anamnesis

anamnesis Doug Bucci

williamCromar Lyn Godley

Zach Mellman-Carsey John Singletary Chris Vecchio

December 12, 2024 – February 1, 2025

1400 N. American St, Philadelphia 19122 | InLiquid.org

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1400 N. American Street, Gallery 108 Philadelphia, PA 19122 | InLiquid.org Open Wednesday – Saturday, 12 – 6 PM & by appointment.

For inquiries and appointments, contact 215-235-3405.

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Chris Vecchio, Radio, Crystal radio, vacuum tube amplifier, shell speaker, 10 x 21 x 5", Price on request

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anamnesis In anamnesis, we delve into the intricate tapestry of the human experience, exploring the profound themes of existence, memory, and the interplay of technology with our intimate lives. Featuring six artists: Doug Bucci, williamCromar, Lyn Godley, Zach Mellman-Carsey, John Singletary, and Chris Vecchio, this exhibition invites viewers to reflect on the cyclical nature of life, the inevitability of mortality, and the ways we navigate our connections with one another and the world around us.

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The term "anamnesis," derived from ancient Greek, signifies the act of remembering and recalling past experiences. Each artist engages with the echoes of memory — personal and collective — with a unique connection to technology. John Singletary in his piece Traces and Lyn Godley in her piece Floating on a Breeze, highlight our origins and the roles we play for each other and ourselves, while williamCromar and Doug Bucci interrogate how our recollections influence our interactions with the present and the past through the reimagining of historical art objects.

In the other sense of “anamnesis,” referring to a patient's medical history, Bucci’s work dives into the endlessness of living with chronic illness. Zach Mellman-Carsey and Chris Vecchio draw from the physicality of anatomy and its integration with technology through interactive, and in some cases functional, sound objects that are only activated by the proximity to one's body. Depicting infinite cycles, repetition, life, and death, this intimate exhibition ultimately challenges us to confront our shared humanity and the myriad ways we remember and relate to our existence.

williamCromar, utah variations: scale, 2024, Untreated PETG 3D print, 31.5 x 10 x 16", $2,500

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DOUG BUCCI Doug Bucci is an artist and educator in the field of jewelry whose work utilizes digital processes to explore and display biological systems and the effect of disease on the body. Computer-aided technologies allow Bucci to view and simulate not only data but patterns and cell forms, which can be transformed into meaningful, personal, and wearable art. Bucci views his digital process as one that allows for creative freedom unfound in traditional handmade methods.

His work is in the collections of the Windsor Castle, Berkshire, London; the Philadelphia Museum of Art; Pinakothek der Moderne, Munich, Germany; Newark Museum, New Jersey; Deutsche Goldschmiedehaus Hanau, Germany; Design Museo, Helsinki, Finland; and The State Hermitage Museum, St. Petersburg, Russia.

Bucci is also Assistant Professor and Head of the Metals/Jewelry/CAD-CAM Program Head at Tyler School of Art and Architecture, Philadelphia, PA.

Opposite page: Doug Bucci, Parlour Dome, 2000-2021, Sterling silver, glass, 3D printed biocompatible resin, gold and stainless steel, 14 x 14 x 16", $44,000

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Artist Statement "My work is a confluence of art and science, as much of the work I create as an artist reflects my journey with Diabetes. I have been conducting research, creating data, and utilizing computeraided design processes to explore and display biological systems and the effect of disease on the body. I use anatomy, cellular structures, and biological functions as inspiration, and I use biological data, resonant imaging, and emerging technologies to create. I am researching how technology can transform biological processes into meaningful, personal, wearable art via digital technology. Data can be manipulated into tangible forms through my use of CAD to produce such objects. I can also envision these concrete visualizations helping people to maintain optimal health and well-being. These objects function in the traditional purpose of jewelry as personal expression while incorporating emerging health technologies with CAD technology.

