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alexandria museum of art 2017 juried art exhibition



On the Cover: Trail’s End, Paul Murray, 2015

30th September Competition presented by the Alexandria Museum of Art June 2 – September 23, 2017 Opening Reception and Award Ceremony with juror Mark Tullos June 2, 2017 The 30th September Competition is an annual juried exhibition highlighting the work of contemporary artists in all media and styles created within the past two years. 52 artworks selected from over 250 international submissions are included in the exhibition and featured in a full-color print catalog.

About the Museum The Alexandria Museum of Art has promoted understanding and appreciation of art through three decades of exhibitions and educational outreach programs. The mission of the Alexandria Museum of art is to foster a culturally rich community by engaging, enlightening and inspiring individuals through innovative art experiences. To accomplish this, we educate, in order to advance the public’s knowledge of and appreciation for the value of art as a source of beauty, inspiration, information, and expression. The vision of the Alexandria Museum of Art is to be the premier arts center of Central Louisiana, providing quality programming, exhibitions, and events, as well as outreach programs, taking a collaborative approach to meet the educational and cultural needs of our community. This catalogue documents the 30th September Competition exhibition June 2 – September 23, 2017 Compiled by Megan Valentine, Registrar & Curator Designed by Gar Pickering, Marketing Communications Coordinator Published by Alexandria Museum of Art Alexandria Museum of Art 933 Second Street, Alexandria, LA 71301 318.443.3458 • Copyright 2017 Alexandria Museum of Art

AMoA reserves all rights. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in review.

FROM THE DIRECTOR 2017 is a year of Celebration as it marks the 40th Anniversary of the Alexandria Museum of Art (AMoA) and the 30th year of the September Competition. Each year, a juror is selected to choose the works in this AMoA show from entries in this international competition. This year, former director, Mark Tullos, was an obvious choice to help us celebrate AMoA, its exhibitions, and programming. He brings to the process more than 30 years of experience as Executive Director of art museums and visual arts organizations. Mark was the founding director of the Walter Anderson Museum of Art in Ocean Springs, Mississippi and in the 1990s served the Alexandria Museum of Art for 8 years that included the expansion of our museum facilities.

I know you will find this show and publication interesting and diverse. I also would like to take the opportunity to lift up the staff of AMoA whose hard work and dedication make this museum and its programming possible. We are also grateful for all the sponsors and patrons who support the good work we do in the galleries and in the community. So, I hope you will celebrate our 40th Anniversary by enjoying the 30th September Competition!

See you at the Museum,

Since that time he has lead the Hilliard University Art Museum in Lafayette and was Assistant Secretary for the Office of Louisiana State Museums. He is currently serving as the founding director of the Mississippi Arts and Entertainment Experience (The MAX) in Meridian, which is set to open in April of 2018. Mark has selected an impressive show that highlights contemporary art practices, carefully culling through the many images with thoughtful consideration. Mark’s historical perspective of AMoA and his knowledge of the art world creates a winning combination for this 30th September Competition. I am happy to honor my longtime friend and colleague with the choosing of this exhibition and its award winners.

Catherine M. Pears Executive Director Alexandria Museum of Art

About the Juror

FROM THE JUROR Mark A. Tullos, Jr

After graduation from LSU my first museum job was at the Alexandria Museum of Art. My director, Sheila Stewart was a visionary and a risk taker who believed small town art museums had an obligation to bring new art to their communities. I learned early on that a museum’s primary role is to bring the community objects and ideas that people otherwise may never have an opportunity to see. Sheila and Curator Audrey Hammill (now Threefoot) established the model for the September Competition. It was a simple formula. First, secure the participation of a nationally recognized and influential art critic, museum director, curator, or gallerist. Second, open the competition to artists from around the world working in any media; and finally, provide purchase awards and financial incentives attracting artists to enter. The walls of central Louisiana homes boast some extraordinary artwork because AMoA provided purchase opportunities through this annual exhibition. The most important part of the formula was the juror. Always seek out a seasoned professional who can potentially affect an artist’s career. Art critics, museum professionals, and gallerists can have a tremendous influence on the career of an emerging artist because they can publish critical essays about an artist or include their work in another exhibition. Over the years, I have called upon artists from the past and included them in an exhibition

years later. I was the museum registrar in 1986 and I remember clearly working with the entries from that year’s competition. Out of the hundreds of 35mm slides submitted - the selected finalists were reduced to 50 or 60 entries. After the selected works arrived at the museum the intrigue and challenge of installation began because September Competition was tolerant of most any size or medium. During the years that I served AMoA, the September Competition opening receptions were most memorable. Typically, we enjoyed the presence of a dozen or more of the selected artists. Often the artists traveled thousands of miles to attend the opening and enjoy our Louisiana hospitality. As was our tradition we always ended the evening with dinner Continued on page 59

