath to mix and push the colors are my means of participation, but the result is largely out of my control. It is in that unpredictability, that chaos, where the unique aesthetic beauty emerges. I could not have predicted a single square inch of these paintings, but in accepting and allowing them to move as they would, I was rewarded with pieces that surpass my own ability and imagination.
I pray that you find peace that surpasses understanding. Life is mysterious, and while difficult at times, it is through letting go that we can encounter beauty.
This will be my first gallery showing. I would be honored if you are able to attend, the show will be at 41 NE 1st Street, Pompano Beach, FL from July 19 through August 18, 2017.
BaCA and the Blooming Bean Coffee Co. present in June the exhibit “Hi*Jinx at the Bean” by BaCA A.I.R. “Missy Pierce”. This exhibit will be up from 6/6/17 – 7/15/17, and can be seen during Blooming Bean Coffee Co. business hrs.
About the Artist: MISSY PIERCE
I am an artist specializing in paintings that explore the nature of identity in all its fractured manifestations. A repeated theme in my work is that of containment, especially containment of the hidden selves I try to reconcile with the conflicting roles I play in my life. My paintings often represent the release of those otherwise eclipsed parts of my identity, and what happens when the distorted logic of consciousness strikes against tasks, duties and expectations. I often play with this theme by using humor to explore the clash between my domestic and professional roles. Through painting and collage, I stage unrelated figures to reverse expectations in an effort to examine the frayed edges of an identity built out of contrasting selves.
“Gritty in Pink” Art Exhibit curated by Lisa Rockford and Megan Castellon
June 6 – July 14, 2017 |Opening Reception: June 10, 6-10PM|FREE
Bailey Contemporary Arts welcomes curators Lisa Rockford and Megan Castellon for the juried exhibition Gritty in Pink. Defying the traditional notion that pink represents delicate, saccharine depictions of femininity, these artists embrace subversive uses of the color. Pink is instead presented to embody strength through bold and often confrontational aesthetics, whether through abstraction with aggressive textures and brushwork, or through conceptual, humorous, ironic, or subversive and symbolic imagery.
Several months ago, Rockford and Castellon conducted a call for artists of all genders to enter work that subverts traditional associations with the color pink. The exhibit will feature a range of artistic techniques from 53 artists, both regional and national, whose processes include mixed media, painting, collage, video art, fiber art, ceramics, site-specific installation, and performance art.
“We are thrilled to have two outstanding guest curators for this exhibit,” said Director of Programming Grace Gdaniec. “Last year’s tremendously successful Swimming with Narcissus was also curated by Rockford and featured works by Castellon. We are delighted by their return and the premise of this intriguing show.”
“I wanted to create this exhibition because of what the color pink symbolizes. It was a color that I was using a lot in my work, and it made me question the idea of pink. What does pink mean? It has distinctly feminine associations that reflect a dainty, soft, delicate essence. But I knew pink was so much more than this. I wanted to challenge traditional notions of the color pink, and by doing so, challenge traditional notions of femininity. What could pink be if it is truly represented the full spectrum of femininity, that is, humanity? Each of the artists in this exhibit transcends the stale use of pink as a symbol for all that is stereotypically feminine, and creates a range of perspectives from the grotesque to the bold to the strong,” said Castellon.
The opening on June 10 will include a custom-tailored performance by Kikimora studio. Olga Saretsky, aka Kikimora, is a costume fashion designer, and performer. She will be designing a special pink costume for the exhibit that is directly inspired by her idea that pink is a global unifying color, as she states, “We are all pink on the inside.”
For Rockford, there are an array of themes presented by the color pink. “The artworks will encompass creative and clever uses of the color,” she said. Themes encompassed will include: Pink as a signifier of gender, Pink in marketing & consumerism, Pink as the color of flesh, the use of pink in fiber art & craft, a “Gritty” textural use of pink, Pink & power hierarchy, and Pink as a classifying color for feminist politics.