Opposite page: Doug Bucci, Plateaus, 2014 - 2021, Wood, nylon & 3D printed bronze infused stainless steel, 48 x 12 x 8", $24,000

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My jewelry and metals foundation, together with my CAD expertise, has allowed me also to engage the fields of woodworking, architecture, industrial design, and medicine. I have collaborated with other artists to create beautiful objects, including furniture, lighting, sculpture, and jewelry made out of blood glucose data. Digital techniques have opened multiple possibilities for artistic innovation and collaboration.

It is essential to look outside of traditional means of making and derive inspiration from the newest technologies. Computer-Aided Design (CAD) technologies are traditionally associated with industrial processes; however, I view the digital medium as allowing for creative freedom unfound in traditional analog methods. These processes allow me the manipulation of form, making it exceptionally valuable in my practice. I represent current practice in the field by interrogating traditional forms of Craft, Art, and Design with this powerful technology."

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williamCROMAR williamCromar is a Philadelphia-based artist and educator who blends architecture, music, animation, and art into unique sculptural and installation works, exploring humanity's paradoxical quest for order. He began this journey with a Silver Medal-winning animated film at the International Biennial of Architecture in Sofia, Bulgaria, funded by the National Endowment for the Arts. His notable exhibitions include halfwayhouse at Nexus Foundation for Today’s Art, redrain at aFSe Gallery, and the recent la trahison des signes at the National Liberty Museum. In 2008, he co-founded TangenT Art Collaborative, creating immersive art environments until the group disbanded due to COVID-19. Currently, Cromar focuses on cutting-edge digital works that merge fabrication and web design with art history. He has taught at the University of Pennsylvania and directed the Abington College MakerSpace, where he inspires emerging artists to create innovative new media art.

Opposite page (top to bottom): williamCromar, utah variations: rotation, 2024, Stainless steel 3D print, 3 x 4.75 x 4.75", $2,500 williamCromar, utah variations: axonometric, 2024, Stainless steel 3D print, 2.75 x 3.5 x 4.75", $2,500

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Artist Statement

"A smart artist makes the machine do the work."

— Cornelia Solfrank

"… the most creative way to work with technology is to misuse it."

— Jon Ippolito

"I have often taken issue with that most temporally parochial label: “new media artist.” Although “new media” can describe visual art crafted with digital tools, it’s a term bereft of history. Every medium has at some point been new. And while digital media may be among the newest, the basic motivation for using any medium is as old as humanity: we still tell stories, whether by the flicker of a campfire or a screen.

Yet, something puts a real “new” in today’s new media: in a manner without parallel in history, digital media have democratized and globalized the delivery of our stories, fundamentally changing the terms of exchange between artist and audience. This has extended most recently to digital fabrication, with technologies such as 3D printing becoming ever more accessible.

In my most recent work, I’ve sought out parallel circumstances to our own in the history of art, where the spectator-artist relationship has been shaken up when artists have appropriated technology for unexpected use.

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I riff on the “misuse” of perspective or projection methodologies by artists from the Renaissance through the dawn of the Age of Information. And as we watch with a curious horror as the latter morphs into the Age of Misinformation, my work explores this tragic heart of the human condition, more basic [even] than the need for existential comforts [food shelter sex]: the necessity for — and the futility underlying — the human need to find order."

Top to bottom: williamCromar, utah variations: perspective, 2024, Stainless steel 3D print, 3 x 3.25 x 4.75", $2,500 williamCromar, utah variations: section, 2024, Stainless steel 3D print, 3 x 3 x 5.25", $2,500

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Opposite page (top to bottom): williamCromar, utah variations: parallel, 2024, Stainless steel 3D print, 3 x 3 x 4.75", $2,500 williamCromar, utah variations: isometric, 2024, Stainless steel 3D print, 2.75 x 2.75 x 4.75", $2,500 This page: williamCromar, utah variations: reference, 2024, Stainless steel 3D print, 3 x 3 x 4.75", $2,500

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williamCromar, me me nto ma ga m or i, 2024, Paint on PETG 3D print, 4.75 x 5.25 x 39", $10,000

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LYN GODLEY

Lyn Godley is a multi-media artist. Her designs, done as a partner of Godley-Schwan (19841998) and individually as Lyn Godley Design Studio (1999-Present), have been exhibited internationally and are in numerous international museums and private collections, including the Museum of Modern Art NYC. Since 2000, her studio work has focused on merging light and art, exploring the relationship between art and technology and its impact on the viewer. Her studio practice is linked to her research on how integrating dynamic light in artwork can create a deeper engagement by affecting both the environment and the user. Her work merges painting and new media for public settings.