The Artists Hale Allen Emmett Barnacle Richard Buswell Laara Cassells Dengke Chen Edi Chen Robert Creighton Christopher Daniggelis Sasha de Koninck Shi Dong Patty B. Driscoll Darcy Edwin Cheryl Eggleston Zheng Fan Curtis Frederick Laura Gates Sheila Grabarsky Inguna Gremzde Michele Hardy Crystal Hinds Zach Horn Nicholas Hullibarger

Jean Judd Caitlin Margaret Kelly Axelle Kieffer Andrew Kuziak Guntis Lauzums Dale Lerner Joanna Madloch John McCaskill Tony McDonald Sarah Merola Paul Murray Greg Navratil Clark Nunn Judith Peck Ronen Raz Winter Rusiloski Richard Salinas Wendy Starn Ben Tyjeski Ira Upin Xinhao Yang Michael Yankowski

Where the Artists Live/Work Reflecting trends in contemporary art across the country and beyond, artists selected for the 30th September Competition represent 5 countries, 19 states, and 43 cities.

International Alberta, Canada (2) • Ontario, Canada • Shaanxi, China • Israel • Latvia United States Alabama, California (3), Colorado (2), Florida (3), Georgia, Hawaii, Louisiana (4), Massachusetts, Missouri (2), Montana New Jersey (2), New York (2), North Carolina, Oregon Pennsylvania, Rhode Island (2), Texas (3), Virginia (2), Wisconsin (3).

Wire Callosity Oil 2016

Hale Allen Philadelphia, Pennsylvania

A continuing series of paintings that examine the interstices of light and dark and the shifting perspective of the connections within. Inspired by the seemingly endless constitutive quality of lines and capturing subconscious characterizations.

R2Door2 Cast Glass 2016

Emmett Barnacle

Providence, Rhode Island

For me glass is the perfect medium to create my sculpture with glasses ability to capture memory or a moment in time. While much of my works focus stems from past experience, memory, architecture and architectural blue prints I also draw inspiration from ancient civilization, travel, popular culture, humor, tradition and weaponry. Featuring architectural scenes and cityscapes cast in glass, mimic and examine the historic “the bare bones� upon which our cities are built. Stylistically interpreted Greco-Roman and Asiatic elements merge, creating playful scenes in lieu of traditional renditions. For me working in glass is both a privilege and pleasure with such a rich history, there is already so much that is known and been done but also much to learn.

Abstract No. 1 Gelatin silver print 2015

Richard Buswell Helena, Montana

I have been photographing artifacts of the Montana frontier for forty-six years. My photographs are more interpretive and abstract than they are documentary. They explore the junction where decaying artifacts become visual echoes of the past. The images are often reverent, conjuring the remains of personal histories. These photographs happened partly because I grew up in Montana. They also happened because I am trying to recapture a flicker of two histories-that of Montana and that of my youth.

Jessica Day & Empress Elisabeth Alexeievna (after Louis Vigee Lebrun) Acrylic on canvas dibond panel 2015

Laara Cassells Sundre, Alberta, Canada

I am pairing contemporary models with Old Masters’ portraits and commenting on the contrasting lifestyles of the two models in spite of the similarities in genetics.

Segregated Water Fountains Illustration and augmented reality 2016

Dengke Chen Deland, Florida

The Refugee

Illustration and augmented reality 2016

Dengke Chen Deland, Florida

Unlike the single narrative storytelling techniques used in traditional animations to amuse and entertain audiences, my animations have nonlinear narratives that engage viewers to critically reflect on social and ethical issues that surround us. Through animation based on art practice, by projecting my thoughts and my personal experience on distorted stories, I propose new insights and compel audiences to think about the unvarnished beauty and ugliness of the world. By bringing awareness of social problems and ethical issues that surround us and criticize them through animation, I’ll take my art as weapon and try to improve this world be more harmonious for every sentient life to live in.