The most vivid use of pink in the exhibit, which will be hung right near the entrance, is by Devan Jiminez. Jimenez used a recently invented paint that is considered to be the world’s pinkest pigment yet, a powerfully fluorescent color that reflects light resulting in this special pink. The artwork is purely a deer’s pelvis, completely covered in the fluorescent pigment, which hangs on the wall, like a trophy. Jimenez explains: “We generally understand the pelvis to be a symbol of female sexuality, as it contains a woman’s sexual organs. Additionally, a deer is often regarded as a symbol of fertility and grace. These symbolic references remind the viewer of the persistent strength of the female body and mind.”
An ambitious site-specific installation, which also utilizes found materials, will be created onsite by Anna Kell, who is coming all the way from Lewisburg, PA to install the work. Kell considers the artwork, Pink Field in Bloom, to be a type of mural, made from reclaimed mattress fabrics and the colors and patterns inherent to them. Responding to the theme of the show, all of the mattresses used would be classifiable as "pink" in coloration. In this mural, the pinkness and inherent decorative quality of the selected mattresses will be emphasized by what I imagine to be a gradation in saturation across the wall, creating a striking color field, the source of which is the material itself. Kell states “Mattresses are the type of everyday, domestic objects seen abandoned or discarded so often throughout the city, that we rarely register their presence. Though this piece will have a strong formal presence, I believe it will also engage viewers' imaginations as they contemplate the beauty, history, and symbolism that I believe reverberates through this material. (All of my) works are indicative of my ongoing fascination with the use of the color pink in our cultural commodities and domestic interiors, particularly as a signifier of something inherently feminine. “
Another installation, Lady Cave, by Laura Marsh will be an interactive spot for the viewer, and designated “selfie spot” which includes props and costume accessories. By utilizing sewing and embellishment, and defining the space between material fascination and play, Marsh places viewers inside her work. In the installation Lady Cave, she presents a word play on the phrase, man cave. The video in the installation provides the introduction, “Welcome to the Lady Cave, which is not just for ladies.” The sculptural environment serves as a space for decompression and wonderment, regardless of gender. Providing a familiar, yet curious space where viewers can seek refuge and embrace a soft aesthetic, Marsh’s multimedia installations excite the senses and encourage social media engagement.
Alessandra Mondolfi also illustrates the parallel between pink and flesh in her sculptural assemblage wall pieces. She creates dynamic pink flowers that at first glance, appear to be surreal flowers, but upon closer inspection, it is revealed that they are entirely made from casts of body parts. Alessandra explains, “This work is based on a physical and intimate material exploration that uses my body as a vehicle to engage intellectually and emotionally in the process of self-rediscovery. I am inspired by the patterns, colors and textures in nature and conceptually draw from the art precedents of flowers as sensual objects the symbolism of the circle. These sculptures subtlety touch upon ideas about intimacy, transformation, vulnerability, individuality, perception, desire and pleasure.”
Several of the works submitted had a common thread: the use of fiber art processes. These artists are evidence of a recent trend in contemporary art. There is a growing society of women artists that choose fiber arts (skills that were previously abandoned by feminists for their ties to domestic duties) in order to both continue the tradition, and reclaim the craft from their domestic history, while transforming the skills from a feminist point of view.
Leora Klaymer Stewart, who created the artwork Life Cycles when she was challenged with surviving breast cancer, is an exquisite example of the use of traditional fiber art processes. The series represents "life cycles", as in birth, growth, death and rebirth or renewal as in the cycles of life as well as in nature. The circular form of the work can dually represent a breast, an eye, or cellular structures. She constructed the form in a loop stitch technique that is often used to construct basket forms, with wrapped elements representing forms or veins growing out from the opening, and glass beads representing cells as in cellular growth.
Amy Gross also illustrates the symbiosis of organic structures in her pink biotope. As an artist who usually restricts herself to a palette, of green, blue, and red, and black, Amy was inspired by the exhibition theme and decided to work in pink for the first time. “Working in pink for the first time nudged me away from plant life and towards the corporeal. Pink made growths visceral. Surfaces became more like skin, sap turned sanguine, roots became veins, interiors turned from caves to cavities. I thought that pink was the color of delicacy, but it transformed my sculpture into something that could bleed and bite, a living thing that could look right back at me.