Ultimately, Godley seeks to create a rhythm and sense of peace through her artwork, which she and the viewer can surrender to.

In addition to her studio practice, Godley is a fulltime Professor of Industrial Design at Thomas Jefferson University, where she has developed cross-disciplinary curricula in Lighting Design with a focus on Light and New Media as Experience.

She is also the Director of the Jefferson Center of Immersive Arts for Health, an initiative researching the impact of dynamic light and interactive art on health. She has spoken at National and International conferences on Light and Health, Arts and Health, and Lighting Design Education.

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Opposite page: Lyn Godley, Floating on a Breeze (detail)

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Artist Statement “I am a multi-media artist whose work has crossed the borders of fine arts, design, and research.

Since 2000, my studio work has focused on how art can impact well-being, both for the artist and the viewer. By merging light and art, exploring the relationship between art and technology, and, more importantly, its impact on the viewer, my studio practice is connected to ongoing research on how integrating dynamic light in artwork can create a deep engagement with the viewer.

This journey is rooted in my passion for creation, fueled by the tactile pleasure of manipulating materials and my interest in the sciences, further enriched by research into the psychological and physiological effects of imagery, light, and color on viewers. Over the years, I have dedicated myself to mastering technologies that enable the manipulation of light and its integration with traditional art mediums such as oil, watercolor, pastel, and charcoal. This has led to a delicate balance of medium and materials in response to light as it interacts with or reflects off their surfaces, sparking intriguing questions about the potential of dynamic art to communicate with us, captivate, stimulate, soothe, and heal.

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In addition to my studio work, I am also a Professor of Industrial Design, with fifteen years teaching at Parsons School of Design and now thirteen years at Thomas Jefferson University (formerly Philadelphia University). I am also the founder and director of the Jefferson Center of Immersive Arts for Health, an initiative to investigate the impact of dynamic and interactive art on health.”

Lyn Godley, Floating on a Breeze, 2024, Oil on canvas with a projection-mapped overlay, 72 x 60", $12,960

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ZACH MELLMAN-CASEY Zach Mellman-Carsey is an artist and jeweler living in Lancaster, PA. Receiving an MFA from Indiana university in Bloomington, He creates wearable fine and conceptual jewelry and sculptures. When not creating visual art, Zach spends his time honing his culinary skills and experimenting with niche processes and ingredients dealing with food.

With a reference to industrial structures, Zach Mellman-Carsey creates surreal depictions of their own body. Combining these forms with set stones examines expressions of wealth and power while contrasting a narrative that expresses loss, grief, resilience and renewal.

Opposite page (top to bottom): Zach Mellman-Casey, ThrowUP, 2019, Sterling silver, cubic zirconia, 2 x 3 x 1", $500 Zach Mellman-Casey, POURITOUt, 2024, Sterling silver, cubic zirconia, 2 x 4 x .5", $660

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Artist Statement

"I am a recent Graduate of Indiana university with a Master of Fine arts. Studying under Distinguished professor Randy Long and Dr. Nicole Jacquard.

I received immense amounts of experience teaching undergraduates for 5 semesters and one class focused on the education of retiree’s. What came along with the experience of teaching at a large university, was not only how to best convey information to students but also how to manage a program that would best suit the needs of everyone (students, faculty and staff). I believe that my work ethic and strong ability to communicate fairly and honestly to everyone.

I am quick to acknowledge when things are not working and I am diligent to solve the issues in a timely and constructive manner. For example; Enrollment in the arts at Indiana university was down especially in the Jewelry and metalsmithing department. After directly advertising and asking students why metalsmithing was not in their interest, their immediate response was that the course was too expensive. Growing up with economic hardships I wanted to remove the financial barrier and notion that Metalsmithing or jewelry design is expensive or costly. I worked hard to develop a new tool kit for the beginning students cutting the cost from $250 down to $60. This gave many students the opportunity to experience a class they would have been deterred from taking due to the cost."