New York City Center Inkjet on semi-gloss paper 2016

Edi Chen

Brooklyn, New York

All things exist and obey balance and New York City is no exception. We deliberately build symmetrical buildings and objects in pursuit of visual balance. At the same time, all forms of life that live in this city are both active and passive, quiet and restless, harmonious, opposite, past and future. We are influenced and affected by this city and are trying to build the balance we are searching for and in doing so have become part of it. We all share this city and its future. In Chinese culture, the mysterious yin and yang is another expression of balance. These two concepts create balance in life. Opposition, interdependence and reunification, all things come to be through the interaction of yin and yang. “The yin and yang, the way of heaven and earth.�

Double Derby Girl

Lithograph with inclusions on mylar 2016

Robert Creighton Dundas, Ontario, Canada

These works are about aspects of our popular culture.

The Precious Mirror (Square of Opposition) Intaglio etching on copper with chine colle 2016

Christopher Daniggelis Columbia, Missouri

This work was created while I was in Dresden, Germany, representing the US as an International Fulbright Core Scholar. They are one of a kind prints that have not been shown in public. These images were highly influenced by the age of Alchemy, the history of the printed image in early Europe, and the production of early Globes.

White Flowers Oil on wood panel 2016

Shi Dong Rocklin, California

Born and raised in Beijing, China, Shi Dong draws on a rich heritage of traditional Chinese arts and philosophy. Shi studied philosophy at Capital Normal University in Beijing, China. She then went to San Francisco where she earned her MFA in Fine Arts at the Academy of Art University.

Clingnancourt Vase Oil on panel 2015

Patty B. Driscoll

Birmingham, Alabama

My fascination with still-life arose from a love of the decorative arts and the challenge of capturing an ephemeral image in paint. When organizing a composition, I attempt to distill moments, where light, object, and flowers reveal themselves like characters on a stage. Considered the lowest genre of academic art during the Renaissance, still-life painting was considered an acceptable realm of art for women to express themselves and earn a living. I am inspired by the often overlooked female artists of the Golden Age, particularly Fede Galizia, Giovanna Garzoni, and Maria Van Oosterwyck.

Martyred: A Line Drawn in Blood Woodcut print 2016

Darcy Edwin

Florissant, Missouri

Darcy is a printmaker based in St. Louis, Missouri. Her preferred and principle method of creating is through woodcut. The inherent expressive quality of carving lends well to the subjects that inspire Darcy. Her work is informed by her background in psychology, and her professional experience with individuals with special needs as well as those with mental health diagnoses. Her work fundamentally explores the topic of human behavior; exploring the different constructs of society, mental health, relationships, and other social and psychological mechanisms that influence how we related to other and the world around us.

Number 5

Alkyd Oil on canvas 2016

Cheryl Eggleston Plantation, Florida

I pick up cues in my observations of daily life. These cues are my idea seeds. As an idea starts to germinate, I begin to draw and paint. The idea may not completely reveal itself to me until I am in the painting process. As I paint, I may be lead to another idea. This off shoot idea could lead to another painting entirely, or it may show up as a part of the original work. As I attempt to articulate this organic idea, I also strive for balance of design, scale, color, intensity, texture, value and technique.

In Me the Tiger Sniffs the Rose Watercolor 2017

Zheng Fan Xi’an, Shaanxi, China

Stages Clay 2016

Curtis Frederick Rockwall, Texas

Art for me started at a very young age, however in the last year my desire to do art full-time has exploded. Since then I have been blessed to be in exhibitions to share my art, along with being in a couple publications. I am currently working on project with a writer, that will have my artwork in his upcoming book of poems. I do ceramic, metal and wood sculptures and paintings any opportunity I can. It has become a true passion and a daily obsession to be creative through painting and sculpture. This piece represents the stages of life. Starting from the bottom, the egg shaped form signifies birth. As you move up the sculpture, the color progresses through adolescence, ending with a dark face looking downward representing death. At the very top you will see the happy face looking upwards.

My Secret Pond in the Catahoula Oil on canvas 2017

Laura Gates Pineville, Louisiana

I paint Louisiana. The hidden places around the corner, the parts of the landscape I stumble upon in my wanderings through the woods - these are the places that resonate with me. They define what the sense of place of this complex state with its troubled and violent history, the natural beauty of its land, and the hands that shape it into what it is today. Louisiana is tough, raw, compassionate and proud. My paintings are about this sense of place.

Backyard Sunset Acrylics 2017

Sheila Grabarsky Waretown, New Jersey

I paint because I bleed Alizarin Crimson. As a small child I painted a yellow sun into a blue sky and CREATED GREEN! I remain awe-struck at this always-new discovery of color creation and juxtaposition. My process is “reduction�; painting till the canvas is over-full of movement and connections then obliterating that world-chaos until the becomes a complete and orderly composition. As I would love the world to be; composed, organized. I am excited by the evolution of shapes and the discovery of how movement impacts each of these shapes to become cohesive.

Nature for Sale 2

Oil, mixed media on transparent plastic lids 2016

Inguna Gremzde Ogre, Latvia

Gremzde’s practice explores the relationship between humns and nature, regarding nature as a focus for the formation of an individual’s, and a community’s, identity. Growing alienation from nature, habitation in cities and dominating consumer lifestyle results in more time spent in constructed, artificial spaces monitored by surveillance cameras like shopping malls and waiting halls defined as non-places, which being a real measure of our time have no identity, relations and history. Looking closely as nature as the opposite can open itself to reveal a secret life; a narrative and history outside the given field of perception.

Geoforms: Fractures #4 Mixed/fiber 2015

Michele Hardy Silverthorne, Colorado

I am fascinated with the colors, textures, and structures found in raw and polished rocks and other natural forms. The combination of organic lines along with the structured grids is inspired by maps, aerial views, macro and microscopic geological features.

Celestial Bodies

Brass, copper, sterling silver 2015

Crystal Hinds Longmont, Colorado

As an artist, I am constantly evolving. I willingly place myself in situations to be challenged with new techniques, processes and materials to express myself. My major influences in the pieces I create for this exploration are nature, my previous experiences, and how those two concepts communicate. I look for things in nature that represent ideals of humanity, when I find them they inspire me to create. My bodies of work span many genres, but I have always been rooted in the natural world, and human interaction. My art bounces happily through different mediums, exploring possible media of each discipline. My latest discovery has led me to the world of metal. I plan to graduate Colorado State University in the winter of 2017 with a Bachelors of Art, with a focus in Education and Metals Studio Practice.


Oil on panel 2016

Zach Horn Dorchester, Massachusetts

Since my subjects are so personal, I agonize over the images. The alternative would be to make more expressive paintings, but expressionism has a trade-off in that subject matter is often subjugated to touch. Because I’m drawing my sons, my wife, me, my world, I haven’t been able to sacrifice them to a looser hand. I just want the technique to be as clean and clear as possible. And, I like it. I enjoy the challenge of flesh, hair, light, foliage, smoke, and cloth.

Spring Garden St. Video 2016

Zach Horn Dorchester, Massachusetts

I try not to overthink my work. I use almost no source material. I make up the figures, the rocks, the smoke, the clouds, the sky, and the clothes. Drawing from my brain lets every detail serve the composition. Light bends, perspective warps, figurative proportion distorts. Even flesh tones are malleable. I look at my work through an art-historical lens. I infrequently reference a particular artist, but the Baroque, Chinese Ink Landscapes, and Romanticism dance around in my head anyway.

Spatial Binary Eight A

Wood, paint, space, distance, proximity 2016

Nicholas Hullibarger Oakland, California

Through my work, I create spatial environments by exploring aesthetic relationships, line, colour, distance and juxtapose “like” forms. At its foundation, my work invites the viewer to navigate and observe their surroundings in order to bridge the formal relationships within space. This ongoing body of work visually and socially explores the subtle nuances of these “spaces”. I draw inspiration from sources outside of the art world, such as anthropology, linguistics, education and cogitative science. My newest series “Spatial Binaries” (2015-Present) incorporates hand-made “open frames”, which are painted and hung on their sides, projecting outward into space. These “frames”, which I call “Spatial Binaries”, live on the gallery walls, corners, ceilings and floor.

Rusted Snowflakes

Hand stitched thread on rust pigmented textile 2017

Jean Judd Cushing, Wisconsin

Rusted Snowflakes is the continuation of my exploration of rust pigmentation using scientific iron filings. It is one of my many environmentally themed artworks. As I progressed with the intricate, textural hand stitching, the design began to come alive with each added stitch. I am now proud to call it one of my completed artworks for 2017.

After Kandinsky Welded steel 2016

Caitlin Margaret Kelly Hillsborough, North Carolina

It is apt that my foray into sculptural work begins with found materials, remnants salvaged from the recycle bin. ‘After Kandinsky’ is exactly that - discarded metal leftovers, trimmed away from some other purpose to be found, formed, and welded into an abstract of my thinking, and in this case influenced by recent reading habits involving Kandinsky, Martin, and Kelly. The revelation of a second material life, also serves as an allegory; I scavenge my art-making at mid-life to see what has been prematurely discarded as unnecessary to the completion of the final object. These bits and pieces, some curved and ill-fitting, are interesting to me in their form.

Ad Medietatem Corporis Hand cut collage on panel 2016

Axelle Kieffer Savannah, Georgia

Born and raised in France, I began to collect vintage medical books from flea markets since moving to the USA. Often, my collages are the vehicle of eye experiments in body modification. Making traditional handmade collages is weirdly to me closed to our modern science, closed a laboratory genetic manipulation. The collage process allows me to make these paper cuts mine and thus reveal a new meaning in the manner of a palimpsest. When collage usually reduces the image to a layered pasted image, here the collage seems to aim to create a new world concealing art, science and poetry.

Corporate Headquarters Acrylic on canvas 2015

Andrew Kuziak Sarasota, Florida

When I look at any subject I see it as being alive, moving through time and space. As I try to capture this state of motion, there results a unique pattern, suggesting four dimensions on a two-dimensional surface, the motion folding in and out through time and space. I want to take my audience on a visual trip, a dance of colors, ever-changing musical notes, from human facial features to architectural shapes to landscapes with horizontal lines. My aim is for each to see the painting as not just three-dimensional but four-dimensional through time, simultaneously from different points of view.

Silo Door

Digital photography 2016

Guntis Lauzums Belgium, Wisconsin

My photo compositions are influenced by the patterns, lines, color and geometrics used by Kadinsky, Klee, Albers and other abstract artists of the past. My eye is continually drawn to the geometrics and color that is out there in the world. The world around us is vast and there is a lot to see. We usually don’t notice the details of the common items. My work attempts to bring these items to the attention of the viewer for detailed observation.

Mandy the Tooth Fairy Ceramic 2016

Dale Lerner

Medicine Hat, Alberta, Canada

Andy the Tooth Fairy Ceramic 2016

Dale Lerner

Medicine Hat, Alberta, Canada

This series of work began after a period of study and reflection on the works of Robert Wallace Martin. Initially, my works took shape as caricatures of birds, evolving gradually into entities exhibiting anthropomorphous qualities. Their steadfast evolution comments on my philosophy that man is just a mammal, no greater nor lesser than any other life form; just another component (like the clay that gives them shape) in the grand scheme. If my work extorts a chuckle (or stimulates revulsion), I have been successful.

Street Alive Photography 2017

Joanna Madloch

Montclair, New Jersey

I do not plan my photographs or stage them in any way. I just let my camera capture what’s in front of the lens.

Sugar Gears Reductive woodcut 2016

John McCaskill Kailua-Kona, Hawaii

There is a sense of nostalgia that is captured in the “suicide prints”, created by printmaker John McCaskill, of aging man-made structures. Many of these bridges, buildings, factories, mills and equipment no longer serve their designed purpose, but they still have unique features that convey shape, shadow, texture and the play of light on various metal, stone and glass surfaces. John McCaskill is an award-winning artist and printmaker who works out of his studio on the Big Island of Hawaii and the Honolulu Printmakers’ Studio in Honolulu. John is the former president of Jomac Graphic Communications, Inc. and is currently an instructor at the Honolulu Museum Art School.

Casa de Putas Acrylic collage 2017

Tony McDonald Leesville, Louisiana

My work in this exhibit comes from the experiences of a week in pre-embassy Cuba and participation in the 12th Havana Arts Biennial.

