Month: January 2024

The Ohio Arts Council 2023 Juried Biennial has traveled from its original location at the OAC’s Riffe Gallery in Columbus Ohio to the Medici Museum of Art in Warren Ohio. My work , QUADRAMID V, was created from a 3D structure, modeled in the 3D cad program Moment of Inspiration and rendered in the program Blender. Click here to see an animation of the 3d model. I’m honored to be included with this wonderful group of artworks from artist across the state of Ohio.

Over 1,600 pieces of contemporary art were submitted to Ohio Arts Council. Only 63 pieces were chosen for the exhibition.

The exhibit features different art mediums from installation to fiberwork. The exhibition runs to April 5th.

Special Thanks to Alex Jesko, artist and Curator at the Medici for these photos. On a side note, I discovered Alex Jesko’s art. He had a solo show at the Medici. His work is fantastic. Visit alexjesko.com to explore.

Click here to see gallery of all the artworks and Artist Statements in the exhibition.

Click on images to enlarge (except mobile devices)

From left to right:
Zach Van Horn, “Empty House,” 2022, Oil and acrylic on paper mounted on wood panels and framed, 40″ x 40″ x 1.5″
Andrew Reach, “QUADRAMID V”, cnc cut uv inkjet on acrylic mounted to composite aluminum, 47.5″ x 47.5″ x 2″
Jennifer Geraci, “Energia,” 2023, Oil, 36″ x 48″ x 1.5″

Left:
Molly Fitzpatrick, “Traveler,” 2022, Cotton, 24″ x 36″ x 2″

From left to right:
Kari Djuve, “When I Began to Remember,” 2023, Oil on wood, 29″ x 29″ x 1.5″
Bernard Palchick, “Liminal Space 28: Disconnect,” 2023, Oil paint and marker on linen, 36″ x 48″ x 2″
Molly Fitzpatrick, “Traveler,” 2022, Cotton, 24″ x 36″ x 2″
Zach Van Horn, “Empty House,” 2022, Oil and acrylic on paper mounted on wood panels and framed, 40″ x 40″ x 1.5″
Andrew Reach, “QUADRAMID V”, cnc cut uv inkjet on acrylic mounted to composite aluminum, 47.5″ x 47.5″ x 2″
Jennifer Geraci, “Energia,” 2023, Oil, 36″ x 48″ x 1.5″

Foreground Room from left to right:
Elham Bayati, “Hidden Love,” 2022, Pen, 32″ x 22″
Jeanie Coy Auseon, “Together Again for the First Time 1,” 2023, Acrylic paints, fabric on wood, collage 30″ x 30″ x 1.5″
Ana England, “Protect,” 2022, Aqua resin, polystyrene, snail shells, burnished ceramic, flocking, and epoxy, 36″ x 30″ x 11″

From left to right:
Lynda McClanahan, “Swan Maiden,” 2023, Oil enamel on wooden tray, 28″ x 21″ x 1″
Nick Stull, “Kara in the Desert,” 2023, Oil, acrylic, aerosol, inkpen on canvas, 30″ x 24″ x 1.5″
Edward Phillips, “Shedding the Binds,” 2023, Oil, 20″ x 16″ x 1″
Kari Djuve, “When I Began to Remember,” 2023, Oil on wood, 29″ x 29″ x 1.5″
Bernard Palchick, “Liminal Space 28: Disconnect,” 2023, Oil paint and marker on linen, 36″ x 48″ x 2″
Molly Fitzpatrick, “Traveler,” 2022, Cotton, 24″ x 36″ x 2″
Zach Van Horn, “Empty House,” 2022, Oil and acrylic on paper mounted on wood panels and framed, 40″ x 40″ x 1.5″
Andrew Reach, “QUADRAMID V”, cnc cut uv inkjet on acrylic mounted to composite aluminum, 47.5″ x 47.5″ x 2″
Jennifer Geraci, “Energia,” 2023, Oil, 36″ x 48″ x 1.5″
Sarah Dugger, “Snip & Sip at Six,” 2021, Acrylic on oversized watercolor paper, 36″ x 42″ x 1″
(on pedestal) Cynthia Petry, “Unknown Series-Russell,” 2023, Knives with found photographs and bees wax, 14″ x 13″ x 3″
Aimee Lee, “The Walls Are No Defense,” 2022, Handmade abaca paper, monofilament, clips, 80″ x 97″ x 4″
David LaPalombara, “Frying Pan Hollow,” 2023, Oil on hardwood panel, 18″ x 24″ x 1″
Kasey Kania, “Shadow Over Bend,” 2022, Watercolor, oil pastel, and pencil, 18″ x 24″
Nicole Luga, “Cold in Cleveland,” 2023, Oil on panel, 25″ x 25″ x 2″
Raymond Ramos, “On A Cold COVID Night,” 2021, Oil, 49″ x 38″ x 2″

ESCAPE HASH Pavilion would connect people in personal ways as so many of us have a relationship with social media in our daily lives. The hash symbol with its use in hash-tagging being an object unto itself as sculpture represents our modern times (for good and bad); where data is turned into meta-data; where information is categorized and made searchable; where so many find their voices amongst the billions of souls vying to be seen and heard. The form is inscribed within a rhombohedron which gives it its slant of 7 degrees on both the x and y axes. I did this because the vertical members of the hash sign are slanted while the horizontal members aren’t. The structure sits on 4 concrete plinths. Openings between them allow people to walk inside. They are bench height and double as benches to sit on. The design is made up of 8 straight members (members that connect to the base) and 16 L-shaped members, trapezoidal in cross section. These members intertwine to form hash signs on its four sides and on the top. The members would be made from glue laminated timber (Glulam) from sustainably managed forests. Glulam is composed of wood laminations bonded together with durable, moisture-resistant adhesives. The glulam members would be slotted to accept flanges for bolted connections. The bolts would be countersunk. A pattern of circles from these bolts add to accentuate the intertwining forms.

click on images to enlarge