Judy Chung

Delphine Adama Fawundu

Nomoli Gaze, 2017 Photograph on archival paper 30 x 20” Passageways #2, Secrets, Traditions, Spoken and Unspoken Truths or Not, 2017 Photograph on archival paper 40 x 30”

Ivan Forde

Ivan Forde (b. 1990, Guyana) works across printmaking, digital video, sound performance and installation. Residencies and fellowships include the Paul and Daisy Soros Fellowship for New Americans, ACRE Projects, Vermont Studio Center, Pioneer Works, the Lower East Side Printshop and the Sharp Snug Harbor Van Lier fellowship. Group exhibitions and performances include Studio Museum Harlem Postcards, Mana Contemporary, The Jewish Museum, The Whitney Museum, The DC Arts Center, Lower East Side Printshop, Denny Gallery, Steven Kasher Gallery, the International Print Center and Lagos Photo Festival 17. Ivan graduated from SUNY Purchase college with a BA in Literature.

“What Does it mean to fu*k with history? To Run through centuries for centuries in search of the self, the living, the dead, and their movements. Gradually we become History. Bullets into tomorrow.” – from Amiri Baraka’s Wise, Whys, Y’s

My practice encompasses research, performance, and printmaking at the intersection of blackness and epic poetry. I work with cyanotype to make blue-prints by laying on light-sensitive paper/fabric outside under the sun. I use my body as the matrix for image making, as a measure for all figures in my pictures. I’ve produced digital collage, sound and video animation illuminating poems such as Paradise Lost and The Epic of Gilgamesh to deeply engage stories that contemplate sources of human origin and culture. This project aims to visualize the Invocation to a story of communal resistance, retelling the origins of the village my grandmother is from named “Buxton.”

To tell it, We must tell it with fire and light.

Buxton-Friendship was founded in 1840 – the same year “photography” was coined by Sir John Herschel, inventor of Cyanotype – by 128 freed Africans. After emancipation they collectively bought an abandoned cotton plantation by circumventing a British crown law that stated no individual could buy less than 100 acres of land at 6 pounds sterling per acre. This decree meant that a formerly enslaved person had little chance of owning property in their lifetime. However, to the surprise of the British governors the former slaves pooled their savings earned during overtime labor into wheelbarrows, and purchased 800 acres of land in cooperative ownership. Buxtonian writer and historian Ovid Abrams states, “They strategically performed a silent and non-violent revolution,” which was a part of the larger Village Movement (1838-48) in Guyana with successive villages founded through collective land purchases by formerly enslaved Africans.

Right: A complete history of the village of Buxton in Guyana authored by Buxtonians and compiled by brother Eusi Kwayana political activist, professor, historian, and poet

Ivan Forde

He Who Saw The Deep, 2017 Cyanotype body print on paper 46 x 61” Morning Raid, 2017 Cyanotype on paper 41 x 41”

Untitled (temporary sculpture), 2017 Inkjet print 17 x 22”

Hugh Hayden

I grew up in Dallas, TX at the edge of the woods. I had a close relationship with the surrounding landscape that was nourished through a practice of gardening and later owning koi and creating a series of water gardens. During highschool landscaping grew into a passion and I became the youngest member of the North Texas Koi and Water Garden Society with several ponds in my parents backyard. Fast forward 15 years and living in NYC with limited access to nature I now explore ideas of belonging to a social landscape through a lens of camouflage and natural materials. I’m a sculptor creating visceral experiences that transform perceptions of familiar concepts via both object making and interactive culinary installations. Whether through the lens of camouflage or culinary implements my work explores the underlying infrastructure, relationships and systems of social interactions.