Mums the Word Ceramic 2016

Sarah Merola San Francisco, California

There are many ways that life is unfair to children. They can be born into poverty, war, abuse, neglect or disease. They can be unloved or unwanted. My work explores the vulnerability and susceptibility of children. I make my dolls look damaged to show how we spoil the innocence of children and leave them scarred.

Voiceless Bronze 2016

Sarah Merola San Francisco, California

My dolls have zippers, man-made barriers that appear secure, but with one tug, the contents can come spilling out. The zippers show how fragile children are; they are vessels which can be opened and filled. We fill children with our hopes and dreams, but also our fears, hatreds and insecurities. I embed real zippers into the bodies of the work with bronze and ceramics. I like the unpredictability of the media. When using real zippers I am never sure whether they will remain in the work or burn up. The unknown out-come is part of what attracts me to the process.

Trail’s End

Color photography 2015

Paul Murray Jamestown, Rhode Island

I am very much a visual traveler who interacts with people, places, objects and ideas on a variety of levels through several planes of vision that intersect with time and space. At those intersections, I may capture a moment and portray it with my implied perspective. The journeys to those intersections afford the opportunity to see, and perhaps become intrigued by what I am experiencing. To the extent that my images enrich the experience and vision of others, I feel that I have achieved a way of communicating that is unique to me as a photographer.

The Gathering

Acrylic on cradled panels 2017

Greg Navratil Gearhart, Oregon

In these all-over-paintings, abstraction is not removed from nature. This work concentrates on the abstract and chaotic qualities of nature. The surfaces are covered from edge to edge and from corner to corner. Your eyes are invited to wander everywhere, to follow the lines shapes, and values. Each area of the composition is given equal attention and significance. Colors are applied with small brushes or paint dispensers in thick layers which appear to be haphazard up close. There is a balance between the painting traditions of abstraction and realism.

Please, Come In Acrylic 2015

Clark Nunn

Cleveland, Texas

Painting is intuitive, conscious and accidental for me, so shapes, colors and marks are made in those ways. This is how we learn and grow, living in a moving change. So go my paintings - with all the various input, the painting develops a narrative and a composition. The process teaches me insight(s) about life, painting and/or myself. I move on. The viewer seeing my acrylic works completes a communication. My works are figurative and surreal renderings of people, animals, botanical and abstracted shapes. I would wish viewers who are attuned to my visual art, would be prompted to gain a new spiritual or emotional insight into their lives.

The Seed of Change Oil and plaster on board 2016

Judith Peck Vienna, Virginia

Black and White Oil and plaster on board 2016

Judith Peck Vienna, Virginia

I look at the things happening in the world today, and what history has taught us about our broken world and I can’t stop being drawn into the unreason of it all. What I try to express in my art is that we all have the same hopes and dreams as anyone, anywhere at anytime in the present or throughout history. I depict how, despite our rifts, we might experience healing in a broken world, and how that undertaking is universally human. My goal is that my paintings draw in viewers by depicting individuals with rich inner lives and compassionate personae. The viewer is in dialogue with the sitter, having arrived at the same space, together.

Cart No. 4: Immortal Scents

Processed leather mounted on white wooden shelf 2015

Ronen Raz Givatayim, Israel

Body and structure fascinate me. During the years when I designed clothes, I realized that engineering the body’s cloak does not respond to the organic intimacy I am curious about. In my early years I practiced taxidermy and maintained an insect collection. Later, I could define this as an “animate-inanimate” enterprise, an attempt to comment on the very skin we inhabit. Today I mostly deal with leather and hair, as representations of the gap between their living essence and their current dead state, as it applies to questions regarding the place of mortality within our lives.

Cart No. 5: Heart of Silver Processed leather 2015

Ronen Raz Givatayim, Israel

My works are comprised of life-size leather shell reproductions of trivial objects. The pieces are painstakingly cut and sewn, and rest upon traditional “haute couture� disciplines. Everyday consumer products undergo manipulations as they come to life with biological tissue and evoke associations towards an organi

The Parting Oil on canvas 2016

Winter Rusiloski Lakeside, Texas

Landscape was always important to me, growing up on acres of land where I frequently explored our property and regularly walked to my Grandparents’ old farm. The horizon line, changes in atmosphere and nature, particularly sky and water, are fascinating. These early influences led me to a current interest in the fusion of landscape painting with abstraction. The Texas landscape has continued to inspire me with the flatness of the land and big sky. I work spontaneously, with specific memories and references in mind. I enjoy the physicality of the paint and am interested in the ambiguous spaces I can create through abstraction.

Widget [W01]

Polylactic acid (bioplastic) with lacquer finish 2017

Richard Salinas Mechanicsville, Virginia

“If a machine was to take the initiative to create, it undoubtedly would begin by making a widget.” My work is computer generated by creating random forms using fractal related algorithms. From these forms I create a virtual assemblage (I call them widgets) that invoke a feeling of purpose and functionality. These widgets are then digitally manufactured by a RoboSculptor, a 3D printer I’ve designed and developed. By exploring the ability to augment my skills with computer-aided machines, I’ve set the stage to explore the idea of autonomous creation.

Colorblind Mixed/Fiber 2017

Wendy Starn Alexandria, Louisiana

My work is influenced by geometry, the natural world and the current political climate. Light, color and texture are key elements; fiber and textile materials are dyed, manipulated, stitched, adhered and intertwined to convey the message.

Vase à Koch d’éléphant Glazed earthenware 2015

Ben Tyjeski Milwaukee, Wisconsin

Constantly my eyes search for a new idea to create. Even when I have plenty, I study and look at sculptural forms throughout the past for more. I find inspiration in classical and decorative art, especially when used in architecture. The question of how these forms relate to me is essential. The work I build expresses my attempt to understand what is happening in the world. The visual language I use may be antique, but the issues I contemplate are real and current.


Oil on panel 2015

Ira Upin

Philadelphia, Pennsylvania I think about the making of art in a number of different ways. There is the element of nature, what you are born with in both the physical and mental aspects of life. Then as you age you need to decide what to do with those abilities to make sense and purpose out of your life. I always try to make sense out of reality, to see things clearly and not shy away from the truth of things, to make sense of things so life works. In a way for me my art is like personal psychotherapy, a way to understand my own contrarian personality. As I developed my skills I always found myself trying to tell a story. I would always try to make the story have some sort of metaphorical meaning. I want the viewer to be encouraged to ponder the image and have it impart some value.


Acrylic, copper, zinc 2017

Xinhao Yang

Rochester, New York

Xinhao Yang is a current graduate student in Rochester Institute of Technology, Metals/ Jewelry Design Department. Her education has focused on jewelry and metals since 2011. She deeply researches the meaning of life and makes artwork showing her philosophy. She is trying her best to find the appropriate materials and techniques for expressing her concept.

Positive and Negative Mirror, silver, plastic 2016

Xinhao Yang

Rochester, New York

Xinhao Yang is a current graduate student in Rochester Institute of Technology, Metals/ Jewelry Design Department. Her education has focused on jewelry and metals since 2011. She deeply researches the meaning of life and makes artwork showing her philosophy. She is trying her best to find the appropriate materials and techniques for expressing her concept.

Dry Bones Rise Up, Ezekial 37 Walnut, oak, porcelain, acrylic, and oil paint 2017

Michael Yankowski

Natchitoches, Louisiana

Life, death, time and eternity are my focus, representing personal experiences and visions of spirituality and the cosmos. Complex combinations of objects and images unite into intriguing symbolic constructions. These sculptures are carefully scripted with deliberately fabricated items and architectural details. The shrine referenced structures are built to convey specific meanings and visual interest. Each sculpture is a unique expression with challenging fabrication considerations, making the creative process one of exploration and learning, from concept and research to construction and completion. Skill and technique are integral factors, demonstrating artistic sincerity and commitment to the process.

Everything all At Once

Mahogany, bass, copper, silver, brass, oil, and acrylic paint 2017

Michael Yankowski

Natchitoches, Louisiana

Life, death, time and eternity are my focus, representing personal experiences and visions of spirituality and the cosmos. Complex combinations of objects and images unite into intriguing symbolic constructions. These sculptures are carefully scripted with deliberately fabricated items and architectural details. The shrine referenced structures are built to convey specific meanings and visual interest. Each sculpture is a unique expression with challenging fabrication considerations, making the creative process one of exploration and learning, from concept and research to construction and completion. Skill and technique are integral factors, demonstrating artistic sincerity and commitment to the process.

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for the visiting artists at one of our local restaurants or the home of a museum patron. On the following Saturday, my wife and I would often take our guest juror for a tour of the South. We usually began with boudin and dancing at Fred’s Lounge in Mamou followed by lunch at a central Louisiana favorite like Lee’s or Enola Prudhomme’s in Opelousas. To this day I remain close to many of those guest jurors. The competition has had its challenges over 30 years. One media spectacle put AMoA and the board in the national spotlight. After I returned to Alexandria as museum director in 1992 we hosted a competition judged by Marilyn Zeitlin, then Director and Chief Curator at the Arizona State University Art Museum. Marilyn had selected a compelling and challenging exhibition which featured not only works in traditional mediums but also one of the first presentations of art in video and film. Soon after the exhibition opened we hosted a family free day in conjunction with a community event on the Red River levee. On that day, a local state legislator toured the museum. A few days later a fiery letter of protest appeared in the Alexandria Daily Town Talk. The legislator was apparently offended by the imagery and content of a small painting on display. He called for its removal and threatened withdrawal of city funding which, as I recall, only made up about 5% of the museum budget. The following week our phones rang off the hook, more letters of protest from the community appeared in the opinion section of the Town Talk and the controversy was placed on the next city council agenda. An emergency meeting of the board was called and a lengthy discussion regarding censorship and public funding consumed the afternoon. I have to say, in over

35 years of working with museum boards, I cannot remember a time I was more impressed with the thoughtful consideration of a subject. Our board was comprised of legendary Alexandria/ Pineville leaders including Robert Bolton, Marilyn Wellan, Joe D. Smith, and Joy Nalty Hodges. After the final vote, the board drafted a letter to the City Council and the newspaper that explained their position. They stood firmly on the side of artist rights and freedom of expression without censorship. This was a brave and unique position for a group of trustees overseeing a small town art museum in the American South. It was so unique that the entire incident was covered by a reporter from the Wall Street Journal. The works I selected for this year’s exhibition are reflective of the values I believe this annual competition represents. I sought to include solid work demonstrating a commitment to artistic process. One can tell when an artist has struggled with an idea and brought it to resolution. Some works are solid examples of painterly craftsmanship and trained rendering. Other works are a daring departure from traditional medium and imagery. While I enjoyed the process of selecting these works it was very difficult to narrow the field. I commend all the artists that presented their work. September Competition remains an important part of the cultural life in Central Louisiana. I commend Catherine Pears and her staff for staying the course and continuing this tradition that provides the people of CENLA the opportunity to peek inside the studio of artists from around the world. AMoA is an exemplary museum and continues to share objects and ideas that foster important discussions about art and the world.

AMoA Staff Catherine M. Pears Executive Director Megan Valentine Curator & Registrar Steve Farnsley Development & Community Relations Gar Pickering Marketing & Communications Cindy Blair Education & Outreach Nancy Noles Education & Outreach Bradly Wright Preparator & Facilities Assistant Jenny Gallent Office Administrator Madilyn Anderson Visitor Services

2016-2017 AMoA Board Members Larry Menache, Chairman Martin Masden, Finance Chairman Joan Brunson Norrine Caplan Jonathan B. Dean Melinda Descant Kyle Downs Drerup Aloysia Ducote Faye Flanagan Nydia Freedman

Guiyou Huang Trish Leleux Thomas C. McBride Robert Ratcliff Ann Rayford Karen Riley Simmons Cindy Vanlangendonck Carl Watson Zeb Winstead

933 Second Street, Alexandria, LA 71301

A cooperative efford funded by the Greater Alexandria Economic Development Authority (GAEDA)

Supported by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation and Tourism, in cooperation with the Louisiana State Arts Council as administered by the Arts Council of Central Louisiana.

933 Second Street Alexandria, LA 71301 318.443.3458

30th September Competition Catalog  

This catalogue documents the 30th September Competition exhibition June 2 – September 23, 2017 Compiled by Megan Valentine, Registrar & Cur...

30th September Competition Catalog  

This catalogue documents the 30th September Competition exhibition June 2 – September 23, 2017 Compiled by Megan Valentine, Registrar & Cur...