Peggy Blei Hracho and Emily Blei Hracho are a mother and daughter from Pennsylvania who both use fiber art processes. They submitted their works separately to the call for entry, and both had artwork accepted into the exhibit.
In Cut & Comb, Dresden Plate, Peggy drew direct inspiration from the appearance and lyrics of the pop stars Lorde and Brooke Candy. The piece focuses on the gritty attitudes of these female performers and the style of their hair along with its importance to their identity and attitude. Peggy states “These edgy woman performers are whimsically juxtaposed over the top of a strictly traditional quilt pattern, (Dresden Plate), to show their resistance to the normal gender expectations.”
In contrast, Emily creates works that are each inspired by title of a pornographic subreddit. Though her artworks are completely abstract manipulations of thread, fabric & yarn, their luscious, playful, and tactile nature directly relate to the voyeuristic act of viewing internet porn.
Gardner Cole Miller, one of the few male artists in the exhibit, also takes inspiration from online subcultures. Quilt Noodz or Rosies and Blowsies is an installation of Individual quilt squares pieced into a larger arrangement. Gardner began the quilting project by requesting nude selfies submissions via a Tumblr page. He then fashions embroidery patterns into a variable collection of free-motion-embroidered sewing on quilt squares. Gardner states “This project specifically uses the color pink alongside delicate florals and chintz fabrics as an exploration of gendered attitudes towards craft as being feminine and therefore non-threatening, conservative, and purely concerned with spheres of the domestic. By deploying tactics of reclamation and over-performance of the commonly accepted attitudes towards craft, gender and sexuality collide to dispel these notions, embrace the politicized body, and perpetuate the inherent queerness of identity while complicating and misdirecting a typical male gaze.” The project is ongoing; submissions are still being received.
Elizabeth Morisette observed the marketing of pink and began amassing a collection of discarded childhood toys. In China Pink, Morisette used a stitching technique to create a 4-foot long tapestry of toys in various shades of pink. By creating a waterfall of these products, we are not only presented with the sheer amount of physical waste as a result of our consumption, but with the saccharine colors that lose their appeal in mass quantity.
Paula Henderson uses commercial culture as the foundation for her work, Collide-A-Scope II. The painting is a carefully crafted synthesis of several silhouettes traced from models in advertisements. Henderson states: “My works reference the power vested in contemporary commercialized female media representations. My tracings and manipulated fusions of these perfected bodies are intended to resonate with the consequences of identities shaped under the pervasive influence of the beauty industry. Pink, the color assigned at birth to designate us as ‘girl’-softer, weaker partner to the blue of ‘male’- is deployed to acknowledge and protest identities manufactured by the central male sphere.”
Samantha Lyn Aasen uses the medium of photography, and herself as a model, to explore the shifting boundary between girlhood and womanhood, as well as gender and sexuality in pop culture. “The focus of my practice is my own ambivalence towards the Princess-industrial-complex, which in some way mirrors a cultural ambivalence towards women’s and girl’s sexuality…The images compare and contrast these experiences by looking at popular culture through the lens of a younger version of myself exploring my gender. “By framing my art making this way, I recall on my own experience as an adolescent.” A humorous illustration of this is her photograph Feet, a close up image of her feet failing to fit child-sized princess shoes. The photograph not only focuses on the blemishes and razor burn of her very “real” legs, but characterizes the infantilization of women and draws an outstanding correlation to any futile exertion to embody or idolize Cinderella.
Evaluating a very different side of consumer culture, Tina La Porta questions the use of pink in products like prescription pills and automotive paint, which are the materials in her artwork. She asks, “Why are pills pink? Are pink pills marketed specifically toward women? Why is automotive paint call Porn Star Pink?” La Porta has been working with pills as an artistic medium ever since her diagnosis with Schizophrenia. She says the work is both personal and universal in that her personal experience also speaks to a broader phenomenon of our pill consuming culture.