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Top to bottom: Zach Mellman-Casey, Jazz Players Pendant, 2023, Sterling silver, 14k gold, cubic zirconia, 1.5 x 1 x .5", $1,330 Zach Mellman-Casey, libation series #1, Brooch, cast sterling silver, london blue topaz, 3 x 2.5 x .75", $1,503

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Opposite page (top to bottom): Zach Mellman-Casey, BoomBapPink, 2017, Plastic rapid prototype, bluetooth speaker, 5 x 5 x 5", $830 Zach Mellman-Casey, RustBrooch, 2015, Plastic prototype/other, 6 x 5 x 1.5", $830 This page: Zach Mellman-Casey, Good Day, 2016, Plastic rapid prototype, bluetooth speaker, 5.5 x 4 x 3", $830

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Opposite page (top to bottom): Zach Mellman-Casey, WhenWaterTernt2ICE, 2022, Sterling silver, cubic zirconia, 2.5 x 2.5 x 2.5", $1,000 Zach Mellman-Casey, 2Sweet2SmokeFW21, 2021, Resin rapid prototype, sterling silver, bluetooth, 4 x 4 x 2.5", $1,000 This page: Zach Mellman-Casey, HauteBoxxxSS22, 2022, Resin rapid prototype, sterling silver, 3 x 2 x .75", $1,000

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This page: Zach Mellman-Casey, CASKETBREWZSS22, 2022, Resin rapid prototype, sterling silver, 2 x 2 x .75", $1,000 Opposite page (top to bottom): Zach Mellman-Casey, BoomBapDrip, 2020, Resin rapid prototype, sterling silver, 3.5 x 4 x 2.5", $1,170 Zach Mellman-Casey, Jazz Players Brooch, 2023, Sterling silver, 14k gold, cubic zirconia, 1 x 1 x .75", $660

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Opposite page (top to bottom): Zach Mellman-Casey, Jazz Players Ring, 2023, Sterling silver, 14k gold, cubic zirconia, 1 x 1 x 1", $1,330 Zach Mellman-Casey, Kriah Brooch, 2024, Sterling silver, cubic zirconia, 3.5 x .5 x .5", $660 This page: Zach Mellman-Casey, DialUP, 2024, Resin rapid prototype, sterling silver, 4 x 1 x .75", $2,670

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JOHN SINGLETARY John Singletary is a photographer and multimedia artist based in Philadelphia, PA, whose installations are visual, intellectual, and sensory experiences.

His work uniquely combines black-and-white photography, video, animation, and technology in a manner that explores our shared humanity. He received a Bachelor of Fine Arts in Photography from The University of the Arts and studied photography at the Community College of Philadelphia. His work has been collected by the Philadelphia Museum of Art, The Center for Fine Art Photography, as well as, other institutional and private collections. He has exhibited at the Pennsylvania State Museum, LG Tripp Gallery, The James Oliver Gallery, The Sol Mednick Gallery and The Delaware Contemporary Museum. His work has been reviewed and/or featured in Lenscratch Magazine, L’Oeil de la Photographie, the Od Review, Movers and Makers (WHYY) and the Philadelphia Inquirer. Singletary was a featured lecturer in the 2021 Atlanta Celebrates Photography Festival and is a contributing writer for The Photo Review Journal.

Opposite page: John Singletary, Traces (detail)

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Artist Statement "Traces is an immersive, six screen, OLED and sound based work. The imagery and vignettes in this ongoing multimedia experience use video, digital and stop motion animation, historical footage, and audio to depict the extraordinary light and darkness in the human condition and life events such as the genesis of our existence, and the purpose we serve to each other and ourselves.

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John Singletary, Traces, 2023, 22:45 Minute Multi-Channel V

The familiar and unpredictable illustrate the cycles of life across cultural barriers. Surveying the myriad and disjointed experiences that make up a life, Traces explores the way we construct our internal narratives and create meaning from experience.