Judges Award Process and Lecture
Prominent art professionals will serve as guest judges and visit the exhibition after it is installed, voting for the top artists. Any artist that receives at least one vote will receive the judges’ feedback and a “Judges Choice Award” certificate. The artists with the most votes will receive cash prizes, splitting a minimum of $1500.
On June 24, from 1-3pm, Lisa Rockford will give a lecture that outlines the permeation of the color pink into Western culture, and highlighting examples of the use of pink by historic, global, and contemporary professional artists. The lecture will be followed by a panel discussion with 4 artists selected from the exhibition.
Rockford states “It is my aim that this exhibition, lecture, and panel discussion will compel the audience to think critically about the prescribed, marketed representations of pink, and spark a dialogue that will continue after the exhibition; a dialogue which is not spoken about in sufficient measure.”
“When trying to consider the effect that this use of pink in marketing has on gender paradigms, consider how the cultural constructs of the color influences our learned behaviors. Those pink toys and pink products are integrated into everyday life and subconsciously condition their owners to emulate the identity that is marketed with them.
The cultural acclimatizing of pink, linked with femininity as cuteness, princess persona, or sexiness are damaging to women. The more that pink is narrowly associated with cutesiness, and female beauty, the more narrow gender roles and social dynamics will be. Just as the objectification or sexualization of women makes them targets, the infantilization of women ultimately belittles them. The more that society depicts narrow representations of femininity, the more confined gender will be, the more discrimination there will be, and the more limited the choices and rights of many persons will be.
Artists are fundamental mediators in the critique of prevalent social norms and cultural constructs, with the responsibility to transform the perception of the color, and therefore it's place in culture.”
LAKOU LAKAY: IN MY BACKYARD
Featuring Isaie"Zeek"Mathias and Alix Gauchier
Curated by Bart Mervil Miami Urban Contemporary Experience (MUCE)
Honoring Haitian Heritage Month
Lakou Lakay invites the viewer to explore the dimensions of Haitian Culture through the eyes of Haitian artists Isaie "Zeek" Mathias & Alix Gauchier. The two very talented yet contrasting artists both have a commonality that revolves around the significance of the Tanbou (drum).
The viewer will find the motif of the drum as an essential element in both artists’ work. Mathias views the Tanbou as the progenitor of radio – a transmission vehicle communicating news across valleys; echoing history while giving direction into the future punctuated by dignity. Gauchier views the Tanbou as a “very powerful and ethereal instrument that can put us in another spiritual dimension”.
The Tanbou in both artists work represent a countervailing perspective to that of the mainstream narrative. Mathias works with the photographic and digital lens and Gauchier with oil, acrylic, and canvas to tell their stories. Curated by Bart Mervil of the Miami Urban Contemporary Experience, Lakou Lakay is an exhibit that takes the viewer into ‘my backyard’- a common phrase in Kreyol to welcome a guest into their home. BaCA welcomes you to Lakaou Lakay.
Opening Reception: 5/5/17, 6-9 PM (at Old Town Untapped Event)
Closing Reception: 6/2/17, 6-9 PM (at Old Town Untapped Event)
Bailey Contemporary Arts (BaCA) is proud to present “Visions & Verse,” an exhibition featuring both the artistic works of Mimi Botscheller and the poetry of local written artists. “Visions & Verse” is a collaboration between the visual and written arts, aimed to inspire emerging poets to view and explore the evolving narratives in Botscheller’s collage works. The exhibited collages are composed of several layers as a result of the artist’s creative process, and therefore evoke different stories and ideas for each viewer. Visitors are encouraged to submit original poems inspired by a specific work. Calvin “madeS.O.N.” Early, the poetry curator, will select the winning poems which will be presented at the showcase on April 29th. “To celebrate National Poetry Month, we are delighted to bring together the visual and the literary as we invite poets to interpret pieces and create a poem directly related to one of Mimi’s works,” said Grace Gdaniec, Exhibition Curator and Acting Director. “We are honored to have Mimi’s creations be the inspiration for the poets and to have Calvin “madeS.O.N. Early as our poetry curator.” Mimi Botsheller’s featured works in “Visions & Verse” explore her process of evolving narratives in the form of collage. While repurposing visual fragments of paper, photo, digital media and mixed media, new images are created in what she calls “visual accidents.” Her works have been featured in numerous gallery exhibition and museum competitions from Miami to Palm Beach. And her paintings, which combine Eastern and Western ideologies, with multiple points of view, have been shown nationally and internationally. “Viewers will find themselves taken on a unique journey with each piece,” said Gdaniec. “With inspiration from the art in the exhibition, we are seeking poetry submissions based upon a single work. These submissions will be reviewed by Calvin, and the winning poems will be read at the showcase on April 29th. The top three submissions will be awarded cash prizes.” Calvin “madeS.O.N.” Early is an internationally recognized speaker/spoken word artist with more than 10 years experience in youth development and community relations. In the fall of 2013, Calvin broke ground on his company iCHOOSEgreatness, whose mission is to motivate, inspire and ultimately push individuals to challenge their self-imposed limitations. Calvin has been interviewed by literary icon Maya Angelou on Oprah Winfrey Radio, been a guest on Lifetime TV’s “The Balancing Act,” and a featured speaker at colleges, universities and various youth serving agencies across the country and abroad.
April 5th – April 29th | Opening Reception: April 7th (During Old Town Untapped) 6-9PM. FREE.
Poetry Submission Deadline: April 21st
Poetry Showcase & Award Ceremony April 29th 5-7PM. FREE.
Poets of all levels are encouraged to explore the gallery and submit their poems by 4/21
Submissions should be emailed to email@example.com
Prizes: 1st, 2nd, & 3rd place will be decided by Poetry Curator (1st $100, 2nd $75, 3rd $50)
Contest participants must be available to attend the showcase on April 29th where poems will be performed/read, to be eligible to win. Guidelines
Johanne Rahaman is an emerging documentary photographer, working in both digital and film formats since 2002. The Bailey Contemporary Arts has invited this artist to expand her most recent project to Pompano Beach, which she has begun to do starting this October, 2016. “Black Florida” is an ongoing photographic archive of shifting urban and rural spaces occupied by the Black communities throughout the State of Florida. Rahaman’s images consists of environmental portraits, landscape, architectural and still life images, underscoring the urgency and importance of recording these neighborhoods that are in a constant state of flux. In February, 2017, BaCA will exhibit the images as a result of her focus on Pompano Beach in honor of Black History month, and as a continuing narrative that began with last year’s exhibit, “What’s Your Story?” that showcased portraits of Pompano Beach’s black community in the 1930s. Rahaman’s drive for documenting these communities that mirror her hometown; the stigmatized Laventille Hills of Trinidad, was born out of a sense of duty to offer the public an alternative view of Black ghettos, and ghetto life, unashamedly, as a sense of place, as home. In the absence of newsworthy events, her work takes a look at the simplicities and the complexities of entrepreneurship, beauty, sensuality, aging, mortality, youth, and resilience within the African Diaspora. “Black Florida” is supported by the Economic Hardship Reporting Project (EHRP), an organization who aims to change the national conversation around both poverty and economic insecurity. They commission stories – from narrative features to photo essays and video – that put a human face on financial instability. They fund and place their reportage and photojournalism in renowned and popular sites and magazines, from The New York Times to Slate to MSNBC. Their multimedia work has been nationally recognized, with a first place award from POY, and nominations for an Emmy, and for a National Magazine Award in multimedia.
What makes a woman, a woman? Bailey Contemporary Arts newest exhibit showcases three outstanding artists, Linda Behar, Sibel Koçabasi and Raheleh Filsoofi, who present thought-provoking perspectives on gender and a variety of social and political issues. Exploring the feminine, an array of questions arise about the perceptions and realities of being a woman. Is the identity of a woman a matter of choice, or is it a social construct? Is the content of femininity imposed by society, or is there some degree of buy-in by women themselves? What image remains of women in history, when the individual no longer has the option of forming it herself? The artists, Americans who themselves each come from different cultural backgrounds outside the United States, hope to inspire viewers to think critically and foster a new dialogue on vital global issues regarding women.