The audio component consists of a series of anonymously conducted interviews with a range of participants. The perspectives chosen reveal the universality and individuality of values, the intersectionality of symbolism across cultures, our lineages, and the perpetual cycles of life."

Video/Sound Installation on Six OLED Panels, 120 x 216", $10,000

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CHRIS VECCHIO "Since the mid 1990s I have been creating active devices, installations, and interventions in an effort to probe and better understand the relationship between man and technology. My background is in electrical engineering and I have worked professionally as both an engineer, primarily on biomedical electronics applications, and visual artist for many years.

Central to my work is an interest in the expressive potential of electronic devices and in the potential for ambiguous but suggestive user interfaces to generate new modes of interaction. A set of social precedents now exists for interaction with electrical technology. When these precedents are followed but subverted or there is no clear immediate “functional” objective, a viewer’s expectations are challenged and an opportunity for reflection or commentary on the humantechnology relationship is created." www.noisemantra.com Opposite page (top to bottom): Chris Vecchio, Evolution, 1999, Meter, bone, custom circuitry, 8 x 9 x 9", Price on request Chris Vecchio, Like a Stream, 2002, Meter, bone, custom circuitry, 3 x 9 x 9", Price on request

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Artist Statement "My sculptures take the form of singular (as opposed to mass produced), handmade electrical objects. These devices serve as props to precipitate interaction with, and encourage dialog about, technology. My medium is electronics, i.e., the abstracted operation of the circuitry used as an analog to the thematic focus of the sculpture. By hand building both the circuitry and the containers, I am also personally establishing emotional and physical connections to technology.

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The use of bone constituted a significant shift in my artistic practice. I had been searching for a way to make the human-technology connection more explicit and so I began experimenting with bone as a substrate for my devices. It’s a wonderful material, with properties that fall somewhere between those of wood and stone. Its fluid shapes contrast with the truncations introduced by the saw, and yield objects less formal than my earlier marquetry pieces, more akin to the organic nature of the electronics within. By literally integrating electronics and bone, the teleprosthetic relationship between man and technology becomes manifest. At the same time there is an inherent ambivalence to many of the objects since the electronics is, in a sense, both “feeding off of” biological remains and simultaneously reanimating them. This double-edged nature is analogous to the genetic yet alienated, empowering yet at times atrophying, relationship we have with our tools."

Opposite page: Chris Vecchio, BeautyProduct (detail), 2002, Tallow rendered from bones, aluminum, meter, custom circuitry, 12 x 12 x 3", Price on request

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Opposite page (top to bottom): Chris Vecchio, Device I (Console), 2002, Bone, meter, push button switch, LEDs, embedded microprocessor, 6 x 4 x 3.25", Price on request Chris Vecchio, Evidence of Toolmaking VI, 2002, Bone, meter, custom circuitry, 9 x 6 x 3", Price on request This page: Chris Vecchio, The Stuff Nightmares are Made of, 2001, Instrumented bone, mercury switches, found electronics, 15 x 5 x 5", Price on request

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Chris Vecchio, Reliquary, 2001, Mixed media with bone and custom electronics, 11 x 14 x 8", Price on request

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InLiquid InLiquid is a 501 (c)(3) nonprofit organization committed to creating opportunities and exposure for visual artists and works with more than 300 artists and designers. It serves as a free, online public hub for arts information in the Philadelphia area. Find out more at www.inliquid.org.

All rotational artworks are available for purchase.

Inquiries for purchases can be directed to Isabella at isabella@inliquid.org.

Shop the exhibition on Artsy.com

Opposite page: Chris Vecchio, Device II (Handheld), 2002, Bone, meter, LEDs, push button switch, speaker, embedded microprocessor, 6.5 x 5 x 2", Price on request Back cover: Chris Vecchio, Evidence of Toolmaking II (detail), 2000, Meter, bone, custom circuitry, variable speed control, 8 x 3 x 9", Price on